There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.
Like most American families the Grombergs are a little dysfunctional despite their amazing loft apartment sensational Apple computers and successful family law firm. Middle-aged Alex (Michael Douglas) is what his son Asher (Cameron Douglas) calls a "soggy cracker": a corporate attorney who's always worried about something he works in a soup kitchen and takes pro bono work to assuage his middle-class guilt over his day job. He also struggles to understand his oldest son who's a failure in college but does well enough as a drug dealer and DJ. Alex's father Mitchell (Kirk Douglas) meanwhile is your standard powerbroker-cum-bored-retiree; he founded the law firm where Alex now works and if Alex's whining is to be believed spent most of his time there while his son was growing up and definitely didn't do much understanding. These three main characters are so self-absorbed that it's not surprising the story of their lives comes off about as interesting as a soup-soaked Saltine; thank goodness for mom Rebecca (Bernadette Peters) who manages at least on occasion to be something other than tolerant and uptight second son Eli (Rory Culkin) a karate champion with a crush on the class runaway a sixth-grade goth girl.
Interestingly it's young Culkin of that other famous Hollywood clan who steals the show with a deadpan delivery that would make Jerry Seinfeld proud. His performance aside It Runs in the Family is notable for its four-for-the-price-of-one special on Douglases: There's grandpa Kirk his ex-wife Diana as the grandmother of the clan son Michael and grandson Cameron in his first role. If you thought it would be creepy watching a family of Douglases play a family on the big screen you were right. It's beyond creepy--it's uncanny in that is-this-real-or-is-this-a-movie kind of way and the acting style is eerily familiar too. Everybody wants to be the good guy everybody wants to say the punch line and nobody wants to take any chances. Still the Douglases seems to take great joy in their own movie and in working together and that brings a certain joy to the audience; despite its pervasive cherish-your-family theme there are moments when it doesn't go over the top and these are charming--if few and far between.
Director Fred Schepisi makes ubiquitous use of several generations of Douglas family photos to punctuate various scenes in the film--usually the ones where we're supposed to realize how much they love each other and learn what family really means. The audience is meant to come away with a nice smarmy sense of the quirky little realities of this "everyfamily " but just in case you didn't get it the characters--like the actors--don't take any chances that might make you question just how "nice" they really are; they resist any real rebellion or risk and there's always someone willing to try to understand if they do occasionally screw up. Aside from making for a pretty dull film it doesn't ring particularly true. For all the actors are really a family they don't seem very comfortable with one another on the screen so their characters' squabbles and heartfelt admissions come off stilted and forced their reactions seem too controlled and their relationships ironically don't give the audience a sense of any real bond between them.