Following the slumber-party shit-show that was 2014's Ouija, Jason Blum and Michael Bay thought it still might be a good idea to make another movie based on the Parker Brothers board game. Up until this summer, the prospect of another Ouija movie sounded about as fun as a root canal. Then we heard that Mike Flanagan (Oculus, Hush) was attached to direct, and then we got a decent trailer which promised a refreshing direction for this budding franchise. Suddenly, the prospect of another Ouija movie, at least for this reviewer, didn't seem so scary after all.
After finally seeing the finished product of Flanagan's franchise takeover, I can confidently say that my expectations were met, if not exceeded. Ouija: Origin of Evil is a solid little chiller in keeping with 2016's eerily high batting average for horror films. Dare I say the film represents the single largest leap in quality between a first film and its sequel possibly ever.
In the late 1960s, the Zander ladies (Elizabeth Reaser, Annalise Basso, Lulu Wilson) run a scam out of their suburban home. They invite people to communicate with the deceased only to fake stunts that are mistaken for present spirits. After catching her daughter Lina (Basso) using one with friends, Alice (Reaser) decides to add a Ouija board as a new prop for their latest scam. Young Doris (Wilson) finds herself drawn to the board and develops a strong connection with spirits which may originate from inside the house. Shit goes sideways as Alice, Lina, and Father Tom (Henry Thomas) attempt to understand that connection and eventually sever it.
Ouija: Origin of Evil endears itself to us almost immediately with the old-style Universal Pictures logo and a title card with the Blumhouse copyright and year of release in Roman numerals at the bottom. Throughout the movie, you might also spot some large "blips" referred to as "cigarette burns" in the upper right of the frame. Anyone who has seen Fight Club knows that, back in the day, these "cigarette burns" used to signal the projectionist to change reels. Now that everything's digital and movies are projected from a giant computer, we don't see these anymore. Flanagan deliberately included them as a cosmetic feature to give the audience the impression that they're watching a film that was made in the 1960s or 70s. The whole production itself was filmed with Arri Alexa cameras using a 2K digital intermediate, but there are sections of the film which look like they could've been shot on 35mm celluloid. Surely there are ways to make digital footage appear more filmic, but here the image never appears terribly smeary or oversaturated as if its constantly blanketed by an Instagram filter. The cinematographic team should be extremely proud of their work.
As for acting performances, the core four cast members are all solid, especially Basso and Wilson. Basso makes for an engaging, believable heroine while the younger Wilson sells scares like a seasoned pro. Wilson is involved in some of the most indelible horror images of the year. Shivers literally went up my spine on more than one occasion.
Lastly, horror fans will want to know that this is a Hollywood effort which refuses to lean on cheap shock tactics. The few legitimate jump scares feel earned, and Flanagan lends just enough time for his creepy imagery to sink in when it's needed. Most everything is on-screen, even in the negative space. You will be rewarded more than once for lending your attention to every corner of the frame.
On principle, I don't think Ouija: Origin of Evil could ever rank alongside the all-time horror classics. The lack of a lingering message or subtext perhaps keeps the film from achieving true greatness. Even so, it's still a competently-crafted ghost story that's plenty more treat than trick and well worth your box office dollar this Halloween.
B+
No comments:
Post a Comment