"Ouija" was poorly executed and badly received, and is generally regarded as one of 2014's worst films, so it's hard to imagine anyone eagerly lining up around the block for a follow-up film. As it turns out, the prequel "Ouija: Origin of Evil" is a massive improvement on its predecessor.
Talented director Mike Flanagan – confirming his status as the latest horror maestro by adding this to his 2016 output alongside "Hush" and "Before I Wake" – has been brought in to class up the proceedings and he succeeds admirably. Flanagan captures the look and feel of 1967 Los Angeles and adds a number of neat visual throwbacks and details (such as Universal's 1963–90 logo that opens the film). "Origin of Evil" also has more on its mind than might be expected, raising some interesting ideas around the issues of faith, belief and the existence of an after-life, mainly via protagonist Alice (Elizabeth Reaser), and most effectively when it examines with her belief that the supernatural force in her home is her husband attempting contact from beyond the grave.
The film has a number of effective frights, with the scene where Doris (Lulu Wilson) first sees a ghostly apparition through the Ouija's planchette probably being the best jump-scare. Wilson also brilliantly delivers a monologue to her sister's boyfriend about being strangled to death, an utterly chilling moment and, thanks to Wilson, one of the stand-out scenes of the film. It's also nice to see Annalise Basso back in another Mike Flanagan film, after she showed such promise in the brilliant "Oculus".
Unfortunately "Origin of Evil" goes a bit off the rails in the final act. Up to this point, much of the film thrives on how the haunting plays into the family dynamic and the feelings of the characters, but this is abandoned in favor of a seen-it-all-before haunted house explanation which feels over-the-top for this particular story. The depiction of Doris' possession also becomes a bit stereotypical as the film goes on. She spider-walks up the side of a wall, stretches her mouth to inhuman lengths, whispers malevolently in the ears of other characters all things that feel old hat (and aren't always visually convincing), unlike the aforementioned monologue scene. Ultimately it feels like "Origin of Evil" succumbs to typical supernatural-horror excess, making it only two-thirds a great film, and overall simply a quite good one. But for a follow-up to such a dreadful first entry into the franchise, this film is far better than anyone had a right to expect.
Talented director Mike Flanagan – confirming his status as the latest horror maestro by adding this to his 2016 output alongside "Hush" and "Before I Wake" – has been brought in to class up the proceedings and he succeeds admirably. Flanagan captures the look and feel of 1967 Los Angeles and adds a number of neat visual throwbacks and details (such as Universal's 1963–90 logo that opens the film). "Origin of Evil" also has more on its mind than might be expected, raising some interesting ideas around the issues of faith, belief and the existence of an after-life, mainly via protagonist Alice (Elizabeth Reaser), and most effectively when it examines with her belief that the supernatural force in her home is her husband attempting contact from beyond the grave.
The film has a number of effective frights, with the scene where Doris (Lulu Wilson) first sees a ghostly apparition through the Ouija's planchette probably being the best jump-scare. Wilson also brilliantly delivers a monologue to her sister's boyfriend about being strangled to death, an utterly chilling moment and, thanks to Wilson, one of the stand-out scenes of the film. It's also nice to see Annalise Basso back in another Mike Flanagan film, after she showed such promise in the brilliant "Oculus".
Unfortunately "Origin of Evil" goes a bit off the rails in the final act. Up to this point, much of the film thrives on how the haunting plays into the family dynamic and the feelings of the characters, but this is abandoned in favor of a seen-it-all-before haunted house explanation which feels over-the-top for this particular story. The depiction of Doris' possession also becomes a bit stereotypical as the film goes on. She spider-walks up the side of a wall, stretches her mouth to inhuman lengths, whispers malevolently in the ears of other characters all things that feel old hat (and aren't always visually convincing), unlike the aforementioned monologue scene. Ultimately it feels like "Origin of Evil" succumbs to typical supernatural-horror excess, making it only two-thirds a great film, and overall simply a quite good one. But for a follow-up to such a dreadful first entry into the franchise, this film is far better than anyone had a right to expect.
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