The Before Time

Set against the harsh, unforgiving backdrop of the Southwestern desert landscape, The Before Time from 2014 unravels a thrilling tale of avarice, intrigue, and unexpected horrors. The movie masterfully blends elements of horror, mystery, drama, and tension to deliver an engaging viewing experience.

In The Before Time, director Miguel Müller puts a fascinating spin on the found footage genre, showcasing his unique cinematic voice. The screenplay builds an atmosphere of suspense, whereas the smart cinematographic choices heighten the viewers' anxiety and fear.

At the center of the narrative are two zealous and embattled local news reporters, Kim (Jules Hartley) and Cate (Danielle Baker), along with their ambitious cameramen, Raphael (Ted Jonas) and Tom (Danny Arroyo). Brought together by an insatiable thirst for that one career-defining moment, they fight their professional and personal battles as they venture into the unforgiving desert with their turbid loyalties and uneasy alliances.

The story hinges on the legendary and highly disputed "Mojave Mound", an urban legend associated with uncharted treasure and unexpected horrors. The trail leads them to the arid Southwest desert, that's rife with its own challenges, danger, and strange, unsettling occurrences. As they dig deeper in this raw and untamed land, they stumble upon a series of cryptic clues, each meticulously buried in time, leading them further into the abyss of impending terror.

The actors bring in a level of authenticity to their characters, making them compelling. Ted Jonas, as the stalwart cameraman Raphael, is excellent. He brings a sense of raw, genuine realism to his part, perfectly embodying the character’s dilemma throughout the film. Jules Hartley and Danielle Baker, too, offer memorable performances as the spot-on reporters embroiled in a messy web of ambition, rivalry, and a lurking supernatural.

The powerful key player in this chilling tale though is the unforgiving Southwestern desert, whose vastness, eeriness, and intense disposition serve as a constant metaphor for the character’s relentless search for truth, validation, and survival.

Miguel Müller's direction is superbly measured and his ability to induce mystery and suspense without resorting to cheap scare tactics, is praiseworthy. The exploitation of the found footage narrative to fuel the mystery and tension is applaudable, and it functions well to enhance the narrative. The movie, however, also lends a very critical gaze to the world of journalism, intertwining the prevalent themes of ambition, rivalry, and desire for exclusive news at any cost.

The Before Time strikes a balance between drama and horror, with the narrative slowly spiraling towards horror from the realm of the human world of ambition and greed. The scares in the movie are well-earned and come organically from the situation, the location, and the overarching narrative arc, rather than being situational or effect-oriented.

The cinematography by Aaron Jackson paints a fascinating yet grim picture of the desert, its relentless, arid landscape expanding around the characters, becoming a character in itself. The sound design works in sync with the cinematography to make the isolation and haunting emptiness of the desert visibly felt.

In conclusion, The Before Time is more than just a found footage horror film. It's a harrowing exploration of human desperation, horror, and introspection against the backdrop of a desert symbolizing desolation and ferocity. With its intriguing storyline, unsettling ambiance, and strong performances, the movie offers a gripping view until the very end. The Before Time is a must-watch for fans of horror and suspense, as well as for those who enjoy cinematic experiments in narrative storytelling.