I made this to celebrate Fateful Findings, the third film from real-estate-agent-turned-filmmaker Neil Breen. This film is an insane masterpiece and easily sits among the best of the midnight cult movies, right next to The Room, Birdemic and Troll 2. Most people would easily call these movies bad, and while they’re not terribly polished and sometimes are full of continuity errors and inane plot lines, there’s something endearing about each of them. There’s been some discussion (like this Wired article discussing the excellent oddity Miami Connection) that asks whether a movie you like can really be considered a bad movie. There’s something to be said for filmmakers putting pieces of themselves into their movies, knowing the films may never see a wide audience (or any audience), but pushing forward with their ideas anyway. Even if the movie’s a cinematic failure, it’s better to have an interesting failure than a pristine bore.
And Fateful Findings is certainly no bore. It’s hard to synopsize exactly what happens in the movie so I’ll just hit the highlights: Neil Breen plays a successful author who is hit by a car one afternoon. The accident appears to awaken some sort of latent psychic powers (that he seemingly gained after finding a mysterious black stone in the forest as a child). He also gains incredible computer hacking skills. Breen uses these abilities to expose government and corporate secrets to the American people. The plot is especially pertinent to the era we live in, with Breen acting almost as a psychic Edward Snowden. Maybe that’s why all the women in this movie are coming onto him constantly — ladies love psychic spies. There also are mysterious ghost-like entities (whose presence is not entirely explained), a black void (possibly inside the stone he found) that Breen psychically enters from time to time, and a out-of-left field subplot about the goings-on in his neighbor’s house that ends in murder. Fateful Findings isn’t the greatest film ever made, but Breen’s enthusiasm carries it along and it’s never boring, despite the main plot point not being introduced until over an hour into the film. And the ending, my goodness, the ending — it’s bliss. I really don’t want to spoil anything else about this wonderfully deranged movie, so just watch the trailer.