There are those among us who wholeheartedly believe in conspiracy theories. Even if we don’t have a shred of evidence, we believe without any doubt in our minds. Late last year, Insider put out an article exploring some of the most popular conspiracy theories for the USA. Among the most popular of these beliefs is, strangely enough, the assassination of President Kennedy back in the early 60s. For this generation, don’t fret, because we have plenty of theories about how the Sept. 11th attacks were inside jobs. Perhaps most famously in the last year, it’s been what really happens inside the portion of Nevada nicknamed “Area 51”. The crash that occurred in 1947 in Roswell, New Mexico has led many to believe this is where the testing of aliens had begun.
From someone who has been to Roswell, I can confirm that the small town has taken advantage of the theory. Bigfoot is another big one for people, and arguably, even the existence of beings like Bigfoot are a favorite of conspiracy theorists. His legend has graced multiple mediums ranging from comic books to films, even documentaries, all exploring the “What if” scenario of the legendary creature. Another monster tall tale, and one that I without a doubt believe in, is the existence of the Loch Ness Monster. Of course there have been other theories, like those questioning who Jack the Ripper actually was, or more recently concerning the identity of the Zodiac Killer. No one has been able to figure out their identities.
There is a small intersection of the horror genre and these exact theories, while films like The Blair Witch Project, The Conspiracy, and even the movie I’m writing about now have thrived on creating their own theories in universe. The Town That Dreaded Sundown, both its original 1976 film and 2014 remake, explored the terrifying and unsolved murders that plagued Texarkana in 1946. Dubbed the Texarkana Moonlight Murders, this small town was haunted by a brutal serial killer named the Phantom Killer. The list goes on and on when discussing the subject of conspiracy theories and unsolved cases. Sometimes the deeper you dig the stranger it gets. For our main character James (Harry Shum Jr.), he finds himself down a strange rabbit hole trying to decode a mysterious broadcast signal from the late 80s and early 90s in Broadcast Signal Intrusion.
Shum plays a video archivist who stumbles upon the bizarre signal one day while at work and immediately becomes hooked. Broadcast is a visually satisfying movie. The imagery is haunting and striking, stealing pages from the 2007’s mockumentary The Poughkeepsie Tapes and even the following year’s The Strangers. What I appreciated about the imagery of Broadcast is how much of a cornerstone the signal is to the film. It’s not merely featured in a couple of frames but it is woven into the tapestry of the film.
Broadcast is the type of movie that takes a little while to get started. I wouldn’t classify it as a slow burn that surprises you in the end. Rather this is a movie that establishes its characters and develops them properly before throwing them into chaos. It might sound like a traditional movie or something you’d expect. However, sometimes in films like this the filmmakers can care little about the characters and be heavily focused on how chaotic they can make the movie. Slashers are a perfect example, delivering a formulaic body count rather than substance to characters and story. Prior to even laying his eyes on the first broadcast, you truly feel for Shum. He’s an extremely relatable character and when he begins his descent, there is a real emotional attachment that you have for the character. Part of that comes from the excellent script from Philip Drinkwater and Tim Woodall. The other part comes from the tremendous performance from Shum.
Shum elevates this movie to spectacular heights. His performance is vulnerable and gripping. While the previously mentioned imagery of the movie is enough to solidify the film’s gripping nature, it is Shum’s performance which brings viewers to the edge of their seat. His performance is nothing shy of astonishing. Broadcast is the type of movie that doesn’t waste a performance from its actors. Even if the performances are only on the screen for a small amount of time - they are engrossing. Kelly Mack’s sidekick character, Alice, is among these captivating performances. Mack brings a layer of intrigue to the film that furthers not only the narrative but also the complex performance of Shum. She is one of the film’s strongest highlights. Though not on screen as much as Shum, Mack no doubt leaves her mark upon the film.
Broadcast has marvelous pacing as well. Every decision this movie makes feels intentional, like the filmmakers had a clear vision of how this film should operate, how to get the best performances possible from its actors, and so on. The direction from director Jacob Gentry is immaculate. The pacing draws viewers in and never lets them go. Even as the filmmakers are setting up the pieces, there is enough mystery and intent around them to question what is going on. Gentry weaves a compelling visual story that thrives on its mystery and horror elements. He proves himself to be a director worth watching for.
Overall, Broadcast Signal Intrusion, an official selection of Fantasia Festival 2021, is a gripping film that thrives on its captivating performances, terrifying imagery, and alluring mystery. The performance from Harry Shum Jr. alone is well worth the price of admission. Shum elevates the film with his transformative performance as a video archivist who stumbles down a rabbit hole of strangeness. Kelly Mack is equally worth addressing - Mack is tremendous in her role. The direction from Jacob Gentry is equally incredible. Broadcast Signal Intrusion is hauntingly brilliant.
Rorschach Rating:
Mental Health Moment: Though I didn’t address it within the review, one of Shum’s characteristics is grieving the loss of a significant other. The film is ambiguous on what happened to her. In some aspects of the story the viewer could say she has passed away, while in others it could be argued that she was kidnapped. That uncertainty makes the grieving process that much harder. There is something within us that desires closure for situations such as James’. Situations like this remind us of how fragile life really is. It reminds us to value the fleeting moments that make this crazy thing we live from day to day. It might sound a tad morbid, but I love the way Deadpool sums it, “life is an endless series of train wrecks with only brief commercial-like breaks of happiness.” It’s how we savor and hold onto those moments that matter. Sometimes that is what can keep us holding onto each moment and eventually escape things like depression and anxiety.
If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!
Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. Broadcast Signal Intrusion is property of Queensbury Pictures and Dark Sky Films. We do not own nor claim any rights.
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