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Horror Movie Review: Oculus

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As I learned very early on in my life, the way the horror genre works is that one mega-successful movie begets 1,001 that are just like it. The same way that George Romero’s ‘Dead’ movies paved the way for endless copycats, Friday the 13th kick-started the 80s slasher craze and Saw ushered in the era of ‘torture porn,’ Paranormal Activity sparked a big-time resurgence in ghost stories, which have been dominating the box office ever since the film’s widespread release in 2009.

The company that produced Paranormal Activity, Blumhouse Productions, has unsurprisingly been at the forefront of the movement, to the point that very few horror movies seem to make it into theaters, without the Blumhouse name attached to them. A list of their recent films reads like a recap of the last few years of theatrical horror releases, which includes Sinister, The Purge, Lords of Salem, Insidious: Chapter 2, and of course, the many Paranormal Activity sequels.

Simply put, Blumhouse has taken over the horror genre, and the company is absolutely dominating its theatrical landscape. Hell, even non-Blumhouse releases, films like The Conjuring and Devil’s Due, are very much cut from the Blumhouse cloth – in other words, I had to look them up on Wikipedia because I wasn’t even sure if they were produced by Blumhouse or not.

Though I am a fan of many of the films I’ve listed thus far, I must admit that I’ve grown kind of tired of the whole paranormal/supernatural craze. Like all horror genre fads, this one has more than worn out its welcome, and it’s gotten to the point where every theatrical horror release has blended together, due to the fact that they’re all so similar. Each new one feels like an indirect continuation of the last, and I quite frankly miss the days of going to see horror movies on the big screen that don’t have to do with ghosts and supernatural entities.

It’s kind of enough already, isn’t it?

That brings us to Oculus; a supernatural horror movie, brought to us by… you guessed it… Blumhouse Productions!

Directed by Mike Flanagan – who became somewhat of an indie darling with 2011’s AbsentiaOculus centers on siblings Tim and Kaylie, who didn’t exactly have the greatest childhood. When they were kids, a creepy old mirror in their childhood home wreaked absolute havoc on their lives, forcing their father to brutally murder their mother. Young Tim managed to get a hold of his dad’s gun and end the madness before he and his sister became the next victims, and he spent the rest of his childhood in a mental institution as a result.

At the start of the film, Tim is released back into the world and he reunites with Kaylie, who is hellbent on not only proving that the mirror was to blame for their father’s Jack Torrance-inspired rampage but also on killing the mirror once and for all. While Tim was being reprogrammed with years of therapy, you see, Kaylie was investigating the history of the mirror, and she’s 100% sure that it’s the evilest inanimate object in the world.

Oculus shifts between events of the past and the present, showing us what exactly happened during Tim and Kaylie’s childhood, while also documenting their present-day battle with the supernatural force that resides in the haunted mirror.

Due to the split timeline, Oculus essentially plays out like two different films rolled into one, and it almost feels like you’re watching Oculus: Part 1 and Oculus: Part 2, at the very same time. The problem is, neither side of that coin is interesting in the least, with the flashbacks playing out like Paranormal Possession 101 and the present-day sequences making you wish that the present-day sequences weren’t even a part of the film.

The best way I can describe it is that Oculus is a sort of weird hybrid between a silly episode of the Goosebumps TV series and a serious horror movie, and since it takes itself way too seriously to ever be fun and is far too goofy to ever be taken seriously, the mixture of tones – whether intended or not – just doesn’t work. It’s not fun and it’s certainly not scary, which results in it just plain being dull, uninspired, and downright boring.

Worst of all though, Oculus is a wholly unoriginal effort, with the haunted mirror and fractured timeline both being used as gimmicks to tell what is ultimately a story that we’ve already been told a million times before. There’s literally not a single shred of an original idea on display here, and unless you’ve never before seen a movie driven by things like paranormal possession, CG-enhanced ghosts and jump scares fit for teenage consumption, then there’s really nothing to see here that you haven’t seen before.

I always try to find positive things to say about movies I didn’t care for, and the best thing I can say about Oculus is that it briefly flirts with the idea of presenting interesting ideas, on a couple of occasions. At one point in the film, the validity of childhood recollections is called into question, and at another, the idea of how two different people can deal with the same situation in far different ways is touched upon. Again though, both ideas are only briefly explored, as the name of the game here is making teenage girls scream, above all else.

As far as the narrative structure is concerned, which eventually results in the two main characters essentially interacting with their childhood selves, even that idea is never all that interesting, and it’s overplayed to the point of actually being pretty damn annoying. On top of that, it never seems to actually serve the story in any way, coming off like a gimmick that was intended to make audiences think the movie is smarter than it actually is. Phenomenally stupid, is what it truly is.

And don’t even get me started on the character of Kaylie, who is one of the most irritating in the genre’s recent past. I’m not going to say Karen Gillan is a bad actress, but her matter-of-fact line delivery and way of acting in this film absolutely irritated the living hell out of me, and as a result, there was absolutely no chance of me being emotionally invested in her plight. Not to mention her plan to document and destroy the evil mirror doesn’t really make sense, if you actually think about it, but that’s a whole nother paragraph that I don’t feel the need to write.

Though it’s a mirror that’s haunted, rather than a house, and though the jumps back and forth in time give the film somewhat of a unique presentation, Oculus is at the end of the day just another movie that paints by the paranormal numbers, and stays so far inside the lines of predictability that the journey to its incredibly expected destination isn’t fun, scary, surprising or even entertaining. What’s the point of such safe storytelling, you ask? Well, I guess it makes money, and I guess that’s all that matters.

With Oculus, Mike Flanagan has proven something that most of us were already quite aware of, going into it; mirrors just aren’t scary, nor do they make for good villains in horror flicks. It’s yet another reminder that theatrical horror has become the Buzzfeed of cinema; quick, dumbed-down, and made with mass consumption in mind.

Random Final Thoughts:

– Yes, Tim and Kaylie’s possessed father is indeed played by the same actor who played the pot-smoking Ron Slater in Dazed and Confused.

– As if there weren’t enough Apple products on display in the film, a memorable scene features both main characters eating… apples. Clever product placement, I must admit.

– Despite the fact that WWE Studios was involved with the movie, there are no wrestlers in it. Sad face.

Amityville 1992: It’s About Time did a much better job with the idea of a haunted object distorting time and reality inside of a home. Go figure.

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Review: Is There ‘No Way Up’ For This Shark Film?

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A flock of birds flies into the jet engine of a commercial airliner making it crash into the ocean with only a handful of survivors tasked with escaping the sinking plane while also enduring depleting oxygen and nasty sharks in No Way Up. But does this low-budget film rise above its shopworn monster trope or sink beneath the weight of its shoestring budget?

First, this film obviously isn’t on the level of another popular survival film, Society of the Snow, but surprisingly it isn’t Sharknado either. You can tell a lot of good direction went into making it and its stars are up for the task. The histrionics are kept at a bare minimum and unfortunately the same can be said about the suspense. That isn’t to say that No Way Up is a limp noodle, there is plenty here to keep you watching until the end, even if the last two minutes is offensive to your suspension of disbelief.

Let’s start with the good. No Way Up has plenty of good acting, especially from its lead Sophie McIntosh who plays Ava, a rich governor’s daughter with a heart of gold. Inside, she is struggling with the memory of her mother’s drowning and is never far from her overprotective older bodyguard Brandon played with nannyish diligence by Colm Meaney. McIntosh doesn’t reduce herself to the size of a B-movie, she is fully committed and gives a strong performance even if the material is trodden.

No Way Up

Another standout is Grace Nettle playing the 12-year-old Rosa who is traveling with her grandparents Hank (James Caroll Jordan) and Mardy (Phyllis Logan). Nettle doesn’t reduce her character to a delicate tween. She’s scared yes, but she also has some input and pretty good advice about surviving the situation.

Will Attenborough plays the unfiltered Kyle who I imagine was there for comic relief, but the young actor never successfully tempers his meanness with nuance, therefore he just comes across as a die-cut archetypical asshole inserted to complete the diverse ensemble.

Rounding out the cast is Manuel Pacific who plays Danilo the flight attendant who is the mark of Kyle’s homophobic aggressions. That whole interaction feels a bit outdated, but again Attenborough hasn’t fleshed out his character well enough to warrant any.

No Way Up

Continuing on with what is good in the film are the special effects. The plane crash scene, as they always are, is terrifying and realistic. Director Claudio Fäh has spared no expense in that department. You have seen it all before, but here, since you know they are crashing into the Pacific it’s more tense and when the plane hits the water you’ll wonder how they did it.

As for the sharks they are equally impressive. It’s hard to tell if they used live ones. There are no hints of CGI, no uncanny valley to speak of and the fish are genuinely threatening, although they don’t get the screentime you might be expecting.

Now with the bad. No Way Up is a great idea on paper, but the reality is something like this couldn’t happen in real life, especially with a jumbo jet crashing into the Pacific Ocean at such a fast speed. And even though the director has successfully made it seem like it could happen, there are so many factors that just don’t make sense when you think about it. Underwater air pressure is the first to come to mind.

It also lacks a cinematic polish. It has this straight-to-video feel, but the effects are so good that you can’t help but feel the cinematography, especially inside the plane should have been slightly elevated. But I’m being pedantic, No Way Up is a good time.

The ending doesn’t quite live up to the film’s potential and you will be questioning the limits of the human respiratory system, but again, that’s nitpicking.

Overall, No Way Up is a great way to spend an evening watching a survival horror movie with the family. There are some bloody images, but nothing too bad, and the shark scenes can be mildly intense. It is rated R on the low end.

No Way Up might not be the “next great shark” movie, but it is a thrilling drama that rises above the other chum so easily thrown into the waters of Hollywood thanks to the dedication of its stars and believable special effects.

No Way Up is now available to rent on digital platforms.

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TADFF: ‘Founders Day’ is a Sly Cynical Slasher [Movie Review]

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Founders Day

The horror genre is inherently socio-political. For every zombie film there’s a theme of social unrest; with each monster or mayhem there’s an exploration of our cultural fears. Even the slasher subgenre isn’t immune, with meditations on gender politics, morality, and (quite often) sexuality. With Founders Day, brothers Erik and Carson Bloomquist take the political leanings of horror and make them far more literal.

Short clip from Founders Day

In Founders Day, a small town is shaken by a series of ominous killings in the days leading up to a heated mayoral election. As accusations fly and the threat of a masked killer darkens every street corner, the residents must race to uncover the truth before fear consumes the town.

The film stars Devin Druid (13 Reasons Why), Emilia McCarthy (SkyMed), Naomi Grace (NCIS), Olivia Nikkanen (The Society), Amy Hargreaves (Homeland), Catherine Curtin (Stranger Things), Jayce Bartok (SubUrbia), and William Russ (Boy Meets World). The cast are all very strong in their roles, with particular praise to the two smarmy politicians, played by Hargreaves and Bartok. 

As a Zoomer-facing horror film, Founders Day feels heavily inspired by the 90s teen horror cycle. There’s a wide cast of characters (each a very specific and easily identifiable “type”), some sexy brooding pop music, slashtacular violence, and a whodunnit mystery that pulls the pace. But there’s a lot going on inside the engine; a strong “this social structure is bullshit” energy makes certain scenes all the more relevant. 

One scene shows a feuding protest mob drop their signs to fight over who gets to comfort and protect a queer woman of colour (each claiming “she’s with us”). Another shows a politician attempting to rile up their constituents with an impassioned speech, calling them to storm the town in an offensive defense. Even the diametrically opposed mayoral candidates wear their allegiances on their sleeve (a vote for “change” versus a vote for “consistency”). There’s a whole overarching theme of popularity and profiting from tragedy. It’s not subtle, but dammit it works. 

Behind the commentary is director/co-writer/actor Erik Bloomquist, a two-time New England Emmy Award Winner (Outstanding Writer and Director for The Cobblestone Corridor) and former Top 200 Director on HBO’s Project Greenlight. His work on this film is slasher-horror  comprehensive; from tense single-take shots and excessive violence to a potentially iconic killer’s weapon and costume (that cleverly incorporates the Sock and Buskin comedy/tragedy mask).

Founders Day offers the basic necessities of the slasher subgenre (including some well-timed comedic delivery) while poking a middle finger at political institutions. It presents unflattering commentary on both sides of the fence, suggesting less “right versus left” ideology and more “burn it all down and start over” cynicism. It’s a surprisingly effective inspiration. 

If political horror isn’t for you, that’s… fine, but there’s some bad news. Horror is commentary. Horror is a reflection of our anxieties; it’s a reaction to politics, economy, tension, and history. It’s a counterculture that acts as a mirror on culture, and it’s meant to engage and challenge. 

Films like Night of the Living Dead, Soft and Quiet, and The Purge franchise present a biting commentary on the damaging effects of strong politics; Founders Day cynically reflects on the absurd theatre of these politics. It’s poignant that the suggested target audience for this film is the next generation of voters and leaders. Through all the slashing, stabbing, and screaming, it’s a powerful way to promote change. 

Founders Day played as part of the Toronto After Dark Film Festival. For more on the politics of horror, read about Mia Goth defending the genre.

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[Fantastic Fest] ‘Infested’ is Guaranteed to Make Audiences Squirm, Jump and Scream

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Infested

It has been a while since spiders were effective in making folks lose their minds with fear in theaters. The last time I recall it being lose your mind suspenseful was with Arachnophobia. The latest from director, Sébastien Vaniček creates the same event cinema that Arachnophobia did when it was originally released.

Infested begins with a few individuals out in the middle of desert looking for exotic spiders under rocks. Once located, the spider is taken in a container to be sold to collectors.

Flash to Kaleb an individual absolutely obsessed with exotic pets. In fact, he has an illegal mini collection of them in his flat. Of course, Kaleb makes the desert spider a nice little home in a shoe box complete with cozy bits for the spider to relax. To his astonishment, the spider manages to escape from the box. It doesn’t take long to discover that this spider is deadly and it reproduces at alarming rates. Soon, the building is completely packed with them.

Infested

You know those little moments we all have had with unwelcome insects that come into our home. You know those instants right before we hit them with a broom or before we put a glass over them. Those little moments in which they suddenly launch at us or decide to run at the speed of light are what Infested does flawlessly. There are plenty of moments in which someone attempts to kill them with a broom, only to be shocked that the spider runs right up their arm and onto their face or neck. shudders

The residents of the building are also quarantined by the police who initially believe that there is a viral outbreak in the building. So, these unfortunate residents are stuck inside with tons of spiders moving freely in vents, corners and anywhere else you can think of. There are scenes in which you can see someone in the restroom washing their face/hands and also happen to see a whole lot of spiders crawling out of the vent behind them. The film is filled with plenty of big chilling moments like that which don’t let up.

The ensemble of characters is all brilliant. Each of them perfectly draws from the drama, comedy, and terror and makes that work in every beat of the film.

The film also plays on current tensions in the world between police states and people who attempt to speak out when in need of real help. The rock and a hard place architecture of the film is a perfect contrast.

In fact, once Kaleb and his neighbors decide they are locked inside, the chills and body count begin to rise as the spiders begin to grow and reproduce.

Infested is Arachnophobia meets a Safdie Brothers film such as Uncut Diamonds. Add the Safdie Brothers intense moments filled with characters talking over each other and shouting in fast-talking, anxiety-inducing conversations to a chilling environment filled with deadly spiders crawling all over people and you have Infested.

Infested is unnerving and seethes with second-to-second nail-biting terrors. This is the scariest time you are likely to have in a movie theater for a long time. If you didn’t have arachnophobia before watching Infested, you will after.

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