Rec 3

Product Description Clara and Koldo’s wedding unfolds through the lens of a video camera that captures their beautiful ceremony and the festive reception that follows. But the camera also bears unblinking witness to the shocking reality of chaos and horror that ensues after a virus spreads through the reception, transforming the wedding guests into something… inhuman, and forcing the newlywed couple into a terrifying fight for their lives. Separated amid the mayhem, the newlywed couple discover the true meaning of the vow, “'til death do us part.” Amazon.com The third entry in the popular Spanish-made found-footage horror franchise, [REC] 3: Genesis marks an attempt to break from the POV subgenre with a blend of black humor and its trademark hyper-violence. Paco Plaza, who cowrote and directed the previous two films in the series with Jaume Balagueró, goes it alone here, with his partner taking an advisory role as creative producer, and while it's impossible to say what specific effects the division of labor has on the end result, it's also likely that [REC 3] will have a polarizing effect on the franchise's fan base. Plaza draws a line in the sand early in the picture, which begins as hand-held scenes from a wedding video but is quickly (and violently) abandoned for a mix of third-person perspective and closed-circuit camera footage capturing an outbreak of the series' supernatural-based disease among a large group of wedding guests. Plaza shrewdly separates the couple--Koldo (Diego Martin) and Clara (Leticia Dolera)--in the chaos that follows, with both parties achieving operatic heights of bloody violence in their attempt to reunite. However, where [REC] and [REC] 2 relied on breathless pacing and nerve-rattling shocks to propel the action, Plaza employs ghoulish humor in the (jugular) vein of Evil Dead 2 and Braindead, which at times feels like a meta-comment on the increasingly overexposed nature of found-footage horror. For those seeking the high-octane scares of the first two films, the new tack blunts the impact of the violence, but for those who have wearied of the found-footage approach after the avalanche of films that employed it in the wake of [REC] (which itself borrowed the style from The Blair Witch Project, Cannibal Holocaust, and others), Plaza's take is an energetic satire of wedding party frenzy and the "special day" fury of newlywe