Ultimately, the film's narrative segments are far too glossy and over-stylized, larded with ponderous scoring, obvious melodrama and split-screen visuals that offset the "reenactments" with the "real."
In two climactic scenes, the screen goes fuzzy. For over a minute what we're watching is basically a television on the fritz. The only place that's ever been frightening is in the privacy of your living room.
Olatunde Osunsanmi's big formal innovation tunrs out to be the split-screen pairing of patently bogus "archival" black-and-white video that shows alleged abductees undergoing hypnosis and color "reenactments" of same.