Found Footage: The Making of the Patterson Project taps directly into the modern creator economy, where every aspiring artist with a camera believes they are one viral hit away from stardom. The film introduces us to this world through a clever narrative frame: a European documentary crew is chronicling the efforts of Chase, a director whose ambition is matched only by his delusion.
His magnum opus is to be a Bigfoot-themed horror movie, shot in the found-footage style popularized by The Blair Witch Project. Chase is the quintessential “film bro,” a character so recognizable he feels pulled directly from a thousand online comment sections. We meet his crew, a small band of believers composed of his ever-patient girlfriend and first-AD, Natalie, and his loyal friend, Mitchell.
Director Max Tzannes immediately establishes a tone of loving satire, documenting the familiar struggles of micro-budget production with a knowing wink. The film sets us up for a comedy about the absurdity of making movies, but it quietly lays the track for a swerve into something far darker, where the on-set calamities begin to feel unnervingly real.
A Portrait of Scrappy Cinema
The film finds its comedic heart in its authentic depiction of the beautiful, chaotic mess of independent filmmaking. Anyone who has tried to pull off a creative project with more passion than money will recognize the scenarios here.
The central joke is the production itself, a machine held together with hope and duct tape. Chase’s self-important speeches about the integrity of his vision are perfectly undercut by the amateur reality of his operation. The comedy lands with precision because it comes from a place of deep affection for the process.
One of the best running gags involves the film’s financing, where a furniture salesman named Frank secures $10,000 from an eccentric older woman, Betsy, by promising her a meeting with her idol, the late Alan Rickman.
Another highlight comes when Chase discovers his lead actor has no idea how to operate the camera he’s meant to be filming with, forcing the director to physically puppet him through scenes. From awkward casting calls to the tiny victory of a surprisingly good Bigfoot costume, the film nails the spirit of creating art on the fringes.
The Tonal Handbrake Turn
For its first two acts, the movie builds a solid comedy. Then, it slams on the brakes and makes a hard turn into horror. This is not a gentle blending of genres; it is a structural choice to keep them almost entirely separate.
The funny, familiar problems of the film set are slowly joined by unsettling events that the crew initially dismisses. The movie signals its shift subtly at first: a strange symbol is found in the basement of the timeshare cabin, and Chase unknowingly activates it. The horror element begins to manifest through Mitchell, whose late-night wanderings become increasingly disturbing.
The true pivot point, however, is the return of the investor, Betsy. Her arrival, a setup for a comedic payoff about the Alan Rickman lie, instead becomes a moment of pure terror as she screams with an inhuman voice, seemingly possessed.
This decision to partition the genres is a bold narrative experiment. It disrupts the pacing intentionally, making the audience wait for the horror that the film’s title promises. This structural gamble risks alienating viewers by withholding the scares for so long, making the film feel less like a cohesive whole and more like two different movies stitched together.
Chaos in the Final Reel
After a long and patient setup, the film’s climax is a sudden, violent explosion. Once the demonic force is fully awakened, the satire is completely abandoned in favor of a frantic and brutal horror sequence. The finale commits fully to its genre roots, delivering a frantic, first-person massacre where the characters we’ve come to know are dispatched with shocking efficiency.
The practical gore effects are impressively visceral, a testament to the low-budget ingenuity the film had been parodying just moments before. This third-act payoff is thrilling, but its relationship to the rest of the movie is the central question. The film feels intentionally imbalanced, functioning as a gentle comedy for most of its runtime before transforming into a vicious horror show.
The success of this structure rests entirely on the viewer’s willingness to go along with the slow-burn approach. It is a fascinating exercise in form that demonstrates a clear love for the filmmaking process, yet its deliberate structural choices result in a memorable but distinctly disjointed cinematic experience.
Found Footage: The Making of The Patterson Project premiered in limited theaters on 20 June 2025 via Vertical Entertainment, and will be available on-demand in North America starting 24 June (UK viewers can stream it from 30 June).
Full Credits
Director: Max Tzannes
Writers: David San Miguel, Max Tzannes
Producers and Executive Producers: Dean Cameron, Tyler Friesen, Dave Hansow, Morgan Hansow
Cast: Brennan Keel Cook, Chen Tang, Erika Vetter, Dean Cameron, Del Alan Murphy, Suzanne Ford, Rachel Alig, J.R. Gomez, Deva Holliday, Christian T. Chan, Alina Burgos, Alex G. Smith, Marie Paquim, Chelsea Gilson, Jaclyn Mofid, et al.
Director of Photography (Cinematographer): Jacob Souza
Editors: Jacob Souza
Composer: David San Miguel
The Review
Found Footage: The Making of the Patterson Project
Found Footage: The Making of the Patterson Project is a clever and ambitious experiment that succeeds more as an affectionate satire of indie filmmaking than as a horror film. Its commitment to a sharply divided structure—dedicating the bulk of its runtime to comedy before a hard pivot into terror—is a bold narrative choice that is both its most interesting feature and its main weakness. While the climactic chaos is effective and the comedic moments are genuinely sharp, the jarring transition and uneven pacing keep it from greatness. It’s a rewarding watch for its structural audacity alone.
PROS
- A clever, multi-layered meta-narrative.
- An authentic and funny satire of low-budget filmmaking.
- Strong comedic performances from the ensemble cast.
- An intense and well-executed horror finale.
CONS
- Uneven pacing, with the horror held back for too long.
- The jarring tonal shift can feel disjointed.
- Doesn't fully blend its horror and comedy elements.
- The satire, while funny, may not be enough to sustain viewers waiting for scares.
