Back in April I wrote a list of five upcoming films I couldn't wait for. One of the films on the list was Lovely Molly, which promised Eduardo Sanchez' return to supernatural horror. Sanchez is one half behind The Blair Witch Project, which is still the most terrified I've ever been in a theater.
While Molly isn't a pure found footage film, it uses the technique at critical junctions when Molly uses her hand held camera to capture whatever's haunting her on film. It's an interesting choice and might provide a spark to a sub genre which has run the well of storytelling ideas dry by now.
At the time I penned the article, Ambler Films had just begun to kick off their marketing push. With a viral campaign similar to that of BWP, a web series delving into Molly's troubled past and questions surrounding her father looked to blur the lines between fiction and reality. They had reason to go this route. Sanchez' first film may utilized the internet to an unprecedented degree by creating the mythology of the Blair Witch online. Many theatergoers convinced themselves the finished product was a documentary. Sanchez and cowriter/codirector Daniel Myrick turned their $35,000 project into $250 million at the box office.
With a mid-May release date on the horizon, Lovely Molly looked to fill a gap in a surprisingly horror-light summer for genre fans passing time in-between The Avengers and Dark Knight Rises. Yet the date came and went with out no fanfare, and the films has fallen off the map. Even I had forgotten about it until Chris mentioned it a few days ago.
Am I the only one that thinks it's a little weird that someone who once invested what amounts to a mid-sized SUV and turned it into Albert Puljos money can't get more screens than Piranha DD, a sequel to a film that barely broke even?