Yo That Lady Is Weird Dude: Paranormal Activity: The Marked Ones (2014)

In various manners I have managed to keep up with the Paranormal Activity franchise since being introduced to the first film a few years after its release.  I absolutely adore the first film for its reconsideration of the found footage genre at a time nearly simultaneous to the release of the equally impressive REC.  The films that followed Paranormal Activity have in their various ways proven to be lesser works than the original, always failing in the final moments to possess the same thrill and exhilaration as their predecessor.  To be clear, I accept that even Paranormal Activity follows in the shoes of The Blair Witch Project and Cannibal Holocaust, but what helps to differentiate this franchise it is decided choice to use the jump scare to great effect, only to have it doubled into a occult and indeed quite unsettling paranormal thriller.  Based on the trailer for Paranormal Activity: The Marked Ones, or as the lazy title cards at the AMC theater I attended suggested, Paranormal Activity 5, I assumed that this would finally be the much needed revitalization in the franchise, since a moderate showing with the third in the franchise.  However, this is far from the case and what could have easily been a revitalization, proves to be only slightly more enjoyable than the second film in the franchise, which is downright unwatchable.  I know that I should know at this point that the Paranormal Activity films are on their last legs, but somehow I keep getting suckered into seeing them in theaters, only to find the crowds dwindling with each new installment.  Never mind that this film desperately tries everything to put a new look on the film, whether it be its depiction of a Hispanic family, an even more direct referencing to the previous films or the nauseating homage to the emergence of #glitchart that has fed into the belief that somehow in the space between a functioning file and its deterioration lies a spectral presence, it simply does not add up to a complete film.  If part of the thrill of going to horror movies is the scare, it would seem like this would be the one element to the franchise that the newest film would cling to wholeheartedly, yet this is far from the case and any amount of concerted direction towards composing scares is tempered and the few genuine scares come not as thrills, but clear repetitions on previous tricks in the franchise.  Again I say all this knowing that I will continue to fill the seats as these films continue to be released.  Suffice it to say, me and this franchise have an ever expanding love-hate relationship.

This particular vision of Paranormal Activity is situated in Oxnard, California, noted for its large Hispanic population.  As such, the narrative focus specifically on Jesse (Andrew Jacobs) a recent high school graduate, who seems inclined not to plan for his future, but, instead; to simply spend his days drinking, getting high and hanging out with his equally indifferent pal Hector (Jorge Diaz).  Their life seems quite average, spending time in their apartment complex, while sharing confusion over the hermit lifestyle of Jesse's neighbor Anna (Gloria Sandoval) an elderly Hispanic woman who many people in the community believe to be a witch.  It is not until Jesse comes into possession of a camera as a graduation present that things begin to move out of the ordinary, especially after some spying on the part of he and Hector, catch a naked Anna, on camera, performing a ritual on the stomach of a naked woman in her apartment.  Confused, but indifferent, when the valedictorian of their class Oscar (Carlos Pratts) is found responsible for murdering Anna, eventually committing suicide himself, the seeming normalcy of their life falls to pieces.  Jesse, begins to become prone to a sort of supernatural telekinesis, one that protects him from attacks and catches him from falling in midair.  Thinking it a cool ability, when it begins to be the cause of his bodily deterioration things shift considerably.  Jesse's highly religious grandmother Abuela (Renee Victor) uses her connections to the religious community to ward off the evil spirits within Jesse.  This attempt proves quite futile as the spirit possessing Jesse's body is incredibly powerful and clearly has evil intentions, one's that are verified when Hector and Jesse's sister Marisol (Gabrielle Walsh) visit a woman named Ali (Molly Ephraim) who had been in contact with Oscar before his death.  Ali explains that the events are tied to an ancient occult and that children like Oscar and Jesse who lost their mothers during their births are subject to such possessions.  Yet, this discovery comes at far too late a moment, which means that Hector and Marisol are attacked by Jesse, even after they recruit help from local gang members.  Marisol subsequently dies in the house where Katie (Katie Featherson) lived with her grandmother as a child, while Hector in an attempt to flee steps through a door that transports him back in time to the incidents of the initial Paranormal Activity, indeed, becoming the unseen demonic force that causes Micah (Micah Sloane) to lose his composure before being attacked with a knife by Katie.  Witnessing all this, Hector attempts to flee, but is stopped by the also present spirit of Jesse, begin killed instantaneously.  In the midst of this a still living Katie stops to turn off the camera which has still been recording the events.

If the addition of a time travel component to this entire narrative were not enough to show that that franchise is beginning to falter, the addition of guns and a heavy reliance on humorous moments to build up the first half of the film might well be loud affirmation of its imminent demise.  Yet, this like the rest of the films in the franchise still manages to be a thing of critical and theoretical curiosity, particularly since it is the first film in the franchise wherein the main possession is occurring in the body of a male as opposed to a female.  Indeed, the entire franchise is now running on a very bizarre, if not terribly thin, connection of a series of births that tie the figure of Katie to all the films, she being the sole carrier of the curse/possession/affliction that has yet to be clearly defined in what is now five films.  Sure it is apparent that the curse is somehow tied to a witches covet, but precisely how this all intersects or any degree of historical elements are completely void of explanation.  As the friend who I attended the film with observed, the plots of these films are very much turning into LOST, wherein they are all descending into layers of misdirection as if to dodge admitting that they have no clue where they are taking the series.  Regardless, embodiment of this paranormal entity is what carries the films and the embodiment prior had a clear tie to pregnancy, either in the past, or in the attempts at creating such an occurrence.  Similarly, the spectral presences in the film, while very much of a non-human variety seem to take on a masculine presence, one that has been till this point non-physical.  If it is to be believed that Jesse and by extension Hector have travelled back to the site of the original film (although not the original encounter with the entities which as it stands is Paranormal Activity 3) the bodies capable of navigating the space are male, their embodiment taking on a temporal transcendence not allowed the females in prior films, although Katie does disappear and reappear in various spaces so it could well prove that she is the figure ultimately navigating the time-space continuum at play in this five film franchise.  Needless to say, embodiment is a thing that powers Jesse, while it controls others, the commentaries that occur as him being a possessed birth and also being the first born male take on intriguing layers in regards to larger tropes in the horror genre, particularly since in all the films prior, the women have been decidedly figured in as things to be victimized.  It will be fascinating to watch this unfold in contrast to other, if any, Paranormal Activity films.

Key Scene:  The last ten minutes, like three out of the four previous films proves to be its most fascinating stuff, I just wish they would commit to this thrilling of an endeavor for the stark eighty minute runtime of the respective films.

If you are like me and have become a completist for this franchise you should definitely catch up with this film, although awaiting its release to home movie is ideal.  If you have not been keeping up you should probably avoid this film altogether.

Want To Play A Game Of Hide And Clap?: The Conjuring (2013)

A legitimate question arises when asked what the future of the horror genre will look like cinematically.  A case could be made for two extremes, the first being a completely deconstructionist and visceral cinematic form influenced by the anthology style films of the past few years or the particular rebirth of the found footage genre (which I have gone on record as adoring).  The second possibility is a complete return to the classic style, at least in namesakes, evidence by gorier and less-campy remakes of cult classics like Evil Dead or the impending Carrie remake, whose trailer gives the entire plot away in its quickly paced trailer.  While I am a fan of the former, I would bet that the most likely result will be a hybrid of the two, at times resting more heavily on the visceral post-modern style and in other scenarios going for the classicist approach.  The truly great films of the next couple of decades will be the ones that perfectly mesh the two together to provide a movie going experience that can prove favorable to both the traditionalist horror fan and the young moviegoer who favors a barrage of intense and challenging imagery.  While I am still hesitant to give it my full support, what James Wan's recent The Conjuring does manage to do is create the perfect hybrid of the two possibilities.  By first situating his film within the era of the seventies, a high point for horror films, it becomes clear that Wan demands his offering be taken seriously cinematically, yet his continual breaking of the cinematic barrier to turn the camera upside down or move to digital handheld to keep a sense of the point of view action so necessary to newer horror films, show a sense of the new and unseen within the genre prior.  In fact, if I were to focus on this film from a purely cinematic structuralist frame of reference I would unapologetically call  it the most important work of horror in the 2010's so far, however, it is not entirely a work of structuralism, wherein both V/H/S and Cabin in the Wood are, therefore, things like narrative and character performance come into play and, tragically, it is precisely these elements that prevent The Conjuring from being great, but it appears as though I am somewhat alone in this criticism, because as it currently stands it has an IMDB rating that would place it at 188 on the sites top 250 movie list.  Admittedly it is a fresh vision of horror that could evolve in the upcoming years into something brilliant, I just wonder if it will not lose some of its appeal once people step back and realize that narratively it is far from revolutionary.

The Conjuring sets itself decidedly in the past, focusing first on the emergence of two paranormal experts Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) whose work with exorcisms and demonology have afforded them clout within the Catholic church, as well as considerable press from skeptics and believers alike.  The film focuses on the allegedly real life couples encounter with a particularly nasty demon of whose story they had refused to tell until recently.  At this point the narrative shifts to focus on the Perron family of Roger (Ron Livingston) and Carolyn (Lili Taylor) who along with their five daughters have moved to a rural home in hopes of getting a fresh start on life.  However, within a day of moving into their new place it becomes clear that their new house is anything but ideal, and is indeed a place susceptible to what is later referred to as a paranormal infestation.  Initially hesitant to acknowledge it as anything threatening Roger and Carolyn attempt to go about their daily lives and hope for a promising future.  Yet, when their children and eventually Roger and Carolyn are directly confronted by ghosts, Carolyn reaches out to the Warren's in a last minute act of desperation.  It is during this moment that Lorraine senses the depth of Carolyn's troubles and agrees to immediately meet the family where she instantly discovers the grim presence overseeing their home.  Upon further research, the Warrens find out that the Perron's new home is a breeding ground for a particularly nasty demon that is the result of a vengeful witch that takes it upon herself to make mother's kill their children.  Hoping to prove the presence of demonic spirits and obtain permission for an exorcism to be performed, the Warrens set up surveillance in the Perrons' home and begin camping out to confront the demons, or at the very least prove their presence.  What unfolds over the next few nights defies all explanation, even for the season veterans in Ed and Lorraine, as the notions of spatial presence are completely deconstructed when the demon moves not only through the house but seemingly transferring itself long distances without any explanation.  Realizing the impending harm that could come from continued demonic infiltration, Ed eventually takes matters into his own hands and performs the exorcism himself, despite not being a man of the cloth proper.  The results while favorable for all involved, seem to suggests a temporary fix as the demons linger, awaiting to infiltrate another susceptible being at a moments notice.

This film does so many things right and I really understand the praise it is receive for such choices, I myself am completely on board with its praise visually.  The choice to use digital to add the layer of fabricated blackness to the films really made me lean forward, or more often backwards, wondering what was just beyond the veneer of absolute darkness, only to be shown not a creature jumping out but one that is present through a jump cut or something of a non-tradtional reveal.  In fact, one could almost say by lingering on the darkness and at times not ending in a jump scare, the film forces viewers to will the demonic presence into the work.  Indeed, it is in this stylistic choice that The Conjuring is most similar to its clear inspiration The Exorcist.  A film that has ghastly images infiltrate the screen, or superimpose themselves into unlikely situations, The Conjuring, at times does the same, cutting to white noise or revealing a sheet thats composition is quite similar to that of a dangling corpse not as a means to blatantly scare viewers, but to subtly reinforce the constant presence of the non-human entity something almost ordained by the film itself, more so than the diagetic world.  This decided fabrication is doubled through the degree of metacinema that runs throughout.  I would argue that there are at least three layers going on within the film, the first being the documentary-like establishment of the Warren's, the second being the narrative proper focusing on the Perron family haunting and the third being the filming of the paranormal activity occurring in the house.  Indeed then, a fourth possible layer exists wherein the film viewed is its own presence, again like The Exorcist willing its presence into the narrative at times, in moments of POV shots and bizarre angles.  All of this is absolutely astounding and visually challenging and would be flawless if it had a narrative to match, but what I can only assume to be a result of studio executives concerns, leads to a cookie cutter narrative whose strings are seen throughout, whether it be a vague (on at least one occasion glaringly direct) suggestion of Lorraine's previous loss of a child or the forced relationship between a white cop and an Asian paranormal investigator it seems sickeningly forced, much like moments of acting.  I guess this is to be expected in boundary pushing genre films though.  I am sure if I were to revisit the major game changers in horror, I would find similar occurrences.  Nonetheless, this is a solid work and understandably worth checking out.

Key Scene:  There is a scene where a demonic attack occurs in a house that is not that of the Perron's.  It is the most intense moment in the film and clearly owes its existence to The Exorcist, however, it adds a freshness to it that has been long needed in the genre.

Go to a movie theater and see this, while I was initially hesitant about adoring it, just writing this blog made me affirm my adoration of it fully.

Being Normal Is Vastly Overrated: Halloweentown (1998)

I promised to give a vast study of horror films in my themed month for October and certainly intend to deliver on that promise, which helps to explain the next film on my tour, the 1998 Disney television movie Halloweentown, a pick by my girlfriend for the list and probably the biggest genre stretch on my list.  However, to say that it is a stretch is not an attempt to undermine the work in the slightest, there are moments in this film that I recall from my younger days as being genuinely scary and ones that could still be frightful to the right group of youngsters.  It was fun to revisit this film, as I only had fleeting memories of the plot and had no idea the film included the consummate Debbie Reynolds.  Of course the plot is a bit fractured, but one can expect such occurrences when, firstly the film is made for television and secondly it is directed towards a youth audience.  Many of the characters exist a plot devices and manage to have a very cursory place in the brief movie, only clocking in at a bit over eighty minutes.  The plot it does possess though is well-executed and contains some moments of comedic brilliance as well as a few genuine scares, all culminating in a great commentary on embracing ones uniqueness and accepting even against stalwart reasoning that some things are, in fact, magic.  Finally, the make-up and costuming in this film are stellar, particularly the various beasts and creatures shown throughout the film and one scene of exceptionally good stop motion animation.  It is probably going to be the only family friendly movie blogged about this month, and one of the few I have blogged about to date, but it is certainly a movie for persons of many age groups as its humor ranges from simple slapstick, to some clearly adult oriented humor.

The story in Halloweentown begins on Halloween, as should be little surprise as three kids look longingly at the festivities from inside their house.  The children include a young girl named Sophie (Emily Roeske), an incorrigible nerd named Dylan (Joey Zimmerman) and the oldest daughter and eccentric Marnie (Kimberly J. Brown).  Despite their constant pleas to partake in trick or treating, their mother Gwen, played by Judith Hoag (who is likely better known as April O'Neil in the live action Teenage Mutant Ninja Turtles film), denies their request.  She feels adamantly that they will be somehow ruined by the events of such a day.  Viewers are uncertain as to her concerns, until it is realized with the entrance of their grandmother Aggie (Debbie Reynolds), that they are related to an ancient family of witches.  Despite Aggie's less than subtle hints at their unique nature, Gwen denies them the right to explore this alternative life, instead wishing for them to have a "normal" life, despite being without a father figure.  Upon overhearing her mother and grandmother argue about her right to be a witch, Marnie follows her grandmother to Halloweentown via a flying bus to another world, only to be joined by Dylan and Sophie who share an equal curiosity.  Upon landing the group attempts to find their grandmother, but not before running into Calabar (Robin Thomas) Halloweentown's mayor.  He aids them in transportation to their grandmother's house via a taxi ride from a wise cracking skeleton named Benny, voiced by Rino Romano.  It is at this point that the children discover that trouble is afoot in Halloweentown and their grandmother is attempting to stop its occurrence.  Followed hot on the tail by an irate Gwen, the children and grandmother end up in a theater where it is revealed that Calabar is behind the evil in the town, freezing all who disobey him.  In the process of confronting Calabar, Gwen and Aggie are frozen by a spell and the children are left to complete Aggie's spell, which requires obtaining ingredients such as the hair of a werewolf and the sweat of a ghost.  They succeed in doing so and finally get the means to confront Calabar, and with a little help from a town local the group beats him and everything is returned to normal, with a suggestion that the three children, despite their mother's original denial, will indeed be trained in the dark arts.

The movies commentary is rather simple, as it should be considering that it is essentially directed at children.  However, the lesson taught is a very important one, especially for young adults and children. Instead of simply being a horror/comedy family film, Halloweentown posits something much greater in its suggestion that one should embrace uniqueness even if certain groups in society claim it to be, in this case, demonic.  Gwen represents a troubled single mother who holds falsely onto an idea that somehow by denying her heritage and identity that her children will exist in a better world, when it is clear that her disconnect and denial are only bringing more questions up within her children and arguably raising them to be social outcasts, as an early reaction with some of Marnie's friends suggests.  Aggie, in a maternal, and somewhat ancestral sense, claims this heritage and struggles desperately to keep her grandchildren practicing long after her passing.  The film also embraces a feminist ideology in that many of the spells require a group of women to unite together to make it more powerful, made all the more pertinent in that these women are of different ages.  The brief film also tackles notions of beauty and friendship, as occurs between Marnie and Luke (Phillip Van Dyke) a "dashing" young boy in Halloweentown who takes a liking to Marine, only to betray her, in what viewers come to discover was a Devil's bargain with Calaber to make him look better.  Essentially, Halloweentown contains a series of life lessons for young viewers and even a few reminders to parents on embracing their familial identity and heritage, even if it is not the mainstream idea of normal.  If anything the film denies denial.

Key Scene:  The obtaining of ingredients montage is quite fun and probably the funniest moment in the film.

I want to tell everybody to go out and buy this film, but I know it is for only a select few, not to mention that it is unusually expensive for what it is and, furthermore, it seems to sell out quickly after being stocked, at least that is what happened repeatedly at the Target near my house.