Ouija: Origin of Evil (2016)

I am by no means a hard core horror film buff, but I do view them from time to time. I found this one to be quite the creepy little horror flick, and it gets increasingly scary as it progresses.

As I've often noted, I have to overlook some of the really dumb decisions made by characters in horror movies, and this one is no exception. Also, the plot elements here are similar to many I've seen in this genre. However, I felt it was quite well presented with good acting from all the cast, well directed by Mike Flanagan, and solidly written by Flanagan and Jeff Howard.

Overall, this film rather creeped me out and I'm still thinking about that scary ending.

Fmovies: It is a decent horror film, but surely better than the first. The previous part was an usual teen themed horror where everything started as a playful. But this one was a prequel and it focused on the origins. A single mother with two daughters is making money helping the people who want to contact their beloved dead ones. The things changes when her little daughter started to communicate the spirits of her own. The chaos unleashes, the house becomes haunted and the family begins to fall apart.

Keeping it simple is what worked out well for the film, despite thematically borrowed from others, scenes were kind of familiar and characters intentionally developed. Particularly the priest role was the most overused in any horror film. Followed by the twist. That turning point was good, but not a new. Nice performances and well shot film. Ouija is a fine concept for a horror theme and with this film's somewhat success, I hope the next one would only get better. So it is worth a watch, if you're not anticipating a something special.

6/10

It's rare to find a sequel that surpasses the first these days, but Ouija: Origin of Evil manages to just that. Not that it was a very tough feat considering the original was one of the most lame-brained movies I've seen in a while, but Origin of Evil improves upon its predecessor tenfold - just not enough to make it really worthwhile.

It's obvious that Mike Flannigan is on his way to becoming one of our true masters of horror, but this film seems more like a paycheck movie for him and it shows. He does the best he can with the tepid material, but ends up using the old "distorted faces/mouths with rolled back eyes" effect a few too many times and it quickly becomes tedious.

Like all of Flannigan's films, it's wonderfully well cast and beautifully put together. I just wish they'd spent a little bit more time with the script. You might be better off watching Flannigan's Hush, Absentia, Gerald's Game, Occulus, or The Haunting of Hill House.

Ouija: Origin of Evil fmovies. Mike Flanagan just gets so close yet again, yet falls disappointingly short. Oculus is still his best work, and the promise that both Hush and this prequel to a PG-13 board game prequel show, is that if given the right opportunity he might really be capable of a cold-blooded classic.

This is a film that shouldn't exist, should never have gotten theatrical distribution and definitely shouldn't have attracted the likes of Flanagan (okay, he probably did this to increase his clout in the industry, but still). He musters some great work here, following familiar supernatural clichés but bringing his own touch to the proceedings.

The setting is beautiful, the characters likable and not completely square. The atmosphere is given time to build, he luxuriates in teasing and messing with audience expectations (as a way of spiting this, and goosing the audience lulled into a slow burn placation, he includes an explosive scene wherein the actual demon is seen shoving his fist down the little girl's throat. It's both too much and a necessary jolt at the time, a conundrum if ever there was one and a small encapsulation of everything right and wrong within this film).

It's too bad some of the nice work done in the first 2/3rds of the film is undone by a clichéd, boring, exorcism-lite finale. None of it is very scary, and it all has the feel of fitting into the "Ouija" franchise package, whatever in God's name that could mean. Considering the stakes here, what Flanagan does is still impressive.

OUIJA: ORIGIN OF EVIL is super creepy. And it has good amount of well-placed jump-scares to rattle even the toughest audiences. As a horror fan, I definitely enjoy this installment way better than its predecessor.

This is actually a prequel to the 2014 film, so they're taking this story back to the beginning; how it all started, with the same house but 50 years earlier. Elizabeth Reaser is a single mom raising her two daughters played by Annalise Basso and Lulu Wilson. They run a seance scam business to make a living but when they unwittingly invite an evil spirit into their home which then possesses the youngest daughter, this becomes the struggle to save her and drive the demon away.

There's so much to like about OUIJA: ORIGIN OF EVIL. Well, for one, it's set in the '60s, so that in and of itself provides a very interesting style in terms of the actors' outfit and hair, it's like watching 'Mad Men' all over again, I'll never get over how much effort people put into the clothes they wear just to go to the supermarket back in that era. There's also heart in this story, the kids lost their dad, the wife lost her husband, the priest lost his wife, and and so that hole in their souls forms a foundation for why each of them has a longing or desire to speak with their dead loved ones. The reason why they can be taken advantage of by the spirit, totally makes sense, because they are at the most vulnerable point in their lives and looking for answers, unable to let go.

And because this is a prequel, at the end you'll see how the story and the characters connect to the previous installment, I won't spoil it here for you, but you'll be able to make that connection without a problem. I think what essentially makes OUIJA: ORIGIN OF EVIL scary is Lulu Wilson's character, Doris Zander. Horror genre has a history of little creepy kids doing bloody gory things on screen, but there's something in Lulu's performance in that she's able to get your guard down, so when the frightening moments do come in, they become all the more effective. And unexpectedly, I might add. You'll jitter, your pulse will keep pounding, you'll close your eyes with your hands but with a few fingers open, and all the while you feel for the struggle of this family, you're invested in them. OUIJA: ORIGIN OF EVIL is one of this year's best horror films in my book.

-- Rama's Screen --

If you first "Ouija" film, you might have been inclined to skip this addition (a prequel) to the series. No one would blame you. "Ouija" is a laughably awful film. "Ouija: Origin of Evil" however, is a surprisingly competent and thoroughly enjoyable horror movie.

Perhaps it should not come as a surprise that "O of E" turned out so well. With the steady guidance of director Mike Flanagan (Hush, Oculus, Haunting of Hill House), one of the most consistent creators of scary stories in the business, we should expect high quality work. Once again, he delivers.

The story revolves around a recently widowed mother and her two daughters. At risk of losing their old, creepy and possibly haunted (definitely haunted) house, the mother resorts to work as a fake medium to make money, calling on her daughters to contribute to the ruse. Things get more exciting when the mother brings home a Ouija board, not knowing that sinister spirits would soon possess her younger daughter.

Then, as we witness the little girl's behavior grow increasingly strange, our goosebumps grow increasingly prevalent (because creepy little girls are a reliably freaky scary movie trope). The older sister soon suspects something, the little girl crawls on walls, and a priest shows up to help. That stuff is predictable and somewhat unoriginal. But this movie still works because of its splendid acting - the little girl, Doris (Lulu Wilson), is particularly impressive - and deft direction.

Mike Flanagan clearly knows how to run the show. He makes sure that "O of E" becomes a far cry from other horror movies of this ilk, which possess so little inventiveness in their direction.

With this film, we are treated to elegant camera movement, unnerving closeups, and evocative framing and angle choices that all appear purposeful and thought through. Instead of calling attention to an evil presence on screen with a hard cut, we simply see a shadowy figure crouching on the edge of the frame.

Flanagan also chooses to include limited jump scares and, mercifully, no fake jump scares. Fake jump scares are what I call those moments of building tension when the sound goes silent, then suddenly there's a blast of jarring noise that makes us jump out of our seats as the camera reveals a harmless friend character. It's a cheap manipulation, a dirty trick. We deserve better, and Flanagan gives us better.

Rather than turning to a loud and bombastic score to sell scares, Flanagan relies on the editing and our natural inclinations as viewers to feel scared. He trusts that when something scary that unexpectedly appears in front of us on screen, it will deliver chills.

"O of E" delivers a slow-building eerie viewing experience. There are no excessive bursts of violence. Nothing is over-the-top. It's a small-scale movie, but one that is nonetheless effective. I recommend it to any fans of possession movies, especially if you prefer ones devoid of gore.