StunnaKrypto Self-important, over-dramatic, uninspired.

NekoHomey Purely Joyful Movie!

Ceticultsot Beautiful, moving film.

Lachlan Coulson This is a gorgeous movie made by a gorgeous spirit.

Stalfos Conner I have heard that this movie came before the Blair Witch Project, which I thought was excellent (and in my opinion it's popularity is well deserved), and that it may have inspired the Blair Witch Project. Like the Blair Witch Project, the Last Broadcast is marketed as a horror movie. Although I wasn't expecting "another" Blair Witch Project, I was expecting a horror movie in the same low budget style as the Blair Witch Project. That's, after all, how this movie is marketed, a low budget horror movie. Well, it's certainly low budget, but it's definitely no horror.Everything this movie tries to do fails. If there is a C (or even D) category for movies, this is it. Dead End and the Blair Witch Project are two low budget movies which prove that low budget movies can be A movies, for sure. The Last Broadcast is unprofessional and only succeeds in misleading the viewer. It's hard to be specific without giving away any spoilers, and that's exactly what this movie requires to be exposed. Whatever you expect to see, you won't. However this movie is marketed, whatever the DVD box tells you on the backside, just know that it's misleading and unless you don't have any expectations, you will be disappointed.There is nothing else worth to say about this movie. Imagine renting the Terminator and instead of seeing some science fiction action, you get to see a lower than a straight-to-DVD quality movie about something that is supposed to resemble the Terminator. That's the Last Broadcast. A complete waste of time.The tagline of this movie is "what actually happened that night in the woods?" My answer is "nothing interesting".

cosmogirl_185 yes, Blair Witch and Broadcast have the same overall theme(teens go into the woods)but if you look passed that you will know each film had a different approach to it. Yes, both used Video but, Broadcast took it one step further. Not only did they incorporate video footage of what happened in the woods that night, but had "commentaries' and interviews from other people involved(which in my opinion made it a lot more sophisticated and intelligent than Blair Witch). I would recommend this film for anyone looking for something "smart" to watch while still having a simple plot. However If you are looking for something like Blair Witch, i wouldn't automatically assume this is the film for you.

MisterWhiplash The Last Broadcast is the kind of example that should be remembered when watching Romero's Diary of the Dead. There were some who criticized Romero for the style of the picture, for the amateurish acting and an unfitting documentary approach. I would put forward the argument that Romero's self-conscious approach that one of the film students edited The Death of Death on a comp while locked in a panic room was meant to *satirize* other documentary-style pictures that go overboard in trying to make "messages". Such as, well, The Last Broadcast. Here is a horror-documentary that takes itself way too seriously for its own good, after opening with a possibly promising premise and couple of scenes that work as intentionally amateur clips of "Fact or Fiction" hosts on Public Access TV- later victims of what could be the Jersey Devil- and then nose-diving into either mind-numbingly boring exposition, cheesy and/or ridiculously edited "digital" images, and a final ten minutes that had me smacking my head just to make sure I wasn't hallucinating.So, in short, The Last Broadcast is definitely something of an independent find, but not in one of those nice ways where you find an item you hear about for years and it turns out to be a gem. Here we get "real people" (and some of them, of course, are) telling the story through David Leigh's audio commentary about the Jim Suerd being charged and convicted of murdering the hosts of "Fact or Fiction" and then the process of piecing together footage that is mysteriously sent to the filmmaker and editor Michelle and what clues might lie within. As trying for the documentary style by directors Avalos and Weiler, it falls flat. Not just because of others out there (i.e. Cannibal Holocaust, the Monster Hunter) that take similar approaches with sharper results. It's because of an inherent lack of understanding of how a documentary should work even as a "not-real" documentary. It's hard to build any suspense because whenever something interesting might happen in the found footage there's a cut-away to something stupid, or a lousy freeze-frame or another editing device used as if by the "filmmaker".And it's not really a fault of it being shot on such a ridiculously low budget in and of itself. I can respect that, and if anything it's a good sign for other filmmakers that something can be attempted to be shot on hand-held cameras and edited in the midst of "the digital age". But in the ill-prepared hands it's not an asset either, as Avalos and Weiler can't direct their actors much at all, least of them horribly monotoned David Beard (seriously, wouldn't Vincent Price's droll but menacing baritone work far greater worth here?), and they barely ever conjure up much genuine suspense because, really, the main focus of the Jersey Devil is blurred by poor storytelling: a continuing mass of not-even first-year film school attempts at making "flashy" editing choices and transitions. And yet I might have been able to forgive a lot of the flaws throughout the picture if not, oh for the love of Pete, those last ten minutes.After the bulk of the picture going through its warped documentary approach, when a horrific and sudden (not to mention completely WTF) murder happens, the style reverts to a regular third-person approach, complete with cranes and stedi-cams and other things that suddenly take the viewer completely out of what's been happening. Aside from the murder not making much sense, and even being laughable to a morbid degree, it also doesn't really do much to suggest anything menacing about the Jersey Devil. What is it, that the Jersey Devil somehow can go through internet lines ala electric Gremlin from Gremlins 2 and ask questions to low-rent public access hosts? Or that the Jersey Devil infects the souls of filmmakers who suddenly go from being objective to subjective? What's the point? There isn't one, in the end, which makes the original idea lose next to all of its potential.Or, to put it another way, it says right on the front of the video box a quote from a supposedly praising review: "May have influenced Blair Witch... it certainly preceded it." Um... What?

lost-in-limbo Comparisons… we just can't help ourselves. I see a lot of comparing between this particular shadowy cult effort to the very similar in style, worldwide hit 'The Blair Witch Project (1999)'. Both share a low-budget cost and that documentary edited structure, but other than that. Really that's it. Well it did come out before its more fancied rival. We begin with Steven Avkast and Locus Wheeler hosts of a cheap cable show called "Fact or Fiction" going into the Pine Barrens of New Jersey with the aid of Rein Clackin and Jim Suerd to broadcast the search for New Jersey Devil. However Suerd is the only to come out alive, and accused of the murders. A year later filmmaker David Leigh decides to make a documentary about it using the live footage they shot to get down to the bottom off what really happened in the woods that night. 'Broadcast' has more an entertainingly detailed background (from actual footage to interviews) to its story-telling and for most part it's highly captivating and immensely inventive. Well that's up until the indifferently eye-rolling last ten minutes, which totally spins back onto itself with a ridiculous (if off-putting) revelation. It was going so well (I liked the whole ambiguous, open-minded and eerie nature), then they shot themselves in the foot. It feels like it came from another movie. They lost that chilling vibe and cooked up some glaring plot holes because of that sudden inclusion even if it was undeniably effective. Still the gimmick is provocatively engineered and efficiently presented by the director and his actors (believably capable performances by Jim Seward, Stefan Avalos, Lance Weiler, Rein Clabbers and David Beard) to leave an unforgettable imprint. The set-up manages to feel sincere with good use of illuminating the manipulative air stemming from the media to influence an outcome. Be it bullet proof or not. Everything is basically suggestive with a drearily dreaded tone. Some sequences can cause a shudder and make your skin crawl, as things are linked together or put down for us to mull over. A slick, stark and engrossingly blood curdling concept that's almost pulled off.