Review of 'Man Finds Tape': Found-Footage Twist Adds Complexity to Intriguing Horror Debut

While not strictly a Pentecostal horror film, Man Finds Tape includes elements of sermonizing and a form of snake-handling. The connection between these aspects is unclear, much like other components of this debut feature from writer-directors Peter Hall and Paul Gandersman. They explore intriguing ideas within a convoluted story set in the fictional town of Larkin, Texas, where peculiar behavior and supernatural phenomena are commonplace.

The films atmosphere, reminiscent of the tension found in Weapons, is undermined by its quasi found-footage format. The multiple suggested sources of footage complicate the narrative without adding real suspense, making the experience feel more like a long Twilight Zone episode than a descent into a sinister supernatural plot. The film is set to release in limited U.S. theaters and on-demand platforms on December 5.

The story begins with filmmaker Lynn Page (Kelsey Pribilski) narrating sporadically about folkloric creatures like Bigfoot and the Loch Ness Monster. Her brother, Lucas (William Magnuson), contacts her from their deceased parents home, distressed over a camcorder tape bearing his name. The tape shows a childhood memory in which a shadowy figure places something in his mouth while he sleeps. Lucas shares these findings on YouTube, gaining both attention and skepticism.

Lynn initially doubts her brother due to his history of obsessive behavior, but drives five hours to Larkin when he suddenly becomes unresponsive. She finds him unconscious in front of a computer, a victim of a local pattern of blackouts and memory loss affecting multiple residents. These events are captured in a chilling moment on a surveillance camera, where townspeople freeze while a car fatally hits a pedestrian.

Lucas suspects a connection to Rev. Endicott Carr (John Ghoulson), the local preacher whose public-access show was recorded by the siblings parents, now deceased. Further complications involve Lucas ex-girlfriend Wendy (Nell Kessler), pregnant with the Reverends child as a surrogate, and a mysterious black-clad stranger (Brian Villalobos) roaming town with a vintage surgeons satchel.

As Lynn and Lucas investigate, they witness disturbing occurrences tied to these figures, including serpent-like parasites and an endless spiral staircase. Despite some resolution, the film offers no clear explanation for the towns decades-long hidden dangers. The multitude of video sourceshome recordings, surveillance, FaceTime, voicemails, text messages, and old TV footagecreates a visually diverse but cluttered storytelling experience.

Character interactions remain compelling, and the plot is unpredictable, yet the reliance on found media often obscures the narratives potential. The emphasis on technology and viral content becomes secondary to the films central theme: a unique blend of organized religion and occult or science-fiction elements. Hall and Gandersman maintain enough intrigue to engage viewers, even if the ending feels unsatisfying. Performances are credible, production design is fitting, and Jimmy LaValles score notably enhances the atmosphere beyond the constraints of the found-footage style.

Author: Gavin Porter