In this edition of The Silver Lining, we’ll be covering Universal’s underappreciated alien horror movie, The Fourth Kind.
While I usually take eye-witness accounts with a sizable grain of salt, I’ve always been obsessed with ufology and extraterrestrial conspiracies. Not only are these tales of mysterious lights and unexplained disappearances entertaining on their own, but they also make for some pretty chilling horror fiction, especially when it comes to mockumentaries and found-footage flicks. In fact, one of the first major found-footage productions is Dean Alioto’s infamous The McPherson Tape, which predates even The Blair Witch Project with its believably lo-fi thrills.
This pairing of pseudo-science and simulated reality makes a lot of sense when you realize that ufology is more interesting when you suspend your disbelief and entertain the notion that these stories could be real. That’s why Olatunde Osunsanmi’s 2009 thriller The Fourth Kind is such a fascinating little experiment, playing with both documentary and horror tropes in a unique way that hasn’t been replicated since.
Starring Milla Jovovich as Dr. Abigail Tyler, the film follows an ill-fated psychologist as she researches a series of seemingly paranormal occurrences in a small Alaskan town. Traumatized by her husband’s violent death, Dr. Tyler throws herself into her work, slowly uncovering what appears to be an ancient alien conspiracy that threatens those closest to her.
Part elaborate hoax and part dramatic re-enactment, the script was supposedly inspired by real life investigations, gaining traction among UFO enthusiasts after a viral marketing campaign convinced the public that Nome, Alaska is an alien abduction hotspot.
Once the first trailer dropped, many horror fans were convinced that The Fourth Kind was going to live up to its name and become this generation’s Close Encounters of the Third Kind, introducing alien abduction lore to a brand new audience.
SO WHAT WENT WRONG?
Grossing $47.7 million on a $10 million budget, The Fourth Kind wasn’t exactly a flop, but its financial achievements don’t necessarily translate to critical success, as proven by the film’s 18% score on Rotten Tomatoes. While the flick clearly caught audiences’ attention with its unique approach to visual storytelling, it was absolutely massacred by most media outlets.
The most common complaint was aimed at the film’s re-enactment gimmick, with several critics claiming that the frequent fourth wall breaks and intercutting between dramatic scenes and “archival footage” impaired their suspension of disbelief instead of strengthening it. The split-screen comparisons between the film’s versions of events were also controversial, as some viewers argued that the experience would have been more effective as a traditional found-footage movie instead of this mixed-media hybrid.
Even when the gimmick worked, it was still undermined by the inherent phoniness of the “real” footage spliced into the movie. These segments rely heavily on digital filters and overused horror tropes (like having static conveniently obstruct the view when paranormal activity occurs), leading to mixed results when attempting to scare viewers with their authenticity.
The film’s marketing campaign was also a little too believable for its own good, as the studio incorporated real missing person cases into fake news articles in an attempt to convince audiences that these disappearances were paranormal in nature. This led to residents of Nome, Alaska claiming that Universal Pictures was exploiting their suffering for profit, with the campaign’s misleading use of real newspaper outlets resulting in a lawsuit that further damaged The Fourth Kind’s reputation.
THE SILVER LINING
Appropriately enough, The Fourth Kind is the sort of movie that only works if you want to believe. If you accept what Osunsanmi is trying to do and decide to go along for the ride, you’ll be rewarded with a surprisingly bleak and existential thriller that’s a lot smarter than most folks gave it credit for back in 2009. It might not always be true to life, but there’s no denying that the flick is one hell of a scary simulation that digs deep into alien abduction narratives.
While it’s clearly a fabrication, the story is remarkably well researched as it creates a sort of “greatest hits collection” of elements from (allegedly) real reports of extraterrestrial contact. In fact, while I consider myself a skeptic when it comes close encounters, even I had an experience that sounds eerily similar to the movie’s description of owl-related replacement memories after being experimented on by otherworldly beings.
Even the film’s controversial claims about Nome aren’t entirely unwarranted, as the city has an eerily high number of unexplained disappearances, as well as many reports of unidentified flying objects. This attention to detail is likely the reason why the movie’s original script showed up on the 2008 Blacklist as a favorite among producers.
The re-enactment approach isn’t always effective, but the film still boasts several genuinely chilling moments that are enhanced by its avant-garde presentation. The ending is an especially great example of the format’s horrific potential, with Charlotte Milchard’s performance as the “real” Dr. Abigail Tyler elevating the scares in a shockingly grim conclusion. I also really enjoy the haunting recordings of supposedly real UFO sightings that play over the end credits.
Even if you don’t think that The Fourth Kind is a particularly good movie, it’s easy to appreciate Osunsanmi’s attempt at trying something new within the genre. This hybridized form of storytelling probably won’t be to everyone’s liking, but I see it as the next logical step of the classic “based on a true story” trope. Honestly, I wish there were more horror movies willing to experiment with blurring the lines between fiction and reality. After all, at the end of the day, what you believe is yours to decide.
Watching a bad movie doesn’t necessarily have to be a bad experience. Even the worst films can boast a good idea or two, and that’s why we’re trying to look on the bright side with The Silver Lining, where we shine a light on the best parts of traditionally maligned horror flicks.
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