"Ouija: Origin of Evil" Review

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+

"The Purge: Election Year" Review

With 4th of July weekend upon us, it's that time of year again to celebrate America's greatness by taking our frustration out on others! C'mon, your friends are doing it. Your neighbors are most likely doing it too. Heck, even your dentist! It's time to "purge and purify!" It's what saved America from economic ruin, and it will continue to do good for years to come!

At least that's what the New Founding Fathers would have you believe.

The Purge: Election Year is the third installment in writer/director James DeMonaco's wildly successful action-horror franchise. These films have never been incredible; always more interesting in concept than execution. But nobody could ever fault DeMonaco for not producing something wildly original, maybe even "refreshing." Come to think of it, isn't that what "purging" is all about? To cut through the dreck on the way to a higher, cleaner existence?

It may not stand out from the summer movie stable as much as it would like to, but Election Year is most assuredly the kind of "purge" this series needed. This film comes closer to realizing the enormous potential DeMonaco's high concept than either of its predecessors.

The story picks up two years after the events of The Purge: Anarchy. Leo Barnes (Frank Grillo) is now the head of security for Senator Charlie Roan (Elizabeth Mitchell), an anti-Purge crusader vying for the presidency against a candidate backed by the New Founding Fathers of America. Leo and Charlie share a unique bond in blood that makes them perfect foils for what the purge represents. In Anarchy, Leo spared a man's life once he weighed the true consequences of his actions. On the other hand, Charlie witnessed her family helplessly slaughtered on "purge night" eighteen years prior. Threatened by Senator Roan's maverick personality, the New Founding Fathers orchestrate an attack on her life during the annual purge. On the run with no one to trust, Leo and Senator Roan cross paths with local deli owner Joe (Mykelti Williamson), his hired help Marcos (Joseph Julian Soria), and their friend Laney (Betty Gabriel) who drives a triage van helping those injured by purgers. Together they'll face foreign tourists, neo-Nazis, and twisted teen girls in an effort to survive the most dangerous night of the year.

By its very nature, Election Year is no masterpiece. That said, it's consistently entertaining, and the biggest problems I had with it are really just nitpicky. For example it'd be great to see a Purge movie set on a larger scale at some point. This one does a decent job of opening up the world to give us a sense that there's more going on than just what's happening to our protagonists. But on a night where ALL crime is legal, surely people are doing more than just murdering each other. I found myself itching for a tense bank robbery or a Wall Street big wig committing tax fraud or something. That stuff puts butts in seats just as much as murder does. Have you seen Dog Day Afternoon? Wolf of Wall Street? Heck, just Wall Street?

Also, Election Year ends in an odd place that took me right out of the entire experience. It's odd because for a film that's meant to be a cautionary tale and a critique of our current political climate, the ending feels grossly out of time.  If you listen closely, you can also make out a setup for a potential sequel. The good thing is that if DeMonaco moves forward on The Purge 4, from what the setup is, it should be a logical progression of the story as opposed to just another money-mandated installment.

I enjoyed my time with Election Year on the whole despite the flaws that I myself projected onto it. It's a well-told story with just enough subplots and characters to keep things fresh. The best part is that all of them reach satisfying conclusions. That's rarer than you may think, especially in horror movies.

These movies have only gotten better with each installment, and should there be more purging to come, sign me up.

B-