Oculus

This film was fantastic. I was creeped out the entire time, right from the introduction of the mirror. There has always been something slightly disconcerting about staring into a mirror at night, half expecting someone to jump out from over your shoulder. This film captured the essence of this perfectly. There was not a lot of action, not much blood or violence, but just enough to scare the audience. Just when you think that you have the mirror figured out, something else comes around to make you think otherwise. It makes you wonder if the characters are just crazy, that none of the film is actually real. You will never know exactly what is going on. That is what made it such a well done horror film, backed up by great acting performances from both adults and children. If you enjoy horror films as I do, go to see this film, you will not be disappointed!

A while ago I reluctantly accepted that we will probably never see a truly groundbreaking horror movie again. A film that is both truly cinematic and gut-wrenchingly horrifying. Hollywood has just become to commercialized, too calculated, and to conveyor belt-like in its approach to horror. Everything is summer blockbuster, Oscar season, and the crap that comes out January-March. Horror has become a get-rich- quick investment for producers. Invest small, obtain profit 10-fold.

But once in a while, a horror film gives us a glimmer of hope. Not redemption, but a little window of light from someone who almost gets it. And the skunkworks group from the Saw-Insidious-The Conjuring clan are to thank for that. They're latest work, Oculus, is the story of a brother and sister who obtain a mirror from their childhood that (they think) was responsible for the possession and murder of their parents. They rig their childhood home with cameras and lights, and wait for the proof that the mirror is possessed to get captured on camera.

Oculus is properly scary and, once you get past the awkward first 20 minutes, has a wonderfully progressive nature to it. Too many "horror" film nowadays deliver an uneven stream of gut-punches in the form of BOOM scares and disfigured faces. Oculus relies on an unsettling tonality, and a quantum state of uncertainty, making it a much more effective scare. The colors and set design is vintage Gothic horror, and the majority of the film is flashback driven which is was a very creative storytelling method and integrates perfectly with the story. And there's a scene or two that were so intense, I was making noises like I was lowering myself into scalding water, and fighting the intrinsic urge to turn my head.

My frustrations are centered on the beginning and the end. The first 20 minutes of the film, which set the story in place, is the only part of Oculus that takes place outside the house. It feels tacked on, ham-fisted in its delivery and lacks narrative, especially against the rest of the film. And given the flashback-heavy story, I believe the setting of the story could've been built into the flashbacks, strengthing the narrative and setting the whole film inside the house, which would make the film feel terrifyingly claustrophobic. And about the ending... It's just clichéd, predicable, abrupt and leaves too many questions unanswered.

Oculus isn't the last word in horror or quality, but it's scary as hell and it does what so few horror films do nowadays; it dissolves the world around you and makes you buy into a ridiculous story. The weak narrative gets a little long in the tooth around the third act, and I was left wondering if the script was ever going to reveal anything worth discovering. And ultimately it doesn't. Much like the never-ending winter we've had, we've had so many lackluster horror films lately, that when an average film comes along it feels like a gift.

Convincing horror effortlessly weaves together past, present, truth, & perception. Makes you question what you're witnessing while remaining completely believable. Twisted & unsettling, it's also cinematic proof redheads are crazy.

#nitrosMovieChallenge.

When her younger brother is finally released from a psychiatric facility years after his conviction for the murder of their parents, a woman seeks to prove the existence of the malignant and supernatural force she believes actually responsible. Conveniently, the locale of said force is a mirror and therefore easily transportable back to the family home-come-erstwhile crime scene.

Playing out less like the haunted house story one might expect from the outline above, this interesting take on psychological horror initially subverts expectations by presenting us with a brave and capable heroine with a well thought out (though necessarily flawed) plan. Writer and Director Mark Flanagan who later made the derivative and lacklustre Hush (2016)* and valiantly attempted the 'unfilmable' Stephen King adaptation Gerald's Game (2017), has made female protagonists with agency a feature of his work.**

There is some real artistry in the way Oculus employs the storytelling technique of constantly shifting between flashback and present day. Over and above using this device as a clever short cut to character development, it is in the moments where past and present seemingly overlap that the viewer receives the most vivid portrayal of the characters' fraying mental state.

Yet it is perhaps these intriguing elements which become the film's worst enemy. In allowing these glimpses into the mind of the characters, there are hints of a rich vein of storytelling left unplundered and therefore 'setup' without payoff. Rather than leaving us wanting more, the untapped potential of Oculus has the unintended effect of relegating it toward mediocrity.

Oculus is not without gore nor jump scares and most fans of the horror genre will therefore find it serviceable. Yet in setting up something truly unique and promising a subversion of the genre, there is the abiding feeling that the film lacks the courage of its convictions.

* Specifically derivative of the excellent Wait Until Dark (1967). ** Deaf and Mute or handcuffed to a bed though they may be.

Tim Russell (Brenton Thwaites) gets released from a mental hospital. Eleven years earlier, his parents (Katee Sackhoff, Rory Cochrane) get a mysterious mirror. His father supposedly tortured and killed his mother. In the present, his sister Kaylie Russell (Karen Gillan) rediscovers the mirror. Tim has only fragmentary memories of the incident. Kaylie aims to prove the murderous supernatural nature of the mirror. Michael Dumont (James Lafferty) is Kaylie's boss at the auction house and her boyfriend.

This movie has great moodiness. Much of it is due to the cold look and the vibrating sound design. Gillan is great. There is real tension about memories and reality when Tim disagrees with Kaylie. It's an old fashion horror like a ghost story told by the camp fire. It is expertly revealed. Everybody including the kids are great. The last act does get a little muddled as it tries to ramp up the excitement while trying to wind down the plot. It would have been great to have Gillan continue as the lead as the franchise inevitably continues.