Larry Fessenden’s ‘Blackout’: A Character-Driven Werewolf Tale

Larry Fessenden’s ‘Blackout’ is a character-driven werewolf psychodrama that showcases the director’s attention to performance and detail. While the film has its flaws, it offers moments of brilliance and a sense of melancholic dread. Fessenden’s collaboration with the cast results in engaging conversations and memorable scenes. Though not groundbreaking, ‘Blackout’ is a worthwhile addition to Fessenden’s body of work.

Larry Fessenden’s ‘Blackout’: A Character-Driven Werewolf Tale

Larry Fessenden, known for his captivating performances as a character actor, has now ventured into directing with his latest film, ‘Blackout.’ Fessenden’s work in the horror genre has always stood out, and his attention to performance and character-driven details is evident in this werewolf psychodrama. While the low-budget nature of the film may result in some amateurish performances, Fessenden’s expertise shines through, making ‘Blackout’ a worthwhile watch.

( Credit to: Rogerebert )

In typical Fessenden fashion, every character in the film is unique, with their own quirks, limitations, and entanglements. While ‘Blackout’ only offers glimpses into these intricacies, it is an adaptation of Fessenden’s own audio drama, part of Glass Eye Pix’s ‘Tales from Beyond the Pale’ series. The movie version expands on the original sketch, adding more plot elements that, at times, feel generic and unnecessary. However, the film still manages to capture the melancholic dread that Fessenden fans have come to appreciate.

The story follows Charley Barrett, portrayed by Alex Hurt, a well-liked drunk who also happens to be a werewolf. Aware of his condition, Charley desperately seeks to end his life before he harms any innocent bystanders. As he wanders through the town of Talbot Falls, Charley encounters various individuals he wishes to settle matters with, whether it be avoiding them or engaging in deep conversations. Notable characters include the nosy yet well-meaning Pastor Francis, played by John Speredakos, and the crotchety real estate developer Jack Hammond, portrayed by Marshall Bell. Charley’s worried ex-girlfriend Sharon Hammond, excellently portrayed by Addison Timlin, adds further depth to the narrative.

Engaging Conversations and Memorable Scenes

Meanwhile, the police are on the hunt for the person responsible for a series of random murders. Civic-minded cop Alice, played by Ella Rae Peck, and her skeptical partner Luis, portrayed by Joseph Castillo-Midyett, stumble upon some animal fur at a crime scene. Their subsequent conversation about the concept of ‘umwelt,’ where individual perspectives limit one’s understanding, sheds light on both the plot of ‘Blackout’ and Fessenden’s directorial priorities. These philosophical discussions, though limited, add depth to the film.

While Charley’s meandering trajectory may be frustrating at times, the film could have delved further into Fessenden’s signature lo-fi psychedelia and macabre lyricism. Nonetheless, Charley engages in productive conversations with various characters, such as Miguel, falsely accused by Jack of Charley’s crimes, and Earl, who crafts silver bullets for Charley. Fessenden’s pointed dialogue, though occasionally not perfectly delivered by the cast, leads to some of the film’s best moments.

‘Blackout’ falters when it adheres too closely to conventional horror tropes, as the body count rises, and the police draw closer to Charley. Fessenden’s affection for supporting characters, like Pastor Francis and barfly Bob, is evident, as they represent the fabric of Talbot Falls, an American everytown paying homage to classic Universal monsters.

A Unique Monster and Fessenden’s Distinctive Style

One aspect that could have enhanced ‘Blackout’ is the inclusion of more ‘umwelt.’ The atmospheric opening scene, featuring a young couple played by Clay von Carlowitz and Asta Paredes, offers a glimpse into their characters’ dynamics before tragedy strikes. It is regrettable that their limited involvement prevents a deeper exploration of their personas.

Despite this minor shortcoming, Fessenden’s affinity for supporting characters is evident throughout the film. However, the monster itself, though visually and audibly appealing, lacks the uniqueness that often characterizes Fessenden’s work. ‘Blackout’ falls victim to the high expectations set by the director’s previous films, which often embrace poetic whimsy and venture into uncharted territory. While the film has its merits, it may not fully satisfy those familiar with Fessenden’s distinctive style.

In conclusion, Larry Fessenden’s ‘Blackout’ is a character-driven werewolf tale that showcases the director’s attention to performance and detail. While the film has its flaws, it offers moments of brilliance and a sense of melancholic dread. Fessenden’s collaboration with the cast results in engaging conversations and memorable scenes. Though not groundbreaking, ‘Blackout’ is a worthwhile addition to Fessenden’s body of work.