Bigfoot: The Lost Coast Tapes – aka The Lost Coast Tapes – is a 2012 American horror film that combines the found footage and bigfoot sub-genres. It was directed by Corey Grant from a screenplay by Brian Kelsey and Bryan O’Cain.
Drew Rausch, Rich MacDonald, Ashley Wood, Noah Weisberg, Frank Ashmore, Rowdy Kelley, Japheth Gordon and Sweetie Sherrié.
After a “bigfoot hunter” claims to possess the body of a dead sasquatch, a disgraced investigative journalist stakes his comeback — and the lives of his documentary film crew — on proving the find to be a hoax…
Reviews [click links to read more]:
“To compare Bigfoot: The Lost Coast Tapes to other films within the found footage horror genre is tempting, but ultimately futile because it only shares a few similarities with them: a shaky handheld camera, potentially supernatural experiences, and editing that makes you think that you’re watching found footage. Beyond that, the analogies stop right there, and Bigfoot becomes its own unique take on the genre.” Avi Offer, NYC Movie Guru
“Unlike the majority of films to ride the lucrative “handheld” wave that has flooded horror since Blair Witch and more recently Paranormal Activity, The Lost Coast Tapes actually holds its own as an enjoyable addition to a painfully tired sub-genre. Avoiding the now predictable “students in an abandoned whatever” or “campers investigate bumps in the night” the film makes the legend of Bigfoot its focus with its tongue very nearly in its cheek.” Cinehouse
“Bigfoot wanders straight into every tired trope and trap of the conceit. By the time a character actually says, “No matter what happens, don’t stop filming” the movie has long-since toppled over into some kind of mad self-parody, lost in its own hall of mirrors of awfulness … The only real discovery in Bigfoot: The Lost Coast Tapes is that filmmakers can be so blinkered and unthinking.” Mark Olsen, Los Angeles Times
“The director makes some questionable choices as far as his camerawork goes, it has to be said, but that’s not too terribly debilitating a flaw given the “rough-cut” trope he’s exploiting, which relies on feigned — or even actual — unprofessionalism in order to sell audiences on the “truth” of what they’re seeing. All in all, then, this is a quality production that everyone involved with can and should be proud of.” Ryan C., Trash Film Guru