The Man With the Black Umbrella

·44 min·4 clips

A host who hates found footage calls this ultra-low-budget movie one of the most effective horror films he's seen in a long time.

The episode begins with hosts Griffey, Sam, and Heath introducing 'The Man with the Black Umbrella,' a film they experienced at the Genre Blast Film Festival. They provide a synopsis: on January 28, 2015, a man with a black umbrella commits a double murder, and the investigation proves some murders shouldn't be solved. The hosts emphasize the film's found footage format and ultra-low budget, contrasting it with high-budget horror. Griffey notes that despite hating found footage, he finds this movie incredibly effective and scary, comparing its impact to 'Skinamarink.' Heath and Sam agree, describing how the film escalates tension without dips, leading to a white-hot climax. They share personal anecdotes, such as renting the movie on Amazon to watch with family, who were terrified. The hosts analyze the film's opening shot—a five-minute static view of a porch with the umbrella man—and how it deceptively lulls viewers in. They discuss the mythology of Mr. Morning, a supernatural entity that thrives on investigation and suffering, comparing it to Slender Man or creepypasta. The editing and directing choices are praised, particularly scenes where the camera is integrated into the action, like when the protagonist picks it up to emphasize dialogue. Key scary moments are detailed, including a hotel scene where the umbrella appears on a bed and a climax involving multiple chases and a police framing. The hosts critique minor elements, like the quality of a dead body prop, but overall laud the film's craftsmanship. They conclude by urging listeners to watch it on Amazon for $4.99, predicting it could become a horror classic if it finds an audience.

As heard by us

A focused found-footage review of the editing and camera choices behind The Man With the Black Umbrella.

Messed Up Movies treats The Man With the Black Umbrella as a compact study in why found footage depends on construction, not just immediacy. Griffey, Sam, and Heath keep returning to the film's long shots, jump cuts, and handheld movement, with particular attention to how a…

Read the full review in PlayNext →

Why you'd press play

You want found-footage craft, a Genre Blast discovery, and a camera that keeps turning into the problem and the solution.

Read the full recommendation in PlayNext →

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