A movie made in 1999. Directed by Daniel Myrick and Eduardo Sanchez. They also wrote what little was written for the movie. The movie takes place in October of 1994 in Burkittesville, Maryland. Three film students dissappear while making a documentary about The Blair Witch. The premise for the film is that the movie is supposedly made from the footage they shot after somebody found it a year later.

I like the movie. I saw it early enough into the hype I wasn't tainted by it yet. I thought it was an original and cool idea. You don't see many movies made like this. I also went and saw it by myself in a nearly empty theater which helped make it scarier. I didn't think it was quite as suspenseful as I heard it would be, but it was good none the less.

StrawberryFrog: You totally missed the point. If you had a regular handheld video camera and you are running through some woods away from some unknown thing would you be worried about keeping your camera from shaking? The film was supposed to be shakey to make it seem real. They kept it steady when they were filming the parts of the "documentary", so it wasn't like the shaking was an accident. In the scheme of the film (that being that it was supposed to be made of a half made documentary and some behind the scenes type footage), it had to be shakey to be real. Of course it would have helped if when you saw it you didn't know if the film was fake or not yet. I believe that was the intended audience, people that didn't know that this was real or not.

The most overhyped movie of 1999. Obviously made by art school students, as it could have been cut to 20 minutes without losing any of the so-called plot.

Dumb American teenagers shouting "you're an asshole" at each other is not scary, it is irritating. Likewise excessive camera shake.

I would guess that in film school like the second or third lecture would be about "camera shake and how to avoid it". The makers of TBWP must have bunked that one.

I am capable of playing many hours of quake without any side-effects, but this made me want to throw up. Not so much scary as annoying. Nausea is not a substitute for spine-chills.

I don't care about how "real" the camera shake is, it's way excessive and detracts bady from the watchability of the movie, not that there's much to watch anyway, except yet more shaking trees. it would be even more "real" if they "accidentally" left the lens cap on the camera, and would actually be more watchable.

You have to be really dumb to think that you can go to a cinema and pay money to see a film that's not a packaged and produced product but a real unedited experience. If the 'intended audience' is people who don't know if it's real or not, then this wasn't intended to be shown in cinemas.

Tales of horror and/or the supernatural are a by-product of the growth of science and rationality in the Western world, and first appeared in their modern form during the English Enlightenment. Time was, merely alluding to a vampire, werewolf, or witch was frightening: what was unsettling was not that these things existed in fact, the way ordinary hazards of life did, or that they were wholly imaginary, but existed in a shady twilight between possible and real, where normal laws of psychology and physics could not be said to apply. Now, of course, since self-styled vampires are to be found in any respectibly large urban gathering, the most likely response to a full-out, venomous, lamia from most people, would be something like "Whoa, cool!" before a torrent of questions. The same would be true of a werewolf -- after all, we know that a real werewolf would be more interested in downing some Alpo than ripping you limb from limb. Even extraterrestrials, which would seem to be the ultimate in strangeness, have been domesticated: we "know" that if a flying saucer were to land, what would walk out wouldn't resemble a large, sapient duck, a glowing sphere, or a bear's head on a spinning hubcap, but an elfin gray-green creature with long fingers and wraparound eyes, whose interests include world peace, the greenhouse effect, and boffing schoolmarms.

As for witches...not only do they exist, but are, at least in contemporary sensibilities, about as scary as Quakers. Nature worship, we're told, has nothing to do with racist myths like The Wicker Man, or Black Masses but is a well-established set of rituals and beliefs, about as frightening as an Episcopal Church Service. If well-understood, and listened to with a gentle heart, Nature itself is a fond, and nurturing mother who will provide for all her creatures...no one has any reason to fear her, as much as pity her wounded and weeping state.

So it is with Heather and her male companions: all they really need to do is go out there to Burkittsville, film a short piece about the legend of a misunderstood woman who was probably protecting local children from familial abuse and whose wrongful death set loose a chain of vengeance, and go home. Oh, yes, they've heard that there are real mountain folk who worship strange gods in them thar hills: so much the better!

What transpires, of course, could hardly be filmed any other way: here, almost as in a scientific experiment, we see an arrogant postmodern feminist, smug in her academic knowlege of everything from map-reading to anthropology, being brought down to the level of a weeping, remorseful, wreck by nothing more than strange noises and odd constructions of twigs.

What amuses me is that she's met the witch...she just didn't recognize her without the aromatherapy candles, the estrogen analogue tea and the latest chitchat about ecofeminism. Nature, as anyone who's done much camping knows, is less an unconditionally nurturing Mom than a drunk housewife with PMS who can be sweet as aspartame one moment and harshly abusive the next -- their fast lesson is that no, there aren't any cigarette machines out there in the forest, it's dark and cold, and often you go hungry if you don't kill something. So it is with Nature worship in this story: the three of them are clearly being marked for sacrifice, being a) outsiders and b) profane in the sanctuary (their constant strong language and smoking evidently put them over the top). They will be killed, as the spirits demand to be fed, and what better sacrifice than young, strong (relatively) good-looking people of high rank?

As a movie, it marks a turning point between the special-effects-and star-studded vehicles of the 80's and 90's, as exemplified by "Titanic", and the reality shows of the Millenium...

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