B Movies Blog

Hello, Movie Mavens! Welcome back yet again to the B Movies Blog. Today, we’re popping Robbie Banfitch’s The Outwaters into the ol’ VCR. 

Before I begin, I feel the need to include one of my trademark disclaimers. If you’re new to my writing or new to the blog, here’s the spiel: 

The great thing about movies is that we can discuss and debate them. Just because I think a movie is great doesn’t make it a good movie, and just because I think a movie is awful doesn’t make it a bad movie. Also, making a movie is extremely difficult and incredibly badass, and I don’t want to detract from the process. 

This being said, I’m also here to give you all honest reviews. Again, this is my opinion, and I think you should watch movies and form your own thoughts. And yes, there are gonna be spoilers. 👀

The Outwaters caused quite a splash across social media with its guerilla marketing, from PR boxes with bloody handprints and crudely-written messages to trailers from each character’s perspective. I have to say as a marketing gal, it gets a big ol’ *chef’s kiss* from me. However, let’s get into the film itself. 

The Outwaters follows brothers Robbie and Scott as they drive out to the desert with their friend Ange to get some shots for up-and-coming singer Michelle’s album art. As you can probably guess, the group has weird experiences that eventually lead to, uh, being dragged into Hell or a Hell-adjacent dimension (think the flashing scenes of Hell from Event Horizon, but filmed in a dark warehouse with the only source of light being a flashlight from the local Dollar Tree). 

Image caption: I will say the price of batteries is a steal, though!

We take in the sights and sounds of Hell (I swear I’m not meaning to make it sound like a highly sought after tourist destination) through Robbie’s perspective. And, I say this lightly (except, it’s actually darkly) — we don’t really see anything. 

The Outwaters is more of an experience than a movie, and I think it might be better served as a short film or experience. We rarely see what Robbie is actually experiencing. Instead, we’re met with screams and groans and, in one case, nipple-rubbing. 

I know the first half of the film has been criticized for being a bit slow, but I don’t think the pacing is the issue; I don’t think there’s enough of a payoff. I fully understand the descent into Hell is meant to be disorienting and gnarly, but this is a case for show don’t tell. 

I also understand Robbie eviscerates and castrates himself in the final moments in an attempt to free himself from his nightmarish time loop, but, I feel like it’s inconsistent with the rest of the film. If the decision is to not show a good chunk of gore, I don’t think we should’ve seen Robbie’s injuries. Or, at the very least, I don’t think we should’ve seen the injuries in full detail. 

I know I’ve gone on a bit of a tangent, so for the sake of true movie reviewing, I want to delve into what I liked about The Outwaters. 

First and foremost, I think using three memory cards to represent the film’s three acts is extremely clever. 

Also, those horrid little snake creatures are absolutely terrifying — they’re like elongated versions of the slugs from Slither but with the tenacity of the Graboids from Tremors. I don’t know how the crew managed to create these revolting reptiles, but I’m so glad they did. 

Lastly, I loved one of the final shots in the film. The wide shot of Ange, Michelle, and Scott’s mutilated heads on pyres is impactful, not only because we can tell how much this trio endured, but because it reiterates Robbie is totally alone. 

Although I was let down by The Outwaters, I think it’s worth the watch. You can tell Robbie Banfitch poured so much love into this movie, and he’s definitely made his way onto my radar. I think The Outwaters didn’t work for me only because we’ve seen time loops before, and unfortunately, we’ve seen them done better. The Blair Witch Project. The Circle. Resolution. Just to name a few. 

And, that’s the danger of tackling a known horror genre. If you’re going to present a new offering, you have to be just as good, if not better than, your predecessors. I admire Robbie Banfitch’s moxie, though. Sometimes, you have to be willing to go to Hell and back for your art. Literally. 

The Outwaters is now streaming on Screambox.