Posts Tagged ‘Blumhouse Productions’

Whenever Blumhouse is involved in a movie, I usually get interested, as they tend to produce high-quality horror films. When I heard about this film, I got interested both because it had an interesting concept behind it, and because I like Tyler Posey (Teen Wolf fan for life!). So even though it got negative early reviews, I decided to check it out anyway, and convinced a friend of mine to see it with me.

I have a lot to say about this film. Let me try to keep this brief.

Truth or Dare follows a group of college students who go to Mexico for their final spring break. While there, they meet a mysterious man who invites them up to an old Spanish mission for drinks and some good, ol’ fashioned truth or dare. However, when they leave Mexico, they find the game has followed them, and it’s now much nastier: you either play the game, no matter what horrific secrets you might have to share, or what terrible deeds you must commit, or you will die. And the game won’t end till all the players are dead.

Now on the surface, I should have liked this movie. In addition to an interesting concept, the film is incredibly well-written. The story isn’t only compelling, but surprisingly, without plot holes. With very simple tricks, they plug up most of the plot holes that would come up in a horror film, let alone one surrounding a game mainly played by children and horny teenagers. Not only that, but the way the film has these characters expose their deepest secrets is so good at making you feel sympathetic, you almost feel their pain. And when they have to undertake some of the dares, you actually get a little afraid for them.

Not only that, but most of these characters are well-written and multidimensional. Most characters in horror films are ridiculously flat, and especially in ones based around games (*cough* Ouija *cough*). But Truth or Dare actually makes these characters more than flat or stereotypes. They have trouble, they have hidden depths, which is only made more clear when characters are forced to reveal dark secrets. This is especially true with the character of Markie, who at first glance is a happy-go-lucky strawberry-blonde, but in actuality is struggling in a number of ways.

It’s helped by the fact that the actors in these films are all really good. I can’t say any one of them gave a bad performance.

But the film has one big issue: its atmosphere. In horror, atmosphere is essential. And this film  doesn’t really have one, at least not one that lasts. Several times, the film does create some tense moments (keep an eye out for the roof scene), and there are a number of great jump scares. But after the tense moment or the jump scare, I found myself winding back down to normal. And in a horror film, you should be kept at a slight tension at every moment. There should be something in the back of your mind that says, “Oh my God, I’m scared, my heart rate is going to increase a little.” And I never felt that way during this film.

And that really brings down the film as a whole.

Still, if it weren’t for that problem, this film would be terrifying. On a scale of 1 to 5, I give Truth or Dare a 3.5 out of 5. Despite its lack of atmosphere, I honestly recommend seeing it. It probably won’t leave you scared stiff, but it’ll keep your interest and won’t leave you angry at the actors or the directors like other films I could name (*cough* The Friday the 13th remake is a piece of trash, and I would love to chase Michael Bay around Camp Crystal Lake for that ass-terrible excuse of a film. *cough*). Give it a watch, if you feel so inclined, and decide for yourself.

Go on. I dare you.

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If you read my review of the first Ouija film, you’ll remember that I didn’t have a very high opinion of it. It was by the numbers, unimaginative, and most of the fun came from surprise cameos, which was sad given that most films from Blumhouse Productions are generally very good. I blamed the fact that Michael Bay’s production company was involved, and that guy tends to destroy anything related to toys and/or things people grew up with in the 1980’s (seriously, is that a thing?). I also mentioned in that review that I was not looking forward to the sequel they were already making, which I felt would probably be worse.

Surprise surprise, when the trailer for the sequel turned out to be a trailer for the prequel. And it looked good! Really good!

So good, that I wanted to see it in theaters (didn’t happen, unfortunately). When the library ordered it though, I immediately reserve the DVD. And over dinner I watched it. And I have to say, it was actually better than the original.

Note: I will be discussing the original film in this review, so if you haven’t seen the first movie and might still want to see it, you might want to stop reading this review.

So Origin of Evil takes place in the 1960s, and follows the little girl who we meet as a ghost in the first film, and her family. Her mother is a false psychic who genuinely believes she’s helping people, and has her daughters help her with her scam. One day, the mother buys a Ouija board in order to spice up her act, and proceed to test it out in her home. This leads to the younger daughter getting possessed, and from there things get strange.

As I said above, this was a much better film than the original. For one thing, it’s a period film, and Blumhouse is generally very good with those kinds of films (watch The Conjuring and Annabelle films if you don’t believe me). The sets look gorgeous, and the attention to detail is amazing. Even if at times the historical setting feels like window dressing, it’s a very good window dressing. I also thought the actors did an adequate job. These aren’t the same actors that played the ghosts in the first film, but since in the first film it was just important that they look scary when the CGI was used on them, it doesn’t really matter. And as I said, they did a very good job. Lulu Wilson, who plays the younger daughter, is exceptionally good at playing both an innocent child and a terrifying possessed creature (especially when they add CGI).

And of course, the prequel explains very well how the events of the past lead to the events of the first film. If they didn’t do that, I would have said they’d wasted money and film making a movie.

That being said, there are several things that could’ve been done better. Origin has the same issue as the first film where they have good jump scares but suffer when it comes to creating an atmosphere. The filmmakers also tried to evoke that old, 1960s feel by adding little touches to the film to make it seem like it was made in the 60s: little black circles and vertical lines appear at random during the film, and some of the cuts to new scenes have that jumpy quality reminiscent of old films. However, they do it so inconsistently that it’s more distracting than anything else. If maybe they had filmed it so that it looked from the 60s, and had that characteristic hiss in the background, then it probably would’ve worked better.

I also thought there were a couple of things that didn’t make sense. In one scene, the priest character gets possessed or influenced by the little girl, and then a minute later the possession or influence leaves him. Just like that. They don’t explain why that happens, and it sticks out like a sore thumb. And remember how in the first film, the surviving sister is in an insane asylum? And how the events of her childhood did drive her insane? Well in the prequel, they don’t really show how she gets that way. I think it’s supposed to hint that just everything she went through drove her mad, but she didn’t seem any different than any other heroine in these kinds of horror movies. Scared? Yes. Grief stricken? Yes. Insane? Not so much, but they plop her right into the mental asylum and show her as seriously messed up by the events of the film.

Filmmakers, I shouldn’t have to mention this, but this is a visual medium. And in a genre where there are a lot of people going through terrible things, you have to show them losing their grip on reality. Otherwise, it doesn’t work. If someone on the street sees me walking down the other side of the street and I pass behind a lamp pole and when I’m on the other side, I have horns, giant bat wings and a tail, even if they know who I am and I’m a freaking vehicle of terror, they’re going to have questions. It’s like that.

All in all, though, Ouija: Origin of Evil is a much better film than its predecessor. And while I don’t think we’ll be getting another film in the series (despite having a slightly higher budget, the prequel did not make as much at the box office as the original), it’s a good film to go out on. On a scale of 1 to 5, I give Origin of Evil a solid 3.0.

That’s all for now, my Followers of Fear. I’ll probably have another post out before the weekend is over, so keep an eye out for it if you want to know how I’m doing with Full Circle. Until then, have pleasant nightmares.

So I recently got back into reading The Complete Fiction of HP Lovecraft, after about a year’s gap since I last dove into his work on my Kindle. I actually got from 15% to 32%, which for a 1112-page book is pretty good, if you ask me.

Now, if you don’t know who HP Lovecraft is, he was kind of the King of American Horror between the reigns of Edgar Allen Poe and current monarch Stephen King, though he didn’t really achieve any sort of fame or influence until after his death. When I read him last year, I found his style old and outdated, and while some of his stories were actually pretty creepy, others were just strange or boring (see my thoughts in Thoughts on Lovecraft: Part 1).

So what were my thoughts one year later, having read several more stories? Well, he still prefers to write like a contemporary of Poe, one of his main influences in writing, which I find still rather irksome (I could parody it here, but I did that well enough in Part 1, so why try and repeat it?). I’m not that big a fan of that style, as I find it stuffy and somewhat boring, so occasionally that made for an annoyance to get through.

And Lovecraft is still a proud and unrepentant racist and xenophobe. Seriously, “The Horror at Red Hook” manages to drag so many non-white ethnicities, including Kurds and Yazidis, through the mud.

And he’s the only author I’ve ever met who’s used the word “eldritch,” meaning sinister or creepy (why didn’t he just use those words?).

But other than those problems, the tales I read in this section of the book were much better than the ones I read in the last one. Sure, the short story “Azathoth,” which was the first mention of the Elder God, is actually just a fragment of a novel Lovecraft never got around to finishing, which was annoying. Imagine, I get to the end of that short piece, and I was like, “Wait, that’s it?” Thank goodness for Wikipedia, which explained to me why I shouldn’t be so angry.

And there was that story, “Imprisoned with the Pharoahs,” which got a little dense with the language and made it annoying to get through, though as a fictional account of one of Harry Houdini’s adventures, it is pretty cool in retrospect.

But other than those two, these were very good stories. They were creepy, dark, and had some pretty nice twists and turns in them. I can see why a few of them have been adapted several times into movies or radio plays and the like. “Herbert West–Reanimator” is a fun tale about one man’s growing obsession with overcoming death and extending life (very Frankenstein), and how that obsession causes a domino fall of events that shows the readers the price of obsession. “The Lurking Fear” felt like a Stephen King novel from an earlier age, filled with elements of insanity, the supernatural, and insane tastes. And “Shunned House” needs to be made into a movie by Blumhouse Productions, because it is freaking scary! It’s a vampire novel that hearkens back to the days when vampires were barely human, and is probably the best of the stories by him I’ve read so far. Imagine a movie version, with James Wan in the director’s seat! No one would see it and think of vampires with Twilight or any of that other sentimental crap out there ever again.

Eek! Rats in the walls! Now I can’t sleep.

Also, “The Rats in the Walls” is great if you want to scare anyone around a campfire. Just saying.

You know, the more I read of Lovecraft’s work, the more I see why he’s been so influential. Sure, his early stories could be rather pointless or silly, and never approached scary, with the exceptions of a few, like “The Tomb” and “The Temple.” But as time went on, as tends to happen, he got better. He figured out what worked and what didn’t. He learned how to get into our heads and make us tremble, make us wonder. He pushed the envelope for his day, introducing elements of cannibalism, satanism, gods that care nothing for us except maybe as snacks. And he did it so well.

And even now, after I’ve decided to take a break from him, I still find myself getting inspired by him. I’ve already gotten a few new novel and short story ideas from his stories, particularly “The Lurking Fear.” I have no idea when I’ll write them, but I think that when I do, they may even chill me.

So yeah, I think I’m definitely a Lovecraft fan now. Last year I wasn’t so much of a fan, but now I think I am. He’s definitely grown on me. And I think I may visit him again someday, perhaps even before the end of the year. Especially if he gives me so many good ideas. And if you like a good scary story and can handle some old-timey writing style, then I suggest you visit Mr. Lovecraft too.

Well, that’s all for now. I’ve got my own stories to work on, so I’m going to get on that. In the meantime, I hope you have a scarily good time, my Followers of Fear. Until next time!