Memorable, crazy movie
Fresh and Exciting
Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.
It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.
A woman tries to exonerate her brother, who was convicted of murder, by proving that the crime was committed by a supernatural phenomenon. Oculus is creepy, stunning and just plays with your mind threw our it's entire running time. The entire cast gave outstanding perfomances and Mike Flanagan knows how to make true horror without stupid jump scares or found footage garbage. The only negative i had with the movie was easily the ending cause as good as a twist it might have been? I did expected something a bit more happy i guess. (9/10)
It's had an xfiles vibe w a skeptic and a believer and I like that in a movie. It's not really. Exposition if they are debating the topic.
Mike Flanagan is still a relatively unknown name to mainstream audiences, but fans of the genre will recognize him. He is the director of "Absentia", "Hush", "Oculus: Origin of Evil", and "Gerald's Game". He is also signed on to create the Netflix show "The Haunting of Hill House" and the upcoming Stephen King adaptation "Doctor Sleep" (a sequel to King's novel "The Shining").
However, two of his films are underrated: "Before I Wake" and "Oculus"."Oculus" is a brilliantly told and twisty thriller about two siblings who try to prove that a mirror is responsible for many deaths, including that of their parents. Much like the novel "It", this film alternates between these siblings when they are children and when they are adults.The performances in this film are great, even from the young children. However, the standout performance is from Katee Sackhoff as she slowly starts to lose her sanity. Her turn in the movie is quite terrifying, and even adds some emotion later in the film.Another thing about this film is its twisty narrative. Normally, it would get convoluted, but Flanagan does a good job of making it cohesive. I really like how the film almost starts to make it seem like it might be a psychological thriller instead of a supernatural horror. This uncertainty towards what I'm watching is what really makes this film so interesting. It also does a good job of switching between past and present.Finally, the tone of this movie is perfect. It's an extremely dark movie, with an ending that just tore me apart (while also expecting a sequel of some sort). The film is also very emotional, due to its superb performances."Oculus" is a very scary movie that really should get more attention than it got. I highly recommend it to anybody that likes twisty stories like this.
What scares you most in the horror genre? Masked killers in isolated settings? Booby trapped razor wire rooms? Demon possession? Werewolves? Ghosts? Those are all well and good, but nothing messes my shit up more than psychological uncertainty, the feeling that anything you see might not be real, and the layers of your perception are gradually being fucked with in a subtle way. Such are the terrors that Mike Flanagan's Oculus traffics in, a film that takes postmodern horror expectations and strangles the life out of them in favour of something far more effective. You'll read surface level summaries claiming this to be about a haunted mirror. It...is. Sort of. And it isn't. Then it is again, and before you know it you have no idea what's real and feel like leaving the television and hiding in a back room for fear of an incoming dissociative episode (true story). See, the haunted mirror is just the suggestive tip of a very dense psychological iceberg, a starting point to a narrative that's disturbing in ways that few big budget horror films understand. When an idyllic American family moves into a perfect new house, life seems peachy. Following the arrival of an ornate antique mirror, things take a darker turn. The loving patriarch (Rory Cochrane, exuding natural charisma) turns fiercely psychotic, preying on his doting wife (Katee Sackoff) and terrorizing his son (Garrett Ryan) and daughter (Annalise Basso, terrific in a performance of true hurt and horror). The mirror seems to indeed be the source, but no clear correlation is ever established by the film, only heavy suggestion gnawed at by the notion that the parents may just be irreparably sick in the head, an idea just as, if not more scary than a sentient looking glass. After brutal tragedy, we flash forward a decade or so, the parents are gone and once again the daughter, now played by a dynamite Karen Gillan, tries to get to the source of what happened by locking herself, her brother (Brenton Thwaites, the only weak leak in an otherwise excellent acting ensemble) and that dang pesky mirror in their old house to destroy it. Bring on a panic inducing haunted house of the unconventional variety, one where something, either the mirror or inherited mental illness, plays endless nasty tricks of the mind on both of them until the viewer feels uncomfortable in their own thoughts, the fabric of internal reality ready to disintegrate into shards. Their plight is carefully interspersed (big kudos to Flanagan, serving as his own editor) with flashbacks to the harrowing ordeal they went through as children, as the loving parental unit collapses into madness before their eyes. Listen for a hair raising, subversive score by The Newton Brothers that just adds to the queasy cauldron of unease that this film is. It's more brilliant than any widely released horror film has any right to be these days, a huge step in the right direction for the genre and a waking nightmare for anyone whose worst fear is losing their mind.