But he takes a look and, indeed, in the middle of the movie the screen blinks dark for a moment and She’s All That is replaced by a black-and-white scene, shot in a barn, with only the faint sounds of someone breathing. Two days later, a different customer returns She’s All That, a new release, and complains that there’s something wrong with it: “There’s another movie on this tape.” It’s good enough for Jeremy: It’s a job, quiet and predictable, and it gets him out of the house, where he lives with his dad and where they both try to avoid missing Mom, who died six years ago in a car wreck.īut when a local schoolteacher comes in to return her copy of Targets―an old movie, starring Boris Karloff, one Jeremy himself had ordered for the store―she has an odd complaint: “There’s something on it,” she says, but doesn’t elaborate. Jeremy works at the Video Hut in Nevada, Iowa―a small town in the center of the state, the first “a” in Nevada pronounced “ay.” This is the late 1990s, and while the Hollywood Video in Ames poses an existential threat to Video Hut, there are still regular customers, a rush in the late afternoon. Life in a small town takes a dark turn when mysterious footage begins appearing on VHS cassettes at the local Video Hut.
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