Everyone at Beatrice High School knows better than to say Charlie Grimille’s name on school grounds. It was over twenty years ago when it happened, but there’s not a single person in this small Nebraska town who can’t recall the story of the horrifying freak accident during the school play of ’93, and the boy who died there on the stage, exposed for all the world to see. At first, what happened was utterly mortifying, and chilled the people of Beatrice to the bone. However, as time went on, and a new generation rolled into the locker-lined halls, what was once a terrifying tale morphed into a bit of a joke; a taboo subject that laid way to superstition and pranks. But Charlie’s going to make them remember.

The class of 2015 may think enough time has passed to present a new adaptation of the famously cursed “Gallows” play, but soon they’ll learn that their feeble attempt to finally put the past behind them will only serve to awaken the demons that reside in the dark corners of Beatrice High. On the night before the big production, Reese, Ryan, and Cassidy break into the school after hours to trash the set of the revamped production, and put a stop to the effort before the curtain even rises. Ryan participates simply out of fun, his girlfriend Cassidy joins in (mostly, it seems, to prove she can), but Reese, the sweet, shy football player maneuvered into taking the lead in the school play, isn’t ready to overcome his stage fright, and takes the low road to escape his fears. As the trio rips apart the stage; knocking over trees, dismantling the gallows setup, and smashing and shredding hand-crafted drama department property, it appears that their plan is going swimmingly. That is, until they realize they’re not alone. Charlie’s back, and he’s brought his favorite noose to punish all those who would dare to defame his precious legacy. Surviving high school is hard enough, but these kids will be lucky if they live through the night.

Much in the same vein as The Blair Witch Project, the story of The Gallows is built around superstition and told through found-footage in a documentary style manner, setting up the tale as recovered police evidence. Also like its predecessor, The Gallows uses the same names of the actors for the characters in the film, giving it a much more grounded feel, in addition to the fact that the film works on a fundamental level simply because the actors in the roles are so similar to the characters they’re portraying, both in age and personality type. A clever, good old fashioned ghost story, The Gallows is effective for the same reason that It Follows resonated so well with people — it’s the return to small scale horror that we’ve all been waiting for. In this superhero driven, blockbuster dominating, torture porn infested land of present day cinema where over-the-top stunts and scares have become the norm, and the audience feels more bored by explosions and extreme violence than awed, sometimes it’s easier to relate to characters tackling an issue that feels personal and intimate, as opposed to those on such a grand scale. The Gallows is just campfire talk. A spooky story brought to life with a terrifying force; an urban legend about a boogeyman who lurks in the shadows of the local high school, alone with his rage and his hanging rope, waiting for his next victim; waiting for all of eternity.

Some may think that because the film is directed by two people, Travis Cluff and Chris Lofing, that it might have suffered as a result of clashing ideas, as some have in the past, but the result is quite the opposite. The fact that Cluff and Lofing were so involved with every aspect of this project gave them a clear vision that can only be expressed through true partnership. From writing, to directing, to producing, editing, visual effects, acting, even down to the craft services, these two hand their hands in every facet of the filmmaking process, and the end product looks like one of teamwork. Together, this new duo made a triumphant return to 1980s high school based slashers, finding a home in the remnants of films like Hello Mary Lou: Prom Night 2, A Nightmare on Elm Street, and Slaughter High. The school itself acts as a mysterious labyrinth; a metaphorical peek into Charlie’s twisted brain. Embodying a dark, jaded portal to the past, Beatrice High has secrets lurking behind every corner, and the further one travels into the heart of the beast, the more clues appear and reveal themselves to their guests. In this film, the school itself plays just as big of a role as the executioner who stalks its halls in the quiet of the night.

Many films throughout the years have tried and failed to popularize their own version of Freddy Krueger, or Jason Voorhees, or Michael Myers, but when creating a unique and impactful ghost slasher flick, the tendency is to overthink plot to stand out, thus dreaming up something that tries so hard to be different, it comes off as silly. The Gallows makes its mark by going back to basics, and limiting the plot to a mask and a massacre. It’s not necessarily the most original horror movie to ever exist, but its scares are impressive (largely in part due to Ethan Ellenberger’s incredible sound mixing), it uses its high school setting extremely well, and it plays with the camera as if it were a character in and of itself; a sadistic omniscient spirit capturing every moment of Charlie’s destruction as if it’s enjoying the show. Without a doubt, The Gallows is one of the most effective found-footage horror films since The Blair Witch Project. This is one you’ll want to see in theaters, preferably with an audience.