Unpolished YouTuber Satire Mean Spirited Is Weak Horror-Comedy

It’s a shame. Jeff Ryan’s Mean Spirited voices relevant and vile concerns about social media soullessness, but its commentary is neutered by shaky execution. Tighter productions like Deadstream, Followed or Deadcon are the celebrity YouTuber horror stories Mean Spirited aspires to stand alongside. The bar isn’t all that high. Ryan and co-writer Joe Adams sneak eerie satires about the hellscape of Hollywood into this first-person mockumentary about internet pranksters becoming the ultimate prank victims. Still, none of the duo’s best thoughts end up shining in a regrettably unpolished video package.
Mean Spirited presents itself as “Vlogumentary,” spearheaded by semi-viral prank specialist “The Amazing” Andy (Will Madden). His ex-partner and estranged best friend Bryce (Ryan) invites Andy and his crew to a vacation in the Poconos after he abandons the Mean Spirited channel for a CW superhero role (as Thunder-Man). Bryce has everything Andy wants—riches, popularity, limitless success—so he treats the vacation as a content opportunity with hints of jealous vengeance. That’s until suspicions arise when Bryce starts acting strange, possibly due to the trauma he faced—and a fleeing Andy didn’t—during a childhood prank gone awry.
The narrative’s venom gets a lot right about vain YouTuber culture: The hyperspeed video edits that splice image gags into pre-recorded videos, all the nastiness about comparing your subscribers or likes to more successful creators. Excessiveness is on brand, and obnoxiousness is on par given how Andy is always chasing his million-hit breakout upload. If you’ve watched vloggers before, the aesthetics, overcompensating energy and stupidity in the name of engagement will feel authentic. If not, you’ll want to drive thumb tacks into your pupils and sharp pencils through your eardrums after a few minutes of Andy’s attention-pleading monologues.
As a modified found footage presentation—this isn’t livestream like Deadstream, so we get raw and edited footage together—cinematographer Kenneth Wales never maximizes the subgenre’s fearful intimacy. Empty space “fills” wider frames, and characters are often pushed far away from lenses, eliminating that up-close-and-nasty terror seen in everything from Paranormal Activity to [REC]. Ryan’s directorial talents align with the comedy aspects of this horror-comedy, where the horror seems like a limply forced afterthought. The film’s jagged editing—when, say, possibly possessed figures yank victims out windows—hackily ruins what should be intense moments with quick-splice fast-forwards that attempt to signify glitches of a demonic presence, but are cop-out bores nonetheless.
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