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In 2012 he climbed aboard a rickety, single-engine plane carrying the machine that would change everything: lidar, a highly advanced, classified technology that could map the terrain under the densest rainforest canopy. In 1940, swashbuckling journalist Theodore Morde returned from the rainforest with hundreds of artifacts and an electrifying story of having found the Lost City of the Monkey God-but then committed suicide without revealing its location.Three quarters of a century later, author Doug Preston joined a team of scientists on a groundbreaking new quest. Indigenous tribes speak of ancestors who fled there to escape the Spanish invaders, and they warn that anyone who enters this sacred city will fall ill and die. And a pioneering journey into the unknown heart of the world's densest jungle.Since the days of conquistador Hernán Cortés, rumors have circulated about a lost city of immense wealth hidden somewhere in the Honduran interior, called the White City or the Lost City of the Monkey God. It’s just a shame that “Lost Tribes,” like many of its previous generation’s cousins, isn’t very good.A five-hundred-year-old legend.
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Monkey quest tribes movie#
We’re always looking for new blood.” Still, it’s at least refreshing to see someone out there, in these wussy days of video and DV, still trying to make a new-budget movie on film. While the few teasing moments Pacini offers - a little bondage/ritual sacrifice here, for instance, or some all-girl tomfoolery there - are all well and good, they certainly don’t compensate for the other 85 minutes of tedious and unnecessary plot exposition, wooden acting, murky sound, bland photography, and dialogue as stilted as, “Perfect. Like “Quest” or Steve Wang’s visually astounding “Kung Fu Rascals,” the latter pretty much the Rolls Royce of Super 8 epics, the simplistic “race to recover the magical artifact” plotline of “Lost Tribes” shamelessly apes such studio fare as “Raiders of the Lost Ark.” Pacini’s deliberate descent into the B-Movie realm also comes complete with a strangely lifeless dash of sexploitation. That’s what my partners and I thought when we made “Quest for the Monkey God.” It must be what director Matt Pacini is still thinking, as his ponderous and lethargic Super 8 occult thriller “Lost Tribes” seems to be lifted straight from that outdated paradigm. The theory was as simple as it was deceptively unrealistic: get your film into Blockbuster, went the thinking, and you could write your own ticket for the next one. Some shot their “films” on video, others on 16mm, and a few even used Super 8 on occasion. Back in those ancient times, all of about a decade ago, aspiring filmmakers flooded the home video market with no-budget studio knock-offs.
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Let’s step back into ancient history back to the dawn of the video revolution when a “Sundance” was a low-end Chrysler product and film festivals, held only in such exotic locales as Venice and Cannes, were strictly for black-clad Hollywood producers and their over-endowed starlet companions.