BIGFOOT: THE LOST COAST TAPES (2012) Reviews and overview

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Screen Shot 2016-08-02 at 13.32.12‘Bigfoot is hiding… but not from us.’

Bigfoot: 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. Also known as The Lost Coast Tapes

Main cast:

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…



“Unlike the majority of films to ride the lucrative “handheld” wave that has flooded horror since Blair Witch and more recently Paranormal  ActivityThe 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.” Los Angeles Times


“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.” NYC Movie Guru

“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.” Trash Film Guru


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