V/H/S/2, Occult, and Special Effects in Found Footage Movies

One of the things that I love about the horror genre is its unique relationship with low-budget filmmaking. Cheaply-made terror trashfests have been a dime a dozen for decades, but on the other hand I cannot imagine where horror films would be today without low-budget classics such as Night of the Living Dead and Texas Chainsaw Massacre. Thus, it makes sense that the subgenre of found footage films, films that deliberately look rough and amateurish, has made its home in horror. There are exceptions to the rule (such as Cloverfield, which relied on high-quality CGI effects and green screen composite shots), but the found footage subgenre has largely been populated by filmmakers of limited resources.

With that in mind, what happens when a filmmaker decides to make a found footage film due to budgetary limitations but also wants to include special effects? This post will look at that question through the approaches taken by two found footage titles, V/H/S/2 (2013) and Occult (2009). Both incorporated special effects outside of the usual blood-and-guts stuff, each with varying levels of success. Read on for my analysis, with minor spoilers for both films.

Like the original V/H/S film, V/H/S/2 is a combination of found footage and anthology storytelling; also like its predecessor, it demonstrates that found footage and anthologies don’t really mix. None of the stories presented in V/H/S/2 are enhanced by the found footage visual style, and they might have been scarier had they not been found footage films at all. (This especially applies the story titled "Phase I Clinical Trials", where the protagonist receives an ocular implant that records his everyday life. Because the protagonist has no choice to record everything he sees, this story should have worked as a found footage short. It doesn't.) Even the best story of the bunch, an unexpectedly poignant zombie tale called “A Ride in the Park”, doesn't feel like it had to be shot in a found footage style in order to be effective.

The eco-friendly, mountain biking zombies from "A Ride in the Park" in V/H/S/2.

For as gory as it is--and believe me, it is very gory in some areas--V/H/S/2 features two stories that attempt to include monsters as part of the narratives. "Safe Haven" involves a goat-headed demon, while "Slumber Party Alien Abduction" involves a group of gray-skinned space invaders; unfortunately, both types of monsters look like actors in monster suits. Furthermore, the directors of both stories felt compelled to shoot their parts in a gonzo, over-the-top style, as if the visual overload will compensate for the unconvincing monsters.

"Safe Haven" layers on as much violence and gore as possible and even though the demon has a single line a dialog that ends the story on a morbid, twisted note, the demon’s bouncing goat head on top of a human-proportioned body emphasizes just how hokey the whole story actually is. In contrast, "Slumber Party Alien Abduction" tries to compensate for its low-budget monsters by becoming much shakier than most found footage films. If the idea of shaking a camera as hard as possible to compensate for low-budget creature effects sounds like a bad idea to you, then you know what to expect in "Slumber Party Alien Abduction".

The uninvited guests from "Slumber Party Alien Abduction" in V/H/S/2.

Then again, V/H/S/2 doesn't completely fail when it comes to special effects. The zombie effects in "A Ride in the Park" are convincing, and there’s an eerie creature that appears towards the end of "Tape 49", the main story that ties all the other stories together. The creature skitters along the floor by doing a contorted form of spider walk, and it's one of the most convincing and chilling effect shots in the film. Of course, it also helps that the footage of the creature are fleeting, unfocused and poorly lit--enough to engage the imagination, but not enough to see through the effect.

In contrast to V/H/S/2, Occult (a.k.a. Okaruto) is a single-story found footage film that begins with a documentary team’s investigation of a sudden killing spree at a tourist resort a few years earlier. Their research takes them to one of the attack’s survivors, a homeless drifter who wanders from temp job to temp job. The crew’s interaction with the drifter becomes plagued by a series of increasingly strange events, and the drifter slowly reveals his belief that the attack was a sign from a supernatural force that he has been chosen to perform a special "ceremony" that will allow him to ascend to another dimension.

The director of Occult, Koji Shiraishi, is known for other found footage horror films, including the excellent Noroi (2005). In Occult, Shiraishi incorporates special effects into several of the scenes, including strange, nebulous shapes that appear in the sky whenever the drifter is present and a final shot that shows the fate of the drifter. Unfortunately, none of these effects are convincing, so why Shiraishi used them both during the film and in the film's final frames seems like a serious misstep on his part. After all, he did use special effects in Noroi but those were simple effects that succeeded in conveying an eerie, ghostly mood, so I don’t understand his difference in approach for Occult. Yet in spite of weak special effects, Occult works because of the strength of the story, its convincing characters, and its mood of dread that gradually increases throughout the movie.

Occult: Sky worms from another dimension?

It may sound like a cliché that good acting, direction and writing can save a film with weak special effects, but Occult shows that this rule also applies to found footage films. This also explains why an anthology format doesn't work for found footage: With so little time to build a narrative, characters and mood, it’s no wonder that most of the stories in V/H/S/2 went straight for explicit visual shocks even though the low-budget effects used to provide the shocks fail to deliver. Ultimately, found footage works best with stories that emphasize mystery, suspense, and the unknown, while visual effects are better left to filmmakers with bigger budgets.

Three Excellent Examples of Horror Anime: Another, Moryo no Hako, and Shiki

The face of madness revealed in Moryo no Hako.

As someone who lives in a country where animation is overwhelmingly aimed at children and general audiences, I'm fascinated by the amount of freedom that animation has over in Japan. In particular, I'm still amazed at how anime is used as a means of telling serious horror stories, something that you'll never find here in the U.S. In this post, I will look at three horror anime series--each of which are based on a novel--that are great examples of how hand-drawn monsters, murders and mysteries can chill the soul of even the most jaded horror fan. Read on ...

Title: Another

Year of Release: 2012

Number of Episodes: 12

Plot Summary: In 1998, teenager Koichi Sakakibara moves into a new town while his father is away teaching a college in India. When his fellow students begin to die under unusual and shocking circumstances, Koichi learns that his class at Yomiyama Middle School has fallen under a bizarre curse that has haunted the school since 1972. With the help of his friend Mei Misaki, he sets out to uncover the secret behind the curse before his entire class dies.

Comments: Another is kind of like a slasher story in the sense that almost all of the potential victims are teenagers. However, unlike most American slasher stories that characterize teenagers as sex-crazed, booze-binging jerks, the teenagers in Another are likable, hard-working and normal (for the most part). Even in cases where the teenagers are abusive towards each other, they are often doing it out of fear of the curse; understanding that the kids are just trying to make the best of a bad situation, trying to survive a curse that's as inexplicable as it is deadly, makes it easier to sympathize with them and thus adds to the shock every time the body count goes up--and boy howdy, does it go way, way up.

Some horror fans might be frustrated with the amorphous, elusive nature of the curse. While there are some inconsistencies in the curse's mechanics (i.e., who dies and how, who goes insane and who doesn't, etc.), I thought that curse's unpredictability made it so much more intimidating and added to Another's vivid, Gothic atmosphere of dread and disorientation.

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Title: Moryo no Hako (a.k.a. Box of Goblins)

Year of Release: 2008

Number of Episodes: 13

Plot Summary: In post World War II Japan, a failed attack against teenage girl at a train station serves as a prelude to a series of grisly murders involving severed body parts placed around the countryside in boxes.

Comments: Moryo no Hako is a brilliant mashup of pulp mystery, sci-fi and occult horror. Both stylish and well-written, it travels through a wide variety of subjects--extortion, demonic possession, transhumanism, religion, ancient folklore and so on--as it tells a story about killer's obsession with perfection and immortality. Curiously, Moryo no Hako approaches the familiar plot device of "mad science" from a unique perspective. Usually, the term "mad science" is shorthand for destructive scientific research that has run amuck or has originated from a mind of questionable sanity; in Moryo no Hako, we see a science that is so ghastly and morally bankrupt that it has the capability of pushing people to madness--even people who appear outwardly rational.

Of the anime series listed in this post, Moryo no Hako is most demanding of its viewers. Some segments are shown out of sequential order, so you'll see many things in the early episodes that won't makes sense until you get closer to the end. Furthermore, for as grotesque and depraved as this series can get, many of the episodes are thick in dialog exchanges, something that may bore some horror fans. However, this is neither pointless discussion nor exposition-heavy posturing; the dialog is loaded with crucial detail and each segment contributes something interesting and essential to the mystery. Between the out-of-sequence snippets and well-scripted dialog, watching the numerous threads of Moryo no Hako coalescing into a final revelation is like watching a flower slowly unfolding, petal by petal, into a disturbed, perverse blossom.

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Title: Shiki

Year of Release: 2010

Number of Episodes: 24 (22 in the original broadcast, with an additional 2 as part of a subsequent video release)

Plot Summary: During a hot summer in the '90s, a small town in a remote part of Japan named Sotoba comes under attack by a family of vampires.

Comments: Based on the plot summary, Shiki sounds like anime's answer to Stephen King's 'Salem's Lot. While that's not an entirely inaccurate assumption, there's more to Shiki than that--much, much more.

Between its large cast of distinct characters, a well-paced narrative, and soulful commentary on the nature life and death--as well as what it means to be forsaken and what it means to be free--Shiki is a top-notch terror yarn that most vampire fans will enjoy. Even though some of the story is told from the vampires' perspective, these vampires are monsters, both deliberate and unintentional, with no attempt to romanticize them (Twilight this isn’t). Furthermore, killing the Shiki vampires is not a quick, simple task where the undead suddenly turn to ash; no, the staking, beheading and sun exposure of these vamps involves plenty of effort and buckets upon buckets of blood.

Alien Abductees Get Even in Altered (2006)

As movie monsters go, filmmakers have gotten plenty of mileage from the concept of extraterrestrial threats. There have been countless movies about high-tech alien invaders (War of the Worlds, Earth vs. the Flying Saucers), parasitic alien biology (Alien, The Thing), and too-close-for-comfort contact with an alien intelligence (Fire in the Sky, The Fourth Kind). In the midst of this crowded field of alien terrors is Altered, a 2006 creature feature that was directed and co-written by Eduardo Sánchez, co-writer and co-director of The Blair Witch Project.

Altered is about four men who were abducted and tortured by alien visitors when they were teenagers. After years of unsuccessfully coping with the trauma they endured, three of the men decide to hunt down and capture one of the visitors as an act of retribution; yet once they capture an alien, they're not completely sure of what they should do next. To make matters worse, their alien captive isn't quite as helpless as he looks and he has some sinister plans of his own ....

I'm recommending Altered to creature feature fans for many reasons. It's a well-made film that takes a unique approach to both alien horror movies and modern alien abduction lore. It effectively uses practical effects to bring its alien menace to life (no CGI here), and it also does an excellent job at balancing the horror with some bits of clever humor. Some scenes feature inventive examples of splatstick humor, and there are a few bits of redneck humor because the abductees in this movie are working class southern white men. However, this is not Tucker and Dale vs. Evil--Altered is a tale of terror at its core. In fact, some of the concepts and visuals in this movie reminded me of Scanners and The Fly, two classic "body horror" films by David Cronenberg.

Because most horror films feature characters who are being stalked by and defending themselves from a monster, the movie's story about men who search for and capture a monster makes it very different from most other films of its kind. Even though Altered is a horror movie, the pacing of its story reminded me fatalistic pulp crime dramas that begin with a major event (e.g., a bank heist gone wrong) and then subsequently unravel as the protagonists attempt and repeatedly fail to cope with the events they set in motion. The film also lets you understand the characters and the bitter motivations behind their actions. While hunting extremely deadly monsters sounds like something only a fool would do, you come to realize how the abduction left the main characters so broken in their adulthood that alien hunting has become the only meaningful thing left for them to do with their lives.

Altered ranks alongside Abominable and Alien Raiders as one of the better low-budget creature features to be released within the last ten years. It's everything that big-budget alien movies such as Signs and Dreamcatcher should have been but weren't, proving that some of the best horror films out there are the ones that never made it to national movie theater chains.

V/H/S (2012) Movie Review

With V/H/S/2 set for national release this weekend, I figured that I should finally see the first movie in this fledgling found footage anthology franchise. I enjoy the horror subgenre of found footage, but anthology movies never appealed to me so I wasn't particularly interested in seeing V/H/S in spite of the buzz that it has generated in the horror fan community.

Regardless, I'll give V/H/S credit: It's the first film that attempted to combine the visual style of found footage with the anthology approach to horror. While the end result isn't a success, it has enough interesting ideas to whet the appetite of found footage fans for what a better film could do with the same approach. Read on for my complete review.

Anthology movies are usually hit-and-miss in terms of quality (some more "miss" than others), and V/H/S is no exception. V/H/S is divided into six stories:

* "Tape 56", directed by Adam Wingard. A group of criminals that record their crimes and sell the footage online take a job that requires them to break into a house to find and retrieve a particular video tape. When they arrive at the house, they find a corpse sitting in front of a stack of TV sets and VHS players. "Tape 56" is the framing narrative for the rest of V/H/S, with the other stories being represented by tapes the criminals watch during their search.

* "Amateur Night", directed by David Bruckner. Three friends set up a motel room and a hidden camera with the intent of making amateur porn video with the women they plan to pick up during a night of bar-hopping. Their plan goes horribly awry when one of their intended sex partners reveals that she isn't what she appears to be.

* "Second Honeymoon", directed by Ti West. A married couple's second honeymoon is disrupted by a series of increasingly strange events.

* "Tuesday the 17th", directed by Glenn McQuaid. Four friends go on a camping trip to an isolated location that was the site of several brutal murders the year before.

* "The Sick Thing That Happened to Emily When She Was Younger", directed by Joe Swanberg. A girlfriend tells her boyfriend via video chat about odd noises she hears in her apartment during the night. She uses her laptop's built-in camera to show her boyfriend what happens when she decides to investigate the noises, and in doing so she learns that she's not alone.

* "10/31/98", directed by Radio Silence. A group of college students get together to go to a Halloween party, but wind up somewhere that is farthest thing from a party.

As with other entries in the found footage subgenre, the crucial detail is whether the movie benefits from using the found footage aesthetic. If you're going to shoot a movie as found footage, then the movie has to integrate that detail as a primary part of its narrative; otherwise, the movie might as well be shot as fiction films usually are and not as found footage. Unfortunately, the found footage style does not add much to the stories in V/H/S. Each of the protagonists use consumer-grade video cameras to document key moments of their lives in some way, but the cameras and the act of using cameras do not feel integral to the telling of the stories.

Further hindering the quality of V/H/S are the stories themselves, which are neither original nor engaging. I’m particularly disappointed that the film did not take advantage of one of its own recurring plot points--the idea of a collector who amasses a sizable inventory of footage of people in final days, hours and minutes of their lives.

Even though V/H/S won't bring any new fans to the found footage subgenre, it does have a few noteworthy moments:

* There's a chilling scene in "Second Honeymoon" involving video footage shot in a hotel room in the middle of the night. While this doesn't sound exceptional on the surface, director West sets it up to be the most memorable sequence in the movie.

* "Tuesday the 17th" is like an abbreviated slasher movie, but with two unique details: its "final girl" has a very disturbing idea about how to stop the killer, and it uses static and digital distortions in the footage to indicate the direct presence of a malevolent force. The distortion effect is unnerving to see--it's sort of like the Predator's cloaking device, only much more surreal--and it's a shame that the story didn't make better usage of it.

* "Tape 56" and "Amateur Night" play with the idea of sleazy digital voyeurism, although both use it as a plot device to set up the protagonists for their grisly yet predictable fates. Yet when I watched these characters plan and execute abusive, violent and exploitative activities for the sake of recording them for profit, I couldn't help but to think of recent all-too-real controversies surrounding high schools in Steubenville, OH and Saratoga, CA, where teenage rapists used digital media to document and brag about their crimes. With that in mind, I'm guessing that a found footage variation on I Spit on Your Grave is only a matter of time.

From what I've heard so far, V/H/S/2 is a better movie than its predecessor. In contrast, V/H/S is an intriguing but unsuccessful experiment with the found footage subgenre, and it thus would only be of interest of the subgenre's most devoted fans.

Yes, This Almost Happened: The Car Game--for Kids!

When looking back at the history of the American toy industry, it’s amazing to consider some of the toys that the industry thought would be “appropriate” for kids. Take Kenner, for example: After making boatloads of cash from Star Wars toys, it hastily picked up the toy license for Alien simply because it was a high-profile space movie without giving a second thought about how horrifying the film actually was. Along those lines, Kenner did something else based on movie popularity, with likewise questionable results. It created a game for kids based on the 1977 horror movie, The Car, about a possessed, driverless car that loves to run over people. I had no idea that this game was even an idea in someone’s head, let alone something that Kenner thought about releasing to toy stores, until I found a post about it on the Plaid Stallions site.

With Kenner's The Car game, kids can get run down by

a demonic vehicle in the privacy of their own homes.

(Photo courtesy of Plaid Stallions.)

From licensing and design perspectives, The Car game sort of makes sense. Ideal released a similarly-themed game based on Jaws that proved to be quite popular, so someone at Kenner probably thought that a game based on a Jaws rip-off would be almost or just as popular. Furthermore, toy cars and motorcycles that could be propelled from a launcher base had been reliable sellers during the 70s and 80s, so I could see Kenner utilizing such a design as part of a game, possibly based on a preexisting launcher design that could be modified and relabeled for the game at minimal cost. Nevertheless, just reading the description of the game in the picture above makes it pretty clear that the players who lose the game are killed by the monster car, thus making the winning player the survivor. Candyland this isn’t.

I’m not sure why Kenner never actually produced the game, although I suspect that it was scrapped after The Car failed to live up to expectations at the box office. It should be noted that the movie went on to become a cult classic and that ERTL released a die-cast replica of the titular vehicle back in 2003. Those replicas now go for a few hundred dollars on the collectors' market.

ERTL's replica of The Car.

Human Sacrifice, Spirit Photography and a Cursed Village Haunt Nintendo Wii's Project Zero II: Crimson Butterfly

Two people who are lost in the woods find themselves in a strange village that vanished a long time ago under mysterious circumstances. No, it's not Brigadoon--it's the Nintendo Wii edition of Tecmo's Project Zero 2: Crimson Butterfly (a.k.a. Fatal Frame 2).

Project Zero 2 was one of the last major releases for the Wii, but it was only sold in Europe and Japan in June 2012. I was able to purchase a copy of the European version at a reasonable price through eBay, and then I played it on my Wii console through the region-free Gecko OS application that I downloaded for free from the Homebrew Channel. This might sound like a lot of effort just to play a video game, but I'm glad I did it. Even though it arrived late in the Wii's release schedule, Project Zero 2 is one of the best horror games available for that console. Read on for my complete review.

The Wii edition of Project Zero 2 is a remake of Fatal Frame 2, which was originally released for the PlayStation 2 in 2003 and the Xbox in 2004. While the game has been changed to fit Wii's motion control system, its plot remains the same: Twins Mio and Mayu Amakura are hiking through the woods of Japan to return to a place they liked to visit in their childhood. Mio follows Mayu into a detour that takes them much deeper into the forest, where they find an ancient village that appears to be abandoned. As they explore the village, they learn that a human sacrifice ritual involving twins that was regularly performed by the villagers had gone horribly wrong, which then opened a portal to the underworld that plunged the village into a state of murky limbo. Yet many angry ghosts still walk the streets of the village, and they are determined to use Mio and Mayu to perform the ritual correctly to end the curse that imprisoned them in everlasting darkness.

Project Zero 2 is one of the creepiest horror games I've played on the Wii. Between its detailed environments, gruesome story and impressive selection of ghastly spirits, this game will make your skin crawl for hours on end. Players will encounter ghosts of previous sacrifice victims, as well as those of visitors who found the village and became trapped by its curse. Two of the most disturbing spooks among the cast of phantoms are the woman with the broken neck (she walks around with her lifeless head eerily flopping from side to side) and the woman who committed suicide by throwing herself down a stairwell (watching how this ghost moves herself along the floor will make you squirm). As the game progresses, players learn more about the specifics of the sacrifice ritual, the people who lived in the village, and what went wrong that caused the village to vanish.

The game utilizes the Wiimote and nunchuk controllers to enhance players' immersion into its gloomy world. Players use the Wiimote to aim either a flashlight or the Camera Obscura, the only weapon Mio and Mayu have to fight against the ghosts. Defeating ghosts gives players points, which can then be used to buy upgrades for the Camera Obscura. I've never played any of the Project Zero/Fatal Frame games before this one but I found the Wii-specific controls to be very intuitive and responsive, so much so that I’m astonished that Nintendo didn't adapt the entire series for the Wii console. (Actually, Nintendo did release Project Zero 4: Mask of the Lunar Eclipse for the Wii back in 2008, but that release was exclusive to Japan and it currently costs around $80 or more to buy on eBay. Dammit.)

Unique to the Wii's version of Project Zero 2 is a Haunted House mode, where players tour different haunted locations. This is a fun addition to the game that "measures" your fear by how much you shake the Wiimote during your haunted visit; this mode also allows a second player to participate by triggering random scares to surprise the other player. The selection of haunted environments and two-player game play format is very similar to another Wii title, the Ju-On: The Grudge Haunted House Simulator. However, Project Zero 2 is the better purchase simply because it's better made and has so much more to offer than the Ju-On game.

Project Zero 2 does have its shortcomings, but not enough to ruin the overall gaming experience. Most of the missions involve looking through old village buildings to find various objects; this becomes repetitive and a somewhat annoying from time to time. Furthermore, because of the game's strong focus on narrative, players will often have to find a certain object or perform a particular task in order for the game to progress. If players cannot figure out what the object or task is--and sometimes it is not as obvious as it should be--then the game essentially comes to a halt. For example, I was in a level that required me to look through a hole in a wall in order for a necessary cut scene to play. Yet because this kind of action wasn't required anywhere else in the game to make it continue, it didn't occur to me to do it until I watched a Project Zero 2 walkthrough video on YouTube.

If you enjoyed other Wii horror games such as Calling, Cursed Mountain and Silent Hill: Shattered Memories, then you will want to add Project Zero 2 to your library. It may be hard to get for some Wii gamers, but the effort is worth it.

Old Super 8 Home Movies Make the Final Cut in Sinister (2012)

For as much as horror movies are associated with scary monsters that are made possible through complex special effects, some of the most noteworthy movies are the ones that take something that is so ordinary and harmless and turn it into the source of unimaginable terror. Such is the case with the Super 8 movies that form the center of Sinister, a 2012 film that was directed and co-written by Scott Derrickson.

Sinister tells the story of Ellison Oswalt (Ethan Hawke), a true crime novelist who moves his wife and kids to a small town in Pennsylvania where a family was massacred by an unknown killer. Oswalt hopes that his research into the murders will provide him with a new bestseller that will rejuvenate his stalled career. While his family moves into their new home, he finds a box of Super 8 home movies in attic that were shot of different families at different locations, from the 1960s to the present. Strange and eerie things begin to happen as Oswalt researches the films to understand their link to the murders he is investigating, things that push him and his family deeper into a mystery that isn't meant to be solved.

Sinister feels like a hodgepodge of ideas from other films that feature found footage, ghosts and slashers, but the end result of this combination is a creepy, compelling film that boasts a strong performance by Hawke and haunting direction by Derrickson. Even though seasoned horror fans will figure out the film's final twist before the characters do, Sinister is so well produced that it will keep you watching until the final twisted frame.

Even though Sinister is not a "found footage" movie like Blair Witch Project and Paranormal Activity, the Super 8 home movies that Oswalt finds become an intimidating force during the course of the story, thus turning an obsolete media format into a vehicle for hallucinatory nightmares. In an interview with Bloody Disgusting, Derrickson revealed that he shot the Super 8 movies before shooting the rest of the film. "I think that creating the Super 8 imagery before shooting the body of the film – along with finding the music that I found – had a lot to do with the overall impact of the whole film," said Derrickson. "Those elements set a tone in my mind that represented what the movie was going to feel like. I bought 9 music tracks ahead of time and shot the Super 8 films to those tracks. ... In some ways I think buying that music early on was the wisest move I made when making the film. I can’t imagine what the movie would be without them." In that observation, Derrickson is absolutely correct. Imagining Sinister without its Super 8 movies is like imaging Alien without the artwork contributed by H.R. Giger.

When considering the creative influences in Sinister, the most obvious would be The Shining, Ringu, and H.P. Lovecraft's "The Dreams in the Witch House" story. Yet with its depiction of the insanity that erupts when voyeurism collides with obsession, Sinister's most interesting themes are similar to those in David Cronenberg's Videodrome. Derrickson's film is not nearly as bizarre as Cronenberg's, but Hawke's intense portrayal of a man falling under the hypnotic thrall of disturbing moving images is reminiscent of Videodrome's doomed protagonist Max Renn (James Woods).

Invisible Demonic Terror Returns to Suburbia Again in Paranormal Activity 4 (2012)

Among modern horror film franchises, Paranormal Activity is the only one that has been able to consistently use the "found footage" style of storytelling throughout each of its films. Other franchises that began in the horror subgenre of found footage all jettisoned that style at one point or another. Some did as soon as the first sequel (Blair Witch Project, The Last Exorcism), while others did so later (REC). Yet upon my viewing of Paranormal Activity 4, this franchise's accomplishment is looking rather dubious. After all, why stay within the style of found footage if it begins to hamper a franchise's storytelling possibilities?

For as competently made as it is, PA4 serves as a reminder that its franchise needs to make some major changes very soon to keep its central story engaging and avid fans interested in more PA movies. Read on for my complete and spoiler-free review of Paranormal Activity 4.

Paranormal Activity 4 takes place in 2011, when a family in a suburban neighborhood takes in their neighbor's child Robbie (Brady Allen) after his mom is suddenly rushed to the hospital. During his stay, Robbie begins to bond with the family's youngest member Wyatt (Aiden Lovekamp)--a bond that sparks suspicion in older sister Alex (Kathryn Newton) when strange, inexplicable things begin to happen in their house.

I wasn't completely dissatisfied with PA4, because there are plenty of scary ideas embedded within the story. It provides some more ideas about how the cult that was introduced in PA3 operates, and how children play a key role in the cult's grander scheme. Such a scheme explains a crucial plot twist that happens during the middle of the film, a twist that honestly surprised me but was logically consistent with the PA movies that came before it. PA4 also makes use of the Xbox 360's Kinect feature in a very creative, creepy way.

Because of the low-budget nature of found footage movies, PA4 has to rely on a lot of strategically placed obscurity to keep the special effects budget at a minimum. In doing so, this sequel mostly relies on same bag of tricks used in the previous films: characters reacting in horror to something just outside of the camera's view, supernatural entities appearing as powerful, fast-moving blurs, etc. These tricks worked well enough in the previous films, but they're begging to show their age in PA4.

Just as the camera angles are set up in PA films to hide certain visual details, the films are also structured in a way that conceals key plot points until near the end (or at the very end) of the film. As such, PA4 recycles plot details from the previous two sequels--the protective sister figure from PA2, the children who have strange imaginary friends from PA3--as a way to keep things going until the final reveal. Further dulling the sequel's creative spark is that its setting and characters look almost identical to settings and characters from the previous films: upper middle class people living in upper middle class households. To go by the situational logic of the PA franchise, supernatural entities are only interested in terrorizing people who prefer suburban living and fall within a particular income bracket.

Watching PA4 was like watching one of the later seasons of The X-Files. You sit through a lot of stuff--some familiar, some different, some scary, some boring--for the sake of learning a bit more about the grand conspiracy that ties everything together, only to be left with only a few more small details to ponder at the end. PA4 is shorter than a season of The X-Files, so it at least has that going for it. Yet if this franchise is going to have a future, it has to do something different to keep the story fresh and scary. Otherwise, future PA sequels will be the kind of footage that no one wants to find.

Follow a Terrifying Investigation of the Supernatural in Noroi (2005)

For some, the horror subgenre of found footage has become the bane of good horror filmmaking. Much like the slasher and zombie subgenres in previous decades, found footage has become the subgenre of choice for aspiring horror filmmakers who have very small production budgets at their disposal. Of course, the talents of such filmmakers vary and while some of them have produced found footage films of high entertainment value, many more have made films that are simply average, below average, or so below average that they are unwatchable.

Even though some found footage narrative conventions have become clichéd due to their recent overuse, I still think that this subgenre has the potential to tell stories that other subgenres can't. As the name suggests, "found footage" is just that--footage that was shot by one person or group and found by another. With so many forms of video technology available these days, the footage could come from anywhere: home video, security cameras, news footage, live Internet video feed, and so on. In other words, wherever a video camera can be found, a found footage horror movie has the potential to be made.

In the case of Noroi, the found footage in question is a documentary that was completed by a journalist two days before he went missing. Unlike most found footage films, Noroi is shot like a documentary with very few "shaky cam" shots. What also sets this film apart from others in its subgenre is the span of time it covers: most found footage films cover events that occur within a few hours or a few days, but Noroi examines events that occur over the course of several months. Such differences result in a different kind of horror movie, the kind that foregoes jump shocks and excessive gore in exchange for an eerie, creeping mood that stays with you long after the film ends. Read on for my complete review.

Noroi is about the last documentary made by Masafumi Kobayashi (Jin Muraki), a paranormal investigator, and the events that led up to his disappearance. Kobayashi's documentary tracked a handful of what initially appear to be separate incidents of supernatural activity (EVP recordings, psychic visions, spirit photography, etc.) but they all have connections to the sinister occult practices of Shimokage, an abandoned village located in Japan's Nagano Prefecture. The footage in the documentary includes interview footage shot by Kobayashi and his crew, along with footage from other Japanese TV shows about the paranormal and archival footage from 1977.

Noroi is a complex movie with a large number of characters and subplots. For the complete story to make sense, the viewer has to pay close attention to the video clips that are shown to identify clues--both spoken and unspoken--that tie each of the narrative threads together into a complete story. Furthermore, because most of the film's footage is shot like a documentary, it feels like you are watching a horror movie from the outside and looking inward. Almost all of the deaths that happen in the movie occur off the screen, so you'll never see a single scene where a victim is being stalked and attacked by some mysterious threat.

This is not to say that Noroi isn't scary at all; far from it. Director Kôji Shiraishi knows how to build a fragmented narrative that slowly converges into a whole and rewards viewers who are willing to put the pieces together in their minds as the film progresses to its conclusion. Noroi is not an example of cinematic shock, but a layered supernatural mystery that will make your skin crawl if you let it. That said, just because it doesn't feature much explicit violence or gore doesn't mean that Noroi is neither brutal nor gruesome.

Horror fans who love films that are loaded with high-intensity frights and bloodshed will be disappointed in Noroi because it is not that kind of film. However, horror fans who love a good mystery should see this movie, particularly the version that includes the alternate ending. That's the version I saw and I think that calling it an "alternate" is a misnomer; it's actually an extended ending that it delivers a chilling conclusion to Noroi's engrossing, intricate mystery.

Classic Italian Horror Cinema Lives on in Insidious (2011)

One of the great things about being a long-term horror fan who watches both American films and films from other countries is noticing how older horror films impact newer horror films in different cultures. No, I'm not talking about Hollywood's current infatuation with remaking horror movies, both domestic and foreign; I'm talking about how filmmakers from one country adopt the look and feel of horror that is often associated with filmmakers from another country--while at the same time remaining faithful to their own cultural roots. Such mixture of styles result in horror movies that are much more engaging than those that are content to merely imitate the cinematic approach used by the most well-known horror movies.

Take Insidious, for example. When it was released in 2011, the ad campaigns promoted the fact that it produced by people from the Saw and Paranormal Activity franchises--namely James Wan, Leigh Whannell, Jason Blum, Jeanette Brill, Oren Peli and Steven Schneider. Wan directed Insidious, while Whannell wrote its screenplay and Blum, Brill, Peli and Schneider assumed producer duties. Such advertising was done to capitalize on popular American horror franchises, and the plot of Insidious does bear some plot similarities to Paranormal Activity (2007) and other popular American horror movies such as The Exorcist (1973) and Poltergeist (1982). Yet what I did not expect when watching Insidious was just how much it was influenced by classic Italian horror directors such as Mario Bava, Lucio Fulci and Dario Argento. In other words, as American horror movies go, Insidious is the most Italian movie I've seen that wasn't made by anyone from Italy.

Insidious tells the story of Josh and Renai Lambert (Patrick Wilson and Rose Byrne) who have just moved into a new home with their three children. After one of their children Dalton (Ty Simpkins) slips into an inexplicable coma, strange occurrences begin to plague the Lambert family. The Lamberts move to a new address to escape what they believe to be a haunted house, but the haunting continues in its frequency and intensity. Josh and Renai soon learn that the key to ending the haunting lies with saving their comatose son, a task that requires the Lamberts to look to the past for answers.

I don't want to say too much more about Insidious because it will give too much away. What I can say is that I think it is a movie that delivers an ample supply of scares, largely through Wan's careful attention to detail: the film features many visual and spoken clues that pay off greatly during the film's final act. I also encourage horror fans who love films by Italian directors such as Bava, Fulci and Argento to see Insidious because they will find much to appreciate in this movie. As the film progressed, it reminded me of classic Italian thrillers such as Shock (1977), Suspiria (1977) and The Beyond (1981).

I think that Wan's homage to Italian horror was intentional: If you look closely in Dalton's bedroom in the second house, you'll briefly see a page from a Diabolik comic book displayed in a picture frame. The character Diabolik made his first appearance on the big screen in 1968's Danger: Diabolik, a film that was directed by horror maestro Bava. That said, I'd also advise that fans who don't care for Italian horror, which is known for balancing surreal creepiness with low-budget camp, might want to avoid Insidious for the same reason why I appreciated it. If spaghetti horror isn't your thing, Insidious probably won't be either.

Insidious is a welcome addition to the haunted house subgenre of horror, but fans who know their foreign films will also be thrilled by the movie's frequent nods to the classic Italian approach to fright flicks.

REC 3: Genesis (2011) Movie Review: 'Til Demonic Possession Do You Part

After watching all of the films in the REC franchise so far, I've come to this conclusion: The ending for the first movie in 2007 was that film's "twist" ending. Period. I don't think that the film's creators had any plans to explore that ending in any greater detail, let alone build a franchise around it. Yet a franchise is what REC started and as of the latest entry, REC 3: Genesis, fans are no closer to learning anything more about the larger significance of the ending of the first film within the REC universe.

To be sure, REC 3 is not a bad horror film; its director Paco Plaza has a lot of talent and it shows in many sequences of this sequel. But even though REC 3 is a more polished movie than its predecessor REC 2 (2009), it still is a weak sequel in terms of advancing the plot that was started in the first movie. Read on for my complete review. Note: If you haven't seen REC yet but would like to, skip this review now and come back later because this review will spoil the ending of that movie for you.

REC 3 is takes place on the wedding day of a young couple, Koldo (Diego Martin) and Clara (Leticia Dolera). Everything appears to be perfect on this day of holy matrimony, except for one of the guests who arrives with a peculiar injury that he sustained just before the ceremony. As the wedding ends and the reception festivities begin, the guest's injury erupts into a vicious epidemic that threatens to engulf everyone in its path.

As a sequel, so much goes wrong here--even its title is a misnomer. The term "REC" suggests "record", which calls attention to the found footage style of the first two movies, but REC 3 only features found footage-style cinematography for the first third of the movie and the rest is shot like a regular feature. The subtitle "Genesis" suggests to REC fans that the second sequel might reveal something significant about Niña Medeiros, patient zero of the demonic possession epidemic first seen in REC. It doesn't, and the real meaning of the word "Genesis" within the narrative of REC 3 will leave fans disappointed. The connections between REC 3 and the other two movies are negligible, so much so that it almost feels like REC 3 is a sequel-in-name-only. Indeed, REC 3 does not live up to the description provided on IMDB, which states: "In a clever twist that draws together the plots of the first two movies, this third part of the saga also works as a decoder to uncover information hidden in the first two films and leaves the door open for the final installment, the future REC 4: Apocalypse."

So, with REC 3 failing as a sequel, how does it fare as a horror movie? Better than you'd expect, but still it falls short where it counts. Using a wedding reception as the site of a gory outbreak leads to some unique scenes and situations. Plaza sets up a few good scares and keeps the pace running smoothly; he also throws in plenty of gory gags that will remind horror buffs of splatstick classics such as Evil Dead 2 (1987) and Dead Alive (1992). Yet Plaza's turn towards humor after the previous two films, which were very serious in their portrayal of horror, indicates a reluctance of sorts on his part. Such reluctance dovetails with the ongoing problem of the REC franchise's portrayal of victims of the demonic possession, victims who behave more like zombies than anything else. Sure, the reflection of the victims in mirrors and other reflective surfaces show their true demonic nature, they refuse to set foot in churches and they stop dead in their tracks whenever someone quotes Bible verses, but otherwise the victims are indistinguishable from most movie zombies. If the victims acted more like they were possessed by demons and less like zombies, they'd probably be much scarier.

The demonic possession/zombie outbreak quandary in the REC franchise brings me back to the beginning of this review. Plaza and his co-director Jaume Balagueró set up the situation in REC to seem like a zombie outbreak (particularly a zombie outbreak similar to the one seen in 2002's 28 Days Later) but then threw in a twist ending that revealed the cause of the outbreak to be a communicable form of demonic possession. Yet with this narrative rule established in the first movie, REC 3 doesn't get much mileage out of it. After all, if someone is possessed by a demon, a non-corporeal embodiment of pure evil, then the victim should torment, torture and do other evil, vile things while under the control of the demon. A demonic outbreak on their wedding day should be an unrelenting nightmare for Koldo and Clara, since demons possess their family and friends--people who are the closest to the couple and could thus psychologically abuse them in grizzly, twisted ways. That doesn't happen, so instead we get the usual zombie high jinks: blood-gushing cannibalism, dismemberment, disemboweling and decapitation. Ho-hum.

There was a lot that I didn't like about the first sequel, REC 2 (read my review of that film here). One of the worst things that it did was to bring up a very interesting and revealing plot point early in story--that the priest who was assigned by the Vatican to treat Medeiros also infected children with the demonic possession while searching for a cure--and then ignoring it for the rest of the film. That thread alone could have been expanded for the plot for REC 3, tracking the Medeiros case from its beginnings in Portugal to its arrival in Spain and its subsequent involvement of child test subjects. This plot could also have be used by Plaza and Balagueró to provide metaphorical commentary about the ongoing child abuse scandal within the Catholic Church and/or the Vatican's reinstatement of the dubious practice of exorcism in contemporary society. It could be that Plaza and Balagueró never considered such possibilities for their franchise, or they did but decided against doing so to avoid courting controversy. Nevertheless, the refusal to take the REC franchise to darker, uglier places makes its sequels feel like increasingly bashful continuations of the bold REC. With that in mind, I'm guessing that the upcoming REC 4: Apocalypse will not be nearly as apocalyptic as its title wants you to believe.

Between its splatstick sense of humor and well executed but otherwise unexceptional demon/zombie gore, REC 3 feels less like a sequel to REC and more like a sequel to Lamberto Bava's Demons (1985). In fact, with some minor edits and some bad English dubbing, REC 3 could be re-titled as Demons: Rebirth and put into a DVD box set with Demons and Demons 2 (1986) and few would be the wiser for it. If you view REC 3 with that in mind, you might enjoy it; if not, expect to be disappointed.

Experience Tibetan Terror in Wii's Cursed Mountain

With computer technology's relentless advancement in the area of graphics, both in terms of complexity and depth, I find myself more and more amazed at how vividly some video games can create a virtual environment--so vividly that you can almost feel it as if it were a real thing. Such a feeling enhances a gaming experience considerably, since it's much easier to empathize with the game's characters and situations if you're engrossed in the atmosphere of the world they inhabit.

Such is the case of Cursed Mountain, a survival horror game that was released for the Wii back in 2009. Cursed Mountain takes place in the Himalayan mountains during the late 1980s, and the game's rendering of the many environments you encounter during the game is nothing short of breathtaking. Read on for my complete review of this immersive horror chiller.

In Cursed Mountain, you play as Eric Simmons, a mountain climber who is looking for his younger brother Frank after he disappeared during a climbing expedition in Tibet. Frank was climbing a mountain called Chomolonzo, which is regarded as sacred by the locals, and Frank's ascent of Chomolonzo set forth a deadly curse that plagues the surrounding communities. As Eric, you seek to find Frank and put an end to the curse that has claimed countless lives and appears to have no end in sight.

The curse that's depicted in Cursed Mountain is linked to Buddhism, which contributes a layer of eerie mysticism to the game's proceedings. While the story itself reminded me somewhat of the ancient Greek myth of Orpheus and Eurydice, it's a retelling of this myth that relies heavily on Buddhist ideas and symbolism.

I cannot say for sure how accurate this game is in its depiction of Buddhism and Buddhist beliefs and practices that are specific to Tibet; nevertheless, Cursed Mountain takes full advantage of the imagery and concepts that Buddhism provides. Its depictions of Buddhist relics, temples and monasteries are meticulously detailed, as are the surrounding villages and landscapes. As you continue to ascend the mountain, the increasingly harsh landscape is effectively portrayed through the sounds of icy winds and the appearance of sudden whiteouts, almost to the point of feeling a few chills of your own. I'm still amazed at how much detail is in this game, and I can only imagine how much research the game's developers had to do to ensure a faithful reproduction of the Tibetan culture and environment.

Of course, with Cursed Mountain being a survival horror game, all of the locations are abandoned and you have to look through them to find clues about the location of Frank, the events that led up to his disappearance and how his disappearance is linked to the curse. The detailed environments emphasize the mood of isolation and desolation that pervade the game, and it puts the player's central focus on Eric's internal monologue about his tumultuous relationship with his headstrong brother. Even though the conclusion of Cursed Mountain doesn't have the same heartbreaking impact as the end of Silent Hill: Shattered Memories, it's a poignant drama in its own right about jealousy, forgiveness and letting go, compellingly told in the context of a ghost story.

One of the common complaints that I've read about Cursed Mountain is how the Wii's motion controls are not always responsive to the sometimes complex series of motions you have to perform during combat with ghosts and demons. I did notice this problem at times during the game, but it wasn't enough to ruin the gaming experience for me. The problem I did have was with the "Third Eye" system of combat. During the game, you have to use the Third Eye--a sort of spiritual means of vision--to see your opponents' weaknesses and use your sacred weapons to their fullest extent. However, while you are in the Third Eye mode, you are stuck in one place and cannot walk forward, backward, left or right; you can pivot and aim your weapons at targets all around you, but that's the only movement of which you are capable while using the Third Eye. This makes you a sitting target whenever you are ambushed by ghosts and demons, and you will be ambushed many, many times throughout the game.

Cursed Mountain is a remarkable gaming experience, one of the best horror titles available for any game console. Its unique approach to horror survival game play, its detailed environments and its absorbing story make it a welcome addition to any horror gamer's library.