“Hi Friend.” Inspired by Hasbro’s classic controversial board game, this season’s most anticipated and heavily marketed movie comes to theaters, but should’ve stayed in the box–the cable box, that is. Par for the course and by the book, this supernatural-thriller hits all the predictable marks for a Halloween season release, minus the visceral gore that many were likely hoping for. Instead, it employs jump scares, orchestral screeches, and a pretty decent cast. One thing’s for sure, if you were ever thinking of playing Ouija, you may rethink that after watching the movie. Not sure if Hasbro is trying to inspire people to buy their product or dissuade kids and teens from using the spirit board. After all, where do you go with an opening shot of the board being burned in a fire place? The movie is a good ride; but is better suited for a MOW (movie of the week) on Chiller, SyFy, AMC, or even LMN. It is a product you can buy, so maybe HSN too?

Ouija begins with the apparent suicide of a young lady in a stately upper-middle class house. Following the bizarre death, her closest friends desire to learn more about what drove her to an untimely demise. Upon finding the Ouija board in the deceased room, the victim’s friends use it to communicate with her in order to say goodbye and find out if there was foul play involved. After communicating with the dead hits too close to home and a spirit makes contact with the close group of friends, they realize that they have awoken something evil. It isn’t long before the group realizes that they haven’t been communicating with their deceased friend but with something far more insidious. It is up to this group of friends to overcome and break the connection with the spirit realm in order to save their very lives from meeting the same fate as their friend.

On the surface level, creating a horror movie from a board game sounds like a fantastic idea. But, when the product in question has been used in seances, since the 1800s, to communicate with the dead, is it really? For many who believe that this board is, or can be used, as a conduit through which communication with the spiritual realm is possible, this movie likely hits too close to home. The thin veil between the physical world and the spiritual realm is all too eye-rollingly literal in this movie. Even though Hasbro was hoping for another GI Joe or Battleship, the mystery and controversy surrounding this product prohibits it from being a glorified commercial for the toy company. But, it does make for a decent horror movie and helps to enhance the creepiness of the Halloween season.

Unlike other comparable horror movies featuring a mostly unknown cast, this movie is greatly helped by the strong cast of young people. In contrast to many horror films with a predominately “teenage” cast, there are no idiots amongst this band of friends. They are only persuaded to play the “game” when Laine (Olivia Cooke) twists their arms and promises to give up on talking to Debbie (Shelley Hennig) if they would play once. Although there are clearly teenage romances hinted at in the movie, the film lacks the classic “if you have sex, you will die” theme from classic horror movies such as Halloween, Friday the 13th, and Nightmare on Elm Street. The performances from each of the characters are convincing enough to carry the film, and helped the overall performance of the narrative. For fans of Insidious, there is a small but pivotal cameo appearance by Lyn Shaye (the character of Elise in Insidious) as a mysterious old women in a mental health hospital.

Although the movie is centered around traditional Ouija board play, like in Battleship and GI Joe, the filmmakers added their own creative touch in order to enhance the ability to set the terror barometer high in the minds of the audience. One of the dramatic elements created for the film is the ability for the game player to look through the eye of the planchette (the triangular shaped tool with a small window that moves around the board) and see into the spirit realm to catch a glimpse of the spirit with whom he or she is communicating. The filmmakers also employ the use of zombie-like trances and goulash apparitions to spook the audience and give the movie visual substance beyond an atmosphere of terror.

Less scary than Annabelle or As Above, So Below, Ouija will likely bring in much-needed profits for the legacy toy company just in time for the holiday season. As a filmmaker, it is refreshing to see the film released under the Universal Studios banner because Universal is the original house of horror, and has been scaring us since the 1920s. Unfortunately, this film suffers from a predictable cliche screenplay and relatively low-budget. But, if you are looking to kickoff your Halloween week with a scary movie that’s a fun ride into the spooky festivities and masquerade parties, then this is a great way to set the mood and get you in the spirit of the season.

Happy Halloween!

If Chucky was worried he would lose his place amongst the creepiest dolls in cinema history to Annabelle, he needn’t worry any longer. The much anticipated followup/prequel to the fact-based horror hit The Conjuring, directed by James Wan, featuring the possessed doll who’s cameo sparked interest in the original film, does not live up to expectations. It certainly has its moments of unheimlich (uncanny) as laid out by Sigmund Freud in his study on horror, causing some anxiety and terror; but, the narrative just doesn’t hold up very well and was not handled as well as it could have been. However, it is a good movie to watch with friends during the month of October, or if you are looking for a decent scare during which you can hold on to your date’s arms or vice versa.

Annabelle is about the story of the possessed doll that famed and ordained supernatural and paranormal experts Ed and Loraine Warren (most famously known for their investigation into the Ammityville case), still to this day, have locked away in a glass cabinet that is blessed by a priest twice a month. Prior to coming into possession of the doll, Annabelle once belonged to a young couple as part of an extensive doll collection. Following a brutal murder next door and an attack upon themselves by the neighbors estranged and mentally disturbed daughter, John and pregnant Mia discover that their attackers were part of a Satanic cult involving blood sacrifice. Unfortunately, the attackers conjured up more than a plan of attack. A malevolent and unprecedented evil entity now occupies the doll, in the pure white dress, as a conduit from the spiritual world into ours. John and Mia must uncover why the doll is hell-bent on their utter destruction and drive the evil spirit from it before it harms their family.

The failed haphazard screenplay, written by Gary Dauberman, took the low-rent approach to horror and just had cheap scare after cheap scare throughout the story. In stark contrast to The Conjuring, there is little to no fact-based content in the story at all, save the archival footage from the Warren’s interview with the young ladies who were last in possession of the Satanic doll. Unlike Chucky, Annabelle is never seen directly orchestrating any of the horrific incidents during the movie–not even so much as moving her eyes or head. With the exception of the doll occasionally being found out of place, the doll is fairly stationary. Both the direction and writing are week and is little more than a Chiller or SyFy channel original movie.

The film is very generic in story and structure, and will likely be a faint memory by the time you get back home. It is obvious that the film would have faired by much better had Wan taken the reigns instead of turning it over to another less capable director, who directed films like Mortal Kombat: Annihilation. Equally unmemorable are the two leads. Their respective performances were so bland that it will have you looking for the salt to add flavor, or look for the cue cards they are obviously reading. The film will most like rake in the cash and create a nice profit for Warner Bros and New Line due to the low budget (with respect to comparable theatrical films). If you can only see one movie this weekend, definitely select Gone Girl over Annabelle.

It’s that time of year again; get ready for the barrage of good and bad horror movies to usher in the Halloween season. The first out the gate is the paranormal found-footage thriller As Above, So Below. Take the plot and turning points from National Treasure, The Decent, and the 90s cult classic Blair Witch Project, throw them in a blender and what do you get? This movie. Borrowing heavily from the aforementioned movies, this film is one part treasure hunt and one part paranormal activity. With very little visceral horror and just a handful of jump-scares, this film creates the atmosphere of horror by successfully placing the audience into the same tight spaces, within the confines of the legendary Paris catacombs, as are the small band of explorers.

As Above, So Below is a found-footage film about a group of explorers, lead by the academic genius and treasure hunter Scarlett, who venture beneath the “City of Lights” into the dark world of the catacombs to seek the legendary Philosopher’s Stone (not to be confused with the one from Harry Potter). Following clues found in places as far away from Paris as Iran and on obscure medieval tombstones, the group uncovers a dark secret, only the labyrinth of twists and turns of the massive burial ground can hide.

Setting the claustrophobic feel of the movie at the very beginning, the audience is introduced to the treasure-hunter-professor Indiana Jones/Benjamin Gates-ish protagonist Scarlett (played by Perdita Weeks) by way of the iconic found-footage tool, the shaky cam. That cinematic move will prove to be key in setting the mood of the film for when we finally enter the catacombs. The chief cinematic element, this film relies upon, is creating an atmosphere of horror for the audience. In a manner of speaking, many times, it’s the unknown and close quarters that sets the fear barometer in the mind. Unlike some found-footage films, which are primarily taken from one or two cameras, this film utilizes handheld cameras and headlamp mounted cameras to get both first-person and third-person perspectives on the journey into the bowls of the earth. These shots allow the audience to feel trapped within the tight spaces and along with the characters on the screen, thus transferring the anxiety of the unknown and suffocating tight spaces into the mind.

Although the film sets the protagonist up to be an academic genius, in order to allow for her to draw the conclusions and interpret symbols on the fly in the catacombs, the quick speed and lack of cognitive strain she exhibits in the catacombs is unbelievable. The film would have played out better, had there been more demonstrable confusion and difficulty in solving the riddles and puzzles. Many scenes play out the same way they were in National Treasure, especially when Scarlett seeks the help of a colleague who feels she is a lunatic for seeking the legendary Philosopher’s Stone. Likewise, many situations and even some of the dialog is reminiscent of The Decent. Much like in The Blair Witch Project, the paranormal apparitions and figures are seldom seen and never fully explained–this aids in the unknown horror of the film. Between the physical spacial horror and handful of jump-scares, this film will have you on the edge of your seat in anticipation of what is to come.

This is the type of horror film that will have you and your friends talking about it the next day. Many of the connections between the history of the catacombs and respective pasts of the characters and the present horror they face, will not be realized until after the film comes to a close. But, this is what gives this particular horror film a win for the genre. For those who hope for visceral horror in a film, this may not be for you; however, if you enjoy paranormal films grounded in a little history and mystery, then you will most likely enjoy this 90-minute journey into the dark underworld of Paris where it’s sometimes the opposite of what is logical that will save you.

Once again, this year boasts another excellently produced and directed supernatural-supense-crime drama-horror film. It’s very seldom (except for this year, it seems) that a suspense/horror film receives high praise from many critics and fans. Often, with horror, and related films, the fans thoroughly enjoy them while the critics (like yours truly) poke holes and criticize its glamor of blood, gore, poorly written plots, etc. But, this movie has surprises around every corner and great acting to accompany the plot, cinematography, score, and excellent direction.

At first glance, it looks like just another cliché supernatural horror movie (of course, it doesn’t help that it comes from the same director as Sinister). Certainly, I went expecting that I would be accosted with a horror movie I would regret spending money on; but, to my pleasant surprise, it was remarkable. Even for those in the evangelical or catholic community who may at first glance dismiss this as another cookie-cutter gore-glorification and misrepresentative of the spiritual realm, it is a movie they can enjoy as well. So seldom can a movie actually effectively integrate several genres and be pieced together as perfectly as a puzzle, but this movie proves it’s possible. It’s truly a well executed supernatural-suspense-crime drama-horror film.

The movie is based on the real life events of Ralph Sarchie, a New York cop who meets a Castilian/Hungarian renegade priest, Mendoza, when he is pulled into a case — a case which the priest convinces him, against the officer’s religious beliefs, is demonically related. Together, they work to solve the case and combat the paranormal forces working against them as New York slowly descends into chaos. Sarchie embarks on a journey that will test his physical, mental, and spiritual strength in this roller coaster of a spiritual journey into the darkness where evil is looking for gateways to terrorize anyone it deems a threat.

From the sand hills of Iraq to the bustling and grimy streets of the Bronx, Deliver Us from Evil takes the audience on an unforgettable journey. One of the elements of a film, that I am most drawn to, is the element that is grounded in the very writing of the screenplay–character development. Normally, I do not look to this mashup of genres to provide me with a central character and central antagonist (opposition to the goal) I can either love or love to hate. But this film does a brilliant job at both visually and in-dialog showcasing the internal journey of Sarchie. Even though his conversion to Christianity was a bit rushed, it was interesting to see a man who fell out of love with the Church return in the most unconventional of ways. Not only does he make a personal spiritual journey, but he also makes a personal/interpersonal journey in regards to the relationship with his wife and daughter. In his body language and spoken words, he is a prime example of how true character development can be successfully and effective woven into a horror story.

If this film were to be compared to any others, it would most closely share key elements with Seven, Exorcism of Emily Rose, and the original The Exorcist. It’s by no means a copy cat or is trying to be any other film. It truly stands on its own as a beacon of hope for supernatural-suspense-horror-crime dramas. Whether you are interested in the movie for the crime mystery or a fan of Director Scott Derrickson’s penchant for horror, you will find two hours of enjoyment in this film. The movie is rated R mostly for language and some gore; but is rather tame compared to Sinister. Prepare yourself for an exciting journey into the Summer blockbuster season.

Definitely one of the scariest horror movies in recent years. “Oculus” is the feature film from Blumhouse that is based upon a short film by the director. The plot centers in and around an ominous gilded mirror whose origin is sketchy, at best. According to legend and circumstantial evidence, it is allegedly responsible for nearly 50 deaths in approximately 400 years. Two young adults who crossed paths with the mirror 11 years prior, must face “it” again in order to destroy the mirror. Having been recently released from a mental facility, Timmy reunites with his older sister Kayleigh on a dangerous mission to send the mirror back from whence it came. The audience will be totally engrossed in this spine tingling journey into the world of the mirror and its affect upon the reflection of the mind.

This movie could’ve just as easily been subtitled “Through the Looking Glass” or “Alice in Horrorland.” Unlike the recent movies such as “Insidious” or “The Conjuring,” “Oculus” does not rely upon jump scares to curdle the blood and cause the heart to race. It takes a much more Hitchcockian approach–the fear is in the mind of the audience. Hitchcock once said, “greater is the fear in the mind than the fear on the screen.” And, director Mike Flanagan has “suspense” in spades. Not that “Oculus” is without an ominous presence materializing behind a character; but the film is successful in creating legitimate fear in the minds and stomachs of the audience without having to result to cheap parlor tricks. The writers did an excellent job at blending the elements of a psychological thriller/suspense with some visceral body horror. However, there is little blood in the movie compared to many of its contemporaries. Unlike a typical horror movie, the enemy is an intimate object with molevalent powers of “perception.” Throughout the entire movie, you will ask yourself if what you are seeing is real or are you seeing what the mirror wants you to see.

Are their demons in the movie? Yes AND no. This is part of what gives this movie a unique blend of horror and suspense. And yes, I am aware of which “there” I used in the previous sentence. Within the context of the movie, the demons (never mentioned directly) are both real and objects of perception in the mind of the characters based upon their troublesome past (hence, the usage of “their” earlier). You only get a glimpse of apparitions throughout the movie…and seldom a clear one until the very end. The movie plays with both perception and memory. What the audience actually sees, what the audience thinks they see, and what the mirror wants you to see. Yes, this movie engages the audience nearly as much as it engages the main characters. You are definitely along for the ride from the moment the movie opens to the close. Turn after turn, the mirror thwarts any and all attempts to destroy it. But, it needn’t even move from the wall upon which it is hung. The question of whether the mirror is actually haunted or used as a dwelling place for evil is minimally explored–though, it is definitely cleverly answered at one point. Throughout the movie, the mirror is used as a “reflection” of the human condition in a macabre allegory.

Memory is a tangled web; it’s often rewritten or clouded by hidden terrors, fantasy, or that which we wish were true. We see what we are willing, programmed, or prepared to see and we are often psychologically “stuck” in certain moments from our childhood, events which we find a way to replay in a loop as our lives progress. Kayleigh has been metaphorically “trapped”, frozen in that childhood trauma until she must literally relive it. Mark Twain wrote in his book “Innocents Gone By” that we see what we want to see. It’s not so much what the mirror does to you, as much as it is a reflection of the damage we reap on our selves and others when rooted in dark and sinister fear. The mirror will have you second-guessing every move you make; and like a magician, while you are looking one way, it is screwing with your very conscious till you don’t know what is real and fantasy. Although the movie does an excellent job at developing the present and past story lines, at one point they converge; and, it does get a little confusing following the separate narratives. This could very well have been intended by the writers; but it would have been nice to have more clearly defined what time period each scene is in. Fortunately, the decor and furniture does help some to clarify this.

Like Hitchcock, Flanagan knows that the greatest fear he can create in a movie is to move the fear from the screen and place it in the minds and stomachs of the audience. But, “Oculus” is not without its faults. It was shot quickly and with a minimal budget. And, that shows through in the final cut of the film. It does not benefit from the lavish sets build for big budget horror films. However, this makes what it was able to achieve even more impressive, than had it benefitted from a big budget. Unlike “Psycho,” “Oculus” will not likely linger in your mind for a long period of time, and it will likely achieve its greatest success on Netflix, or another video-on-demand equivalent in the coming months. The movie is creepy and designed to give an audience a couple hours of sinister pleasure. There are many unanswered questions following the close of the movie. And, to get into all the questions would ruin the movie for those who have not seen it. But, one main questions that an audience should ask themselves when watching a movie with a typical villain (or evil presence) is what drives them to commit the atrocities they do? There needs to be some method to the madness. Even in “Saw,” there was a reason why Jigsaw was out to kill. And, in “Silence of the Lambs,” Jamie Gum had a desire to become a woman by building a human suit. The audience in “Oculus” is left wondering why the mirror does what it does. What drives it?

What will drive audiences to see this movie is what typically drives those who love to be scared. This movie will take many by surprise; because the audience is as much a part of the action, as are the characters on the screen whilst they battle the malevolent force of the looking glass. Everyone who watches this movie will take a journey, much like Alice, through the looking glass into a world of perception, reflection, and deathly memories.