Rated R for Violence and Bloody Images, and Language Throughout.
Now Streaming on Paramount+ For most of her life, Margot (Emily Bader) has wondered where she came from. She’s been haunted by a video of her mother abandoning her at a hospital, wondering what happened to her and why she abandoned her. Everything changed when she was contacted by Samuel (Henry Ayres-Brown), a young man who comes from an Amish community and claims to be a direct relative of her’s. So, with her friends Chris (Roland Buck III) and Dale (Dan Lippert) in tow, she sets out to make a documentary about her heritage. The family is reluctant to welcome them in, but are happy to have one of their own back. As their stay continues, they begin to witness strange, supernatural events. They begin to suspect the family isn’t who they say they are, as Margot begins to uncover the dark truth about who her mother really was. It’s been six years since the supposed final chapter in the Paranormal Activity franchise. After lying dormant for a number of years, the series has made a surprising comeback. Now, the series is under the directorial hand of William Eubank, who arguably has the most experience of any filmmaker that was brought onto this series. It seemed like Paramount was going all in for this revival. And that shows, as this is probably the biggest Paranormal Activity film ever. Not only is the setting much more expansive than previous entries, but the look of the movie is so much bigger. It’s really disappointing that this was regulated to only come out on Paramount+, because this looks like the first film in the series that feels like it should be seen on a large theater screen. A lot of this is thanks to the cinematography by Pedro Luque. The film’s image is so much clearer than the previous films, no longer relying on home video cameras to capture the activity. This time, we have documentary filmmakers who have more professional cameras. The environments are gorgeous, and help add a different flavor to the franchise’s signature formula. But at the same time, the film takes a wildly different direction with bits and pieces of the series’s own mythology. It doesn’t continue the story left after The Ghost Dimension, and has no major connections to any of the previous films. But after the rather convoluted story the series had put together, it actually makes sense to try and start from the beginning. This is a great example of how to do a franchise reboot. It takes different elements and styles from the previous films and applies them to a brand new story. It feels like a good balance between old and new, with enough elements for fans of the franchise to enjoy while also presenting something new that non-devotees will find entertaining as well. Very few franchise revivals are this widely open. Eubank does a great job giving the found footage format a modern stylistic upgrade. His knowledge of working with bigger, more effects driven films helps give the format a more cinematic look. There are times, however, when he intentionally breaks the found footage look and shoots some scenes traditionally. While this choice doesn’t make a lot of sense, he sticks to the style for pretty much most of the film, and shows what happens when a more experienced filmmaker handles it. Paranormal Activity: Next of Kin brings the franchise out of limbo and shows that a change in setting opens up a whole lot more potential for the series going forward. It strikes a perfect balance between established mythology and reestablished continuity that both fans and non fans will enjoy. After ending on a cliffhanger, I’m super excited to see if the series will continue and where it go from here.
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Not Rated (Contains Graphic Violence and Gore, Bloody/Disturbing Images, Pervasive Language and Brief Nudity)
Now Streaming on Shudder In 1994, a SWAT team receives video footage of what appears to be a drug operation. They are determined to put an end to it. They arrive on the site and bust in with lots of brute force. But inside the complex, they don’t find drugs but many dead bodies, all seated in front of malfunctioning television sets with their eyes gouged out. It’s clear that they’ve stumbled upon something much more sinister. As they journey deeper into the building, they are subjected to a series of disturbing videos through the televisions. These include the stories of a news reporter who tracks down a local legend within a storm drain, a young funeral home worker who oversees an overnight wake, a mad Indonesian scientist who is attempting to create a half-human/half-robot creature, and an extremist group who plan to use a supernatural creature to attack a US federal building. It’s been seven years since the last installment in the V/H/S series, V/H/S: Viral. Though that installment is a good movie, for most fans it ended the series on a subjectively low note. I don’t think anyone expected the series to return after so many years. But with original franchise headliners like Simon Barrett, David Bruckner, and Timo Tjahjanto behind it, there was a definite cause for excitement. And what they’ve put together is something that feels very different from the previous films. While it doesn’t quite reach the heights of the original, V/H/S/94 is a thrilling and unique return for the horror anthology series. It has a number of moments that should be instant highlights of the series, and shows that there is still a lot of life left here. The movie begins well with its two strongest segments, starting with Storm Drain from new director Chloe Okuno. The segment represents one of the biggest highlights of the overall film; how it nails the look of 90s video footage. As the story continues, it starts to turn into a genuine nightmare that features some great creature effects. It all culminates in a conclusion that will really stick with you. It then moves on to the second segment entitled The Empty Wake, which is probably the scariest segment in the film. Headlined by a great performance from Kyal Legend, who carries the short pretty much by herself, this one has a near relentless sense of tension. Director Simon Barrett takes a really simple setup and knows how to make it completely terrifying. However, while the film continues to stay great throughout, it’s when we get into the third segment, The Subject, that the movie begins to slow down. While the segment has some great visual effects and action sequences, it has a slow pace to the first half that makes it feel like a bit of a slog. It also feels the most detached of the film as in it doesn’t fit thematically with everything else. Much of the same issues carry over into the fourth and final segment, Terror. This one is also bogged down by a slow first half that takes a little too long to explain what’s going on. As a result, we’re left with rather unlikable characters that we don’t mind seeing get torn to pieces once the true horror elements really get going. It does do a good job with the home video quality footage, which does help with the overall atmosphere. V/H/S/94 is a great return for the anthology franchise that takes the series in interesting new directions. It features one of the most consistent and creative collections of horror shorts in the series, each one really nailing the 90s era footage. It may not live up to all its promises, and feel a bit underwhelming by the end, but as a long time fan of the series, I’m really excited to finally have it back. Rated R for language and some horror violence.
The Fleege family, Ryan (Chris J. Murray), his wife Emily (Brit Shaw), and their young daughter Leila (Ivy George), are eagerly awaiting Christmas. Joining them for the holiday are Ryan’s brother Mike (Dan Gill) and family friend Skyler (Olivia Taylor Dudley). While helping to decorate the house, Mike discovers an old camera that Ryan thinks the home’s previous owners left behind. This camera, given a number of strange upgrades, gives the family the ability to see a supernatural force that has suddenly appeared in their home. It seems to have set its sights on Leila, masquerading as the same imaginary friend that the young Kristi talked to in 1988. To protect his daughter, Ryan begins to uncover a supernatural conspiracy that his family may be tied to, and a decades old mystery will finally come to an end. After five movies, Paramount clearly wanted to find ways to change up the Paranormal Activity franchise. This time, in addition to giving us physical manifestations of the demon for the first time, the film was also released in 3D. This was a major first for found footage movies in general, and it definitely peaked my interest when this was announced. Also, for being originally marketed as the final chapter in the series, I was excited to see how it will all come together. All these new gimmicks make Paranormal Activity: The Ghost Dimension a wild installment in the series. It takes everything that defined the previous films and adds some fresh new ideas. This helps to make this entry really unpredictable at times, going in several directions that aren’t easy to see coming. One of the biggest highlights of the film is its use of 3D. You’re probably thinking, “it’s a Paranormal Activity movie. Why does it have to be in 3D?” It’s true that 3D is really only used as a gimmick to sell more expensive tickets. But every once in a while, one movie manages to really take advantage of the concept. And surprisingly, this is one of them. The first time I saw this in theaters, I was taken aback by how great the 3D aspect was. The appearances of the demon really jumped off the screen in ways that never felt gimmicky. It’s not an understatement to say that this is probably the most immersive film in the series. The 3D makes the demon feel like an actual, physical threat that could come for us as well as the central characters. I also love how the series changes up the franchise’s basic formula. The same nighttime camera setup gets a series of different incarnations throughout the runtime, mostly due to Ryan experimenting with the special camera. It makes the old concept feel fresh and inventive again, and keeps you wondering what will happen next. The cast also feels unique when compared to the previous films. Like the previous installments, the characters aren’t all that developed. But they have a certain charm to them that wasn’t present in the other families. They feel more “animated” so to speak, embodying some over-the-top personalities that often feel like they’re subverting the characters from past films. They’re really fun to watch as a result. It all comes together in a conclusion that feels truly unique. I’m not going to spoil what happens, but it’s certainly not something you’re going to see coming. The series introduced a number of really interesting ideas towards its conclusion, and though they didn’t get a lot of screen time to develop, they made the series feel like it had its own personality when compared to other long-running horror franchises. Paranormal Activity: The Ghost Dimension is a fitting conclusion to this portion of the franchise, shaking up the classic formula with fresh ideas that give the series its own flavor. It features some of the best 3D effects ever put to film, really using the concept to immersive the audience in the world more so than the previous films. If this had stayed the final installment, it would have been a great finale to the series. Of course, no horror franchise can lie dormant forever. With the forthcoming seventh installment being billed as a reboot rather than a sequel, it’ll be interesting to see which concepts will come over to the new continuity, and how the new filmmaking team will develop the ideas further if they do. Rated TV-14 (Contains Violence and Bloody/Disturbing Images)
American explorer and reality show host Emmett Cole (Bruce Greenwood) became famous for his televised adventures he took with his family. His trips took them to many places around the world, and they loved every minute of it, as did the millions of fans of his show. However, there was one adventure that Emmet decided to take alone. This eventually led to the disappearance of him and his crew. Now, many years later, his emergency beacon has been detected in the Amazon. His wife Tess (Leslie Hope) and his now adult son Lincoln (Joe Anderson) assemble a team of their own to finally solve the mystery. There, they discover that his beacon leads to a secluded river known as the Boiuna, which turns out to be more than they could’ve imagined. This is a place where magic comes to life, and paranormal forces lurk around every corner, and they’ll have to confront their darkest fears if they’re going to find Emmet. The River is the first and only television series created by Paranormal Activity creator Oren Peli. Originally envisioned as a movie, he was convinced to expand it into a series for ABC. Found footage rarely gets any kind of exposure on TV, so this was a really ambitious series for the time. It’s certainly a risky premise that greatly differs from the various other basic cable shows in terms of style and execution. And that’s what makes it one of the best TV shows to come out in the past decade. It’s certainly one of the most criminally underrated shows in some time, as the series was cancelled after just one season. With the first season ending on a massive cliffhanger, it’s really frustrating that we’re never going to get a satisfying end to the story or the characters, especially with everything hinted at that was planned to appear in later seasons. What makes this series so great is just how different it is from other basic cable shows. For once, this show isn’t some kind of police procedural with a waisted yet interesting premise. This is a really fun and mysterious adventure story that has a lot of creative ideas. It manages to stand out against other, more popular shows. It’s also pretty scary, which is also rare for a television series. The use of the found footage format helps to create some truly nightmarish moments when the supernatural threats come in. There is certainly a variety of them, and every one of them is likely to get under your skin when they show up on screen. It does a great job sticking to the found footage format, and executing it flawlessly. There are a variety of cameras used throughout, from high grade film cameras to low grade Go-Pros. Each one is used logically to maintain the found footage look rather than just faking it. They also help to elevate the scares, and along with some impressive effects for a television series, it really knows how the format can be used correctly. The show also gives us some really good and different characters. Though not much development happens throughout its eight episode run, they’re not the standard kinds of characters you see in a basic cable show. They have unique personalities and aren’t just one-dimensional idiots. They are a charming cast that you’ll want to see make it through their adventure. The River is a fantastic series that was sadly given the axe way too early. Combining a creative premise with an expert use of the found footage format and some truly unique characters, the series is one of those rare basic cable shows that manages to carve out its own identity by the end of its short first season. It’s sad that we’ll never get to see where the show was going to go, but for an introductory season, it certainly does a whole lot right. Not Rated (Contains Violence, Language and Disturbing/Frightening Images)
The Gonjiam Psychiatrist Institution in South Korea has been abandoned for many years, and has an infamous reputation around it. There are rumors of paranormal forces within the building, with many attempting to prove this either going insane or disappearing all together. The many weird events have caused the building to be considered one of the most haunted locations in the world. But is it really as haunted as they say? That is what the South Korean horror web series Horror Times is going to find out. For their Halloween livestream, they’ve decided to enter the facility and see if the supernatural rumors are in fact true. As their show continues, strange events begin to happen. The come to realize that the legends are true, and the truth behind the hospital’s closure may be more deadly than they could’ve realized. As the main setting suggests, Gonjiam: Haunted Asylum is a found footage movie that comes to us from South Korea. It has a very similar setup to the 2011 film Grave Encounters, which was also about a paranormal investigation at a psychiatric hospital that goes horribly wrong. But despite their obvious similarities, Gonjiam is a very different film. There has always been something about horror movies from Asia that makes them far more terrifying. They have a better handle on creating images and situations that prey on our fears better than American filmmakers. And this film is no different. There are so many creative scares throughout; ones that are really able to get under your skin and make you jump. There’s also the cast that helps sell the frightening situations. Even though their characters are basic personalities that don’t really develop throughout, the central cast really nail their roles. Each one really embodies the fear that their characters need to go through over the course of the story. They really make the characters charming and fun to watch. The film also does a good job updating its central premise, helping it to stand apart from films like Grave Encounters. Rather than using the concept of filming for a reality show, the film’s use of a livestream helps make it feel more in tune with today. It helps to give the film its own flavor when compared to many similar films. Gonjiam: Haunted Asylum is a unique and terrifying addition to the haunted asylum sub-genre of found footage horror films. It finds creative ways to update the premise that help it stand apart from the ones that came before. It also has several moments of genuine nightmare fuel that might just stick with you after the credits. Not Rated (Contains Violence/Terror, Bloody Images and Language)
Sisters Trish (Abigail Schrader) and Jessie (Samantha Lester) are on their way home from a holiday vacation in New York. While flying home, they and the other passengers are caught in a violent plane crash. Though many are severely injured and they have no idea where they are, they are confident that someone will come to rescue them if they just stick together. However, it isn’t long before strange things begin to happen. Some kind of unseen predator has set its sights on them and forces them away from the plane. As they transverse their environment, they discover various abandoned buildings and evidence of a military presence. They begin to uncover a secret experiment that those behind it will do anything to keep hidden from the public. Area 407 does have a fairly standard survival premise. It obviously takes its cues from The Blair Witch Project, as well as elements of Cloverfield sprinkled throughout. The film goes in fairly obvious directions and its pretty easy to figure out where it will end up in the end. However, just because it doesn’t reinvent the wheel doesn’t mean it’s bad. Sure it’s a little rough around the edges and often suffers from a mediocre script and average performances. But what I appreciate about this one is the kind of risks that the filmmakers were willing to take with their story. For clearly being an independent film shooting on a very low budget, they actually have some really impressive special effects. The creatures that hunt our characters are mostly kept in the shadows, probably due to the low budget. But whenever they do show up on screen, even in just little portions, they don’t look that bad. They are mostly done through practical effects and they actually look pretty good when they show up. But there are even short moments with CGI creatures, and they don’t look too bad either given their limitations, especially in the film’s great final scene. By keeping the creatures mostly in the dark, the filmmakers actually do a good job keeping their true nature a secret. In the scenes leading up to their eventual reveal, there are little details that come up that imply different possibilities. It really keeps the audience guessing what they are, and this is one of the more unique things about this movie. Area 407 has enough interesting ideas and good creature design to make up for its well trotted story. It makes good use of its limitations and is able to keep the audience guessing as to who or what the true villain is. It’s story doesn’t go in many unexpected directions, but the amount of times it takes big swings makes it entertaining nonetheless. Not Rated (Contains Language, Brief Sexual Content, and Some Disturbing Violence)
Young couple Liz (Erin Way) and Rick (Eric Matheny) were eagerly anticipating the arrival of their first child. But upon waking up one morning, they found that their unborn child had disappeared from her womb. There is no real explanation for what happened, but the police are treating it like a missing child case. With the story starting to gain serious media coverage, they decide to take a much needed vacation. In tow is Liz’s film student brother Evan (Ryan Smale), who decides to make a documentary about the event for a school project. He’s hoping to give Liz and Rick a chance to tell their side of the story. But as their trip goes on, Evan begins capturing strange events with his camera. They begin to unravel the secrets behind their baby’s disappearance, and come to learn that whatever force took it isn’t done with them yet. Absence is another found footage movie with a fairly standard premise. It’s obvious the filmmakers didn’t have a lot of money to spend on it. They have an interesting premise that hasn’t really been explored, but it’s clear they didn’t have the budget to really do anything with it. It really only acts as a backdrop for a story about friends encountering something supernatural while at a cabin in the woods. But even if the story doesn’t do anything that original, it ends up being an entertaining film overall. A lot of this comes from the bits of humor injected into the script. Screenwriters Jimmy Loweree and Jake Moreno have little playful moments that sometimes poke fun at or try to subvert various clichés of the genres. It helps add a layer of charm to an otherwise stale story. This is elevated by the three leads. Way, Matheny, and Smale have a great chemistry between them that make them feel like a real family. They help to really sell the moments of humor and make the characters more likable. Sure their characters are pretty one dimensional and can feel kind of annoying at times, but their interactions help to make us like them a little more. Loweree and Moreno also do a good job crafting a good mystery. Throughout the runtime, we’re left wondering what happened to Liz’s child. While the truth is pretty obvious, I like how they add in additional elements that imply there’s something more going on. There’s one side character, play by Stephanie Schotz, who seems to know more than she’s letting on. It gets us to think if something bigger is happening. Absence doesn’t have much in the way of original storytelling, but it has a certain charm to it to make it a fun and mysterious trip to the woods. The three leads have a great chemistry that helps to elevate their fairly underdeveloped characters, and the movie does a good job trying to subvert the story it’s telling. It’s good if you’re looking for something fun that doesn’t try anything new. Rated R for pervasive language, some violence, graphic nudity and some drug use.
Recent high school graduate Jesse (Andrew Jacobs) is determined to have a great summer. Armed with a new video camera, he documents himself engaging in various antics with his two friends Hector (Jorge Diaz) and Marisol (Gabrielle Walsh). One thing they love doing is messing with their neighbor Ana (Gloria Sandoval), who is rumored to be a witch, which the trio aren’t quick to believe. When Ana is unexpected murdered, strange things start to happen around Jesse. At first, they begin as mysterious new abilities that he is able to perform. However, it isn’t long before more sinister things begin to happen. Determined to figure out what’s happening to him, Jesse begins to uncover secrets from his past that suggest a demonic force is after his soul. He’ll have to find the truth if he wants to stay alive. This fifth installment in the Paranormal Activity franchise attempts to add a new layer to the series after so many entries. Not only is it the first film in the series to star an entirely minority cast, but it’s the first one not to have sequences where the characters are documenting activity as they sleep. It’s also the first film not to be set in one small location. All this makes The Marked Ones feel like the biggest film in the series. And it’s all this new that makes it one of the better films in the series. It honestly feels refreshing to have this film do so much to reinvent the style of the previous films. There are so many shots and sequences that feel like deliberate flips or subversions of moments from the previous installments. The many callbacks to the other films are enough to make series fans jump for joy. The Latino backdrop also gives this movie its own unique flavor. It makes sense that the studio would want to reach out to a different market when trying to spice up the series, and this change in setting actually helps the film connect more with its religious side. It feels different to have characters that are actually knowledgable of the supernatural rather than needing to bring in help. There’s also a lot of interesting mythology introduced in this film. It does stand on its own in that it doesn’t directly continue the story left from the fourth film. But it does have a handful of story elements that feel fresh. The biggest one is introduced down towards the end. I won’t spoil what it is, but it’s something that we really haven’t seen before, and feels like one of the more unique parts of the series. Paranormal Activity: The Marked Ones is a fresh and fun entry into the series that does a lot right to make the long-running franchise feel unique again. It finds fun and interesting ways to reinvigorate the series, and introduces a number of unique concepts that pave the way for great new directions moving forward. It does a good job getting fans excited for where the series will go next. Rated R for language and some violence.
On a seemingly ordinary Utah ranch, a farmer and his wife are celebrating their young son’s birthday. However, things go wrong when their boy disappears into thin air right in front of their eyes. Some years later, this event has torn apart the family, and the farmer is looking for answers. That’s what a team of paranormal investigators are hoping to uncover as they setup shop on the farm. The further they investigate, the more they uncover supernatural events happening around the ranch. It’s clear that something of extraterrestrial origin has arrived on the farm, and it has no intension of ever letting them leave. Skinwalker Ranch is another found footage movie that’s based on a famed UFO sighting. Of course, because stories like this don’t have a lot of documentation, it’s mostly a fictional story that just uses the event as a backdrop. It’s also clear that the filmmakers were inspired by Paranormal Activity, as many shots in the film emulate shots from that film. Even though this movie isn’t all that original, there are a lot of things to be admired about it. Most of it is in the visual effects work. There are a lot of obvious CGI animals in the film, but for being a low budget horror film, many of them actually look really good. You have to appreciate the amount of risks that director Devin McGinn takes, and how much he manages to accomplish successfully. There’s also the cinematography work that helps give the movie a unique look. Director of Photography Michael Black gives the film a blue tint throughout, which helps to elevate the film’s somber tone and science fiction elements. He also give the film a crisp and clear image that makes it pleasing to look at. Overall, he does a good job of matching the film’s look with the script’s story. Skinwalker Ranch doesn’t have much in the way of original storytelling, but it knows what it wants to be and does a fairly good job accomplishing this. It has an impressive amount of visual effects work given its low budget, and the great cinematography work gives the film a look all its own, even if it does often take away from the realism. This one is good if you’re looking for something fun that doesn’t reinvent the wheel. Rated R for language and some violence/terror.
In 2006, a demonic force possessed Katie (Katie Featherston) and murdered her sister and her family, taking their infant son Hunter. As part of a deal made by an ancestor, the demon was promised the soul of their family’s first born son, which was Hunter. Now that the demon has what it wanted, it disappeared without a trace. Five years later, in Henderson, Nevada, teenager Alex (Kathryn Newton) and her family take in the son of their new neighbor. It isn’t long after that strange things began to happen in their home. She and her friend Ben (Matt Shively) are determined to find out who this kid really is. In the process, they find themselves wrapped up in a supernatural conspiracy that puts them at odds with a sinister cult. I remember being really excited when this movie was first announced. By this point, the Paranormal Activity franchise had become a favorite of mine, so more films in the series felt like an event for me. After what was left hanging from the third film, and how this movie was toted as being a major turning point for the series, my expectations were very high and I couldn’t wait to see where it was going to go. Sadly, the film itself wasn’t able to live up to my expectations. While it is a good installment and has a number of iconic moments for the series, it ends up feeling like the weakest entry. Its biggest problem being that it never really advances the overall story that much. Throughout this film, there aren’t a lot of new layers or reveals to what has been established before. Aside from a few new backstory elements, it does feel like we’re just running through the same premise all over again. This is also the installment where the expanding mythology behind the demon and the coven starts to hit a few roadblocks. The first three films had a pretty tight story that all came together and made sense. Here, as they continue to try and add a few new ideas, it’s clear that the direction they want to take doesn’t fully work with what they introduced before. This is really made clear with the film’s bigger twist, which doesn’t really make sense when you think about it. However, despite not feeling like a major advancement for the series, I still enjoyed it overall. There are a lot of moments in this one that have really stuck with me over the years. The biggest one probably being the film’s use of new technology to film the activity. The film makes use of the XBox Kinect tracking dot software to give a physical representation of the demon. These moments are on par with the sheet ghost gag from the third film. The cast also do good jobs in their respective roles, making the characters likable and worth rooting for. Though they are probably the weakest characters of the series, really only embodying one character trait each from past horror films. There isn’t a lot of dimension to any of them, but at least the actors and actresses are able to make them charming so we don’t entirely hate them. Paranormal Activity 4 has a number of franchise highlights and is a fun entry into the series overall, even if it often feels like its coasting by on name recognition alone. It doesn’t offer much in the way of plot development, feeling underwhelming by not giving a satisfying closure to any of its own ideas. But for fans of the series, like myself, there’s enough in here to make it a fun installment in the end. |
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