After livestreamer Logan (Tyler Gene) goes missing while looking for a “haunted, mythological creature thing” at North Carolina’s Lake Tomahawk, a group of friends and fellow content creators search for him.
Of course, they have to document it, too — whether that’s out of care or for the clout is up for interpretation. Walking into a restricted area of the woods, the five flirt, argue, theorize, get lost and — eventually — run and scream. This is found-footage horror, after all.
I believe in the hands of a majority of microbudget filmmakers, Logan’s livestreamed prologue would be stretched out to be the whole movie, with each (p)added minute diluting its effectiveness (especially in the use of the buffering symbol at peak moments). Instead, The Wendigo takes the smarter route of going a layer deeper. To its credit, I was absorbed enough in the hunt that I kept forgetting its cryptozoological foundation. Antlers aplenty; no snow.
While the full result is imperfect, it’s start-to-finish better than most, no doubt aided by first-feature director Jake Robinson (also part of the primary cast) wrapping things up after an hour. With the last 15 minutes achieving a mild intensity, he doesn’t give you the chance to become bored. However, the final scene, involving a circle of people, finds him letting go of the restraint he otherwise ably demonstrates. —Rod Lott
Not based on the action-film character from 
Wedding bells are ringing … until they don’t, when the bride decides she can’t go through with the nuptials and flees. To find her, the gobsmacked groom sends his seven groomsmen on a “containment mission” — odd word choice, if not for all of them being highly trained assassins, would-be spouses included. 
