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All of that is fine, and I was actually curious about the story up to this point. But I’m not sure how to judge the rest of the film because I'm really not sure what the goal was. The Sacrament borrows significant chunks from the Jonestown story, but it doesn’t seem to do so for any particular purpose other than the grim voyeurism of it. The movie makes no attempt to pass judgment, but it doesn't offer any perspective, either. Imagine if someone filmed a make-believe documentary about a 9/11 type event except they fictionalized almost everything - except the exceedingly graphic loss of life - and called it “6/26”. I'm just not sure what the point of that would be unless you were trying to add something to the conversation. Why drag your audience through something we all know really happened without giving them something to walk away with?

Ti West has a clear passion for what he does, and a proven eye for detail. So the tone of his movie works – I truly believe these people are where they are, but I’m not sure I completely believe in who they are. For all the attention paid to the physical aspects of the film, there wasn’t enough meat on the story to make me believe that Sam was an experienced field reporter and not just an arrogant schmuck, in way over his head. Gene Jones certainly plays a disarming and charismatic cult leader, but at no point was I convinced that his character had earned it. So at the climax of the story there was sadness for what I was seeing, but there was precious little context behind it. I thought, “You’re showing me this just because you can, but not because you have anything to say about it.”

I’m willing to give The Sacrament credit for sticking to its vision, whatever that was. It makes no compromises with its structural choices, and while there clearly wasn’t a huge budget, great care was taken to put every penny of it up on screen. I think Ti West has a lot of potential, and it’s entirely possible that years from now I’ll look back on this film in the context of his illustrious 35 year career and finally understand it. But today, I walked out of The Sacrament feeling ugly and unenlightened. I don’t see that changing down the road, but feel free to print this out and show it to me three decades from now. If I’m wrong - and still alive - I’ll be happy to own it.

Going for Three

Two days at the Stanley Film Fest was better than one, but not as good as three. Next time for year three, this will be my goal. That and to find a hotel room where I don't feel like I might get murdered in my sleep.

More time means more movies, and that reminds me – I saw more than three films. Honorable mention must be made of Housebound, another New Zealand film by director Gerard Johnstone and starring Morgana O'Reilly. It’s an insanely fun horror/thriller that would have been my favorite thing all weekend were it not for certain other Kiwis in attendance (and that delicious rum/ginger beer concoction they serve over at the Stanley). Still, if you like Raimi-esque wit, or old school Peter Jackson comedy/horror hybrids like The Frighteners or Dead Alive, check this one out. And if you’ve ever wanted to know what it would look like if Bruce Campbell and Gina Gershon had a daughter, look no further. O’Reilly is a marvel. She’s as dangerously endearing as her (fake) mom and can carry a two minute scene with nothing but facial expressions – just like her (fake) dad.

I also had the chance to attend a fun panel with Ti West, Larry Fessenden and Travis Stevens. Their perspectives on the horror genre and filmmaking in general – the creative and the business sides, were illuminating. And of course, it’s always fun to get a look at someone when they’re discussing a passion. That kind of honesty is only possible when you’re among friends, and that’s really the best part of these things – everyone’s into it. My God, if we can just get Putin and Obama into a screening of Housebound, the world might change overnight. You're welcome, Earth. Now, I’m off to pick out what I want to buy with my Nobel Peace Prize money.

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