Review: Greywood’s Plot (2019)

Greywood’s Plot is a Noir horror/comedy from writer/director Josh Stifter (The Good Exorcist) who also stars in the film. The story follows Dom (Stifter) who still lives in his mom’s (Kim Fagan) basement and has a sense of desperation about him you can almost smell coming off the screen. His one passion in life is a monster-hunting web series that he makes with his in-different friend Miles (Keith Radichel), who is non-the-less dragged along for the ride. After the pair have a series of embarrassing failed attempts and limited success Dom is on the verge of giving it all up. When he receives an anonymous tape that claims to show the existence of the Chupacabra they set out to investigate the location in the woods; where they are met by mysterious land owner Doug Greywood (Daniel Degnan).

We start with an incredibly meta opening sequence where Dom is narrating his struggles and self-doubt while trying to put a video together and the world of the film is quickly revealed to us. The use of black and white throughout creates a noir feel and Stifter uses a variety of fun visual choices and tricks including some crude animated sequences. It verges on ‘found footage’ but this aesthetic is not overplayed which is a common trope of the genre. There is also a gritty, ‘grind-house’ feel to the visuals throughout.

Without getting into spoiler territory…there is an incredibly dark shift change in the film’s third act that turns the story on it’s head and is well worth the wait! Stifter does a great job of carrying the film as both lead actor and director of his own story; although Daniel Degnan’s performance as the mysterious and just plain odd land-owner Doug Greywood was also a stand-out.

The score from Curtis Allen Hager is subtle and underpinning but also incredibly grand at moments to heighten tension where it is used to full effect; all of this creating an incredibly ominous mood and growing sense of dread throughout the film.

Tonally the film shares similarities with Adam Green’s ‘Digging Up The Marrow and Kevin Smith’s ‘Tusk as well as classic monster movies of the past. This however is its own unique send-up of the monster and found footage genre’s.


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Check out our review of Josh Stifter’s debut film The Good Exorcist