Hollow Review

Film Still
  • Hollow film still


Yet another weak addition to that swelling archive of sub-standard found-footage horror flicks.

Running on a creative fuel made up of moxie and old fashioned generic plagiarising, Michael Axelgaard's underwhelming Hollow marks a sad case of a film's title also offering a pithy auto-critique. Contextualised as a police investigation, it follows four jabbering, posh types as they bimble about in the Dunwich countryside before it floats in some weird paranormal maguffin which causes our braying fleshpods to run around in fields and wailing like they're at a sold-out Snow Patrol concert.

Working hard to endear us to his small ensemble, Axelgaard duly fills up the first hour of the film with ample intrigue and cause for consternation, as a semi-complex love-hexagon forms and becomes the impetus behind much of the later shrieking. But as hard as he tries, the director just can't manage to make the drama seem at all credible, even down to the likelihood of four friends with various past romantic entanglements even stepping into a Land Rover together, let along agreeing to a yomp into the countryside for fun and frolics.

And as with most found-footage horror movies, the excuse for having the camera constantly rolling is particularly weak here. Apparently, you need to have it in record mode for the flood light to work, hence all the dull shots of empty fields a night. At least the Blair Witch crew were out there to make a movie, but with this it seems that we're expected to believe that affluent students have a burning desire to chronicle every banal conversation they have. Which, come to think of it, actually may be true…

There are some (very) mild shocks (albeit zero surprises), but there's only so many times some loud scream can be swiftly chalked up "just a bird". Plus, Hollow contains perhaps the least convincing drug wig-out scene ever, where the kids choose to "snort up" some "charlie" and get "well mashed". All this really means is that they do all the same yapping and bickering as before, only really fast.

The best line in the film is when one character announces that the batteries of the camera are about to run out. Sweet mercy is in short supply, mind, as the film trundles and trundles on to its utterly inevitable and non shocking denouement.

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