While Territories dealt with Homeland Security and fear of people from the Middle East, Undocumented turns South of the Border and concerns itself with illegal immigration from Mexico. There is a strong contrast made between the vigilante group operating here and the militia squads that emerged in recent years determined to patrol the border against any illegals. To make the point perfectly clear, the end credits play out against tv footage of the Border Wall being erected in Arizona and border guards rounding up illegals.
At the outset, the cast look like the blandly good-looking tweens that usually inhabit modern slasher films. It is some time before the film begins to kick in in and allows sympathies with the group to engage. About the half-hour point though, Undocumented begins to take a turn for the darker. This is about the point the film starts to show its teeth a scene where a drug mule is forced to swallow a condom of cocaine at gunpoint; illegals strung up from meathooks and being hosed down as a means of subjugation; Noah Segan making a woman beg on her hands and knees and feeding her slices of apple like she were a dog; and particularly a scene where a man who barely speaks English is forcibly asked citizenship knowledge questions while his wife is being held in a torture device. Though the film could easily sit within Torture Porn territory, it shies away from pushing things that far. All of this comes with a biting sense of very dark irony like the scene where the cameraperson is shot and the crew ask to use one of the Mexicans as a replacement only to be asked why an undocumented immigrant should be used when a US citizen can perfectly well do the job.
Undocumented is shot as though it were a Found Footage film along the lines of The Blair Witch Project (1999), Paranormal Activity (2007) et al. The group carry a camcorder into the midst of the action and everything is frequently shot raw as though through a camera lens; on the other hand, the film is not a bona fide work of Found Footage in that it frequently breaks this point-of-view with cuts and moves into regular dramatic third-person staging.
Director Chris Peckover subsequently went on to make the home invasion horror/black comedy Better Watch Out (2016).