The allure of a jump scare that perfectly-timed loud noise that sends a horror movie audience jumping is hard to ignore. They're easy but effective — if you want to shake people up nothing works as well as a well placed violin screech or slamming door sound effect. Thankfully the new evil ghost movie Sinister mostly avoids the easy way out by developing its lead character a novelist with a drinking problem and exploring an inventive twist on "found footage" (the guy actually finds footage). It all works quite well… that is until it starts relying on jump scares.
True crime writer Ellison Oswalt (Ethan Hawke) hasn't had a hit book in years but he hopes to change his life around by investigating a set of murders committed in the backyard of a suburban home. To immerse himself in the history Ellison moves his entire family into the house where the committed murders took place (and without telling them their new home's little secret). He immediately falls down the rabbit hole discovering a series of Super 8 movies depicting the first killings and a string of other bizarre murders all captured on gritty film. Ellison loses himself to the movies only flinching when his wife Tracey (Juliet Rylance) begs him to come to bed or his son Trevor (Michael Hall D'Addario) wakes up in a fit of terror from an anxiety ailment. But as he watches and rewatches the snuff films Ellison begins to see a connection between them: a shadowy figure who it turns out might be a supernatural entity.
Great horror rides on its lead and Hawke serves Sinister well. He's ambitious and overly confident of his abilities as he digs deeper and deeper into the history of the Super 8 movies. He makes some poor choices — why writers in movies are continually keeping secrets from their families and drinking way more whiskey than their finances would allow is one of Hollywood's great mysteries — but Hawke is adept at making the act of watching someone watch something interesting. His obsession with the mystery his slowly disintegrating mind is reminiscent of Jack Torrence in The Shining.
But before Sinister gets that involved with its central character it strays into run-of-the-mill haunted house territory. Vincent D'Onofrio pops up for a quick expositional Skype chat to inform Ellison that the dark being in his home movies might be a Pagan deity that eats the souls of children. That would explain all those pesky kid ghosts that keep whispering in the ear of Ellison's Ashley (Clare Foley) and making creepy bumps in the night.
Sinister's most terrifying material comes from the grainy "found footage." When director Scott Derrickson moves back and forth between Ellison and the films the writer illuminated only by the flickering projector it's chilling. But the movie progresses away from that into its own conventional horror movie. Weighed down by explanation and meandering action Sinister loses track of its character angle in favor of the almighty jump scare. It's exhausting — but then again as the nickname suggests they never fail to make one jump.
Based on a novel by Laura Kasischke it focuses on two 17-year-old high school girls--Diana (Evan Rachel Wood) and Maureen (Eva Amurri)--who are completely opposite in personalities but still the best of friends. In fact "one is the virgin one is the whore " according to Diana. She does everything her demure and religious BFF with their bond going spiritually deep. One fateful day at high school changes their lives however when a student gunman goes on a shooting spree in the school. The gunman corners the two girls in the bathroom and tells them he must kill one. Jump to 15 years later the adult Diana (Uma Thurman) has a great home life: smart cute kid successful husband nice house. But it's not as it seems. It is assumed that Maureen was the one who was killed prompted by her telling the gunman she wants to be the one shot. But a last-minute plot twist puts the movie's title in a different light: The Life Before Her Eyes is more than just Diana's life. This film incorporates some elegant performances from Wood and Amurri--two veterans of the teen genre who portray their characters’ friendship with much authenticity. Amurri(Susan Sarandon's real-life daughter) especially downplays her innocence with smart nuances while Wood is coming into her own as a strong edgy actress--just not enough to save this film. Thurman tempts Oscar-type bait as the emotionally distraught Diana constantly reliving the horror of the killing spree through flashbacks. The actress’ mood is maudlin and suitably translucent for mournfulness. But Thurman's screen presence is just too large and glamorous to be believable in the melancholy role. She looks to be assuming the trance-like “look of sadness ” as though she's playing a role. Her body language is too confident to be carrying around a lifetime of hurt. Director Vadim Perelman (House of Sand and Fog) is a poor man's Julian Schnabel--a visual and ephemeral craftsman who works with colors. Blurry imbued tones of greens and yellow bring the story to life pairing with spring-time settings with shadows and light. The Life Before Her Eyes aims for a dreamlike complexity and how conscience ties to memory. The film is also about how changing a person's destiny can completely rewrite an entire history. A palette of moody camerawork from director of photography Pawel Edelman (The Pianist) creates an eternal lushness which elevates the drama. The Columbine-style shooting sequences feels outdated however. It's a contrived museum treatment such public tragedies. It’s an adventurous independent film that doesn't quite come together as intended.
A guy who usually doesn't have luck with the ladies Matt Saunders (Luke Wilson) has finally found the perfect girl. Egged on by his buddy Vaughn (Rainn Wilson) Matt pursues the mousy and innocent-looking Jenny Johnson (Uma Thurman) after the two meet on a subway. But Jenny has a few secrets--and what Matt doesn't know in this case can hurt him. See Jenny is really G-Girl a superhero and although it's a side most superheroes don't show G-Girl is a bit possessive and essentially has a borderline personality. So when Matt wants to dump her so he can go out with his quiet and cute co-worker Hannah (Anna Faris) Jenny er G-Girl goes ballistic. She unleashes her superpowers on Matt and unsuspecting Hannah doing things like throwing a shark through his window while they're making out tossing his car around immature things like that. What Matt doesn't do is obey the cardinal rule: Never break up with a girl when she's holding a knife--or when she can throw you through a wall by blowing on you. This should be Luke Wilson's moment to shine and he seizes it. He's had little chance to break away from his goofier-looking and more popular brother Owen and has never carried a movie as much as this one. It's perhaps his meatiest role in which he gets to show a restrained comedic side as well as a dramatic angry and perplexed side. Although it's a typical romantic comedy plot the storyline allows for more reach because of the absurd nature of the jealousy by G-Girl’s arch nemesis Professor Bedlam played perfectly by Brit comic Eddie Izzard as well as the persistently bad advice from Matt’s friend Vaughn played by scene-stealer Rainn Wilson (TV's The Office). Rainn is a definitely a talent to watch out for. Unfortunately Thurman is the biggest disappointment. She's exciting only when she rekindles her Kill Bill persona but is mostly outshined by the cute and fun Anna Faris who's so naively brilliant in the Scary Movie spoofs. Expectations would have to be high if you have director Ivan Reitman on board the guy behind such classic comedies as Animal House Ghostbusters and Dave. Perhaps that's why it's so disappointing--and so very familiar. The comic moments are retreads from the past. Sure we've seen the odd moments where mortals make it with super-human characters--Superman II Bewitched I Dream of Jeannie--and every once in a while the character with super powers gets a bit peeved and goes off the deep end. The best contribution Reitman makes is to keep the over-the-top comedic aspects in check. He doesn’t have the actors play it for laughs. But if you look at past history female superhero movies don't seem to do well at the box office (Elektra and Catwoman anyone?) maybe because guys don't like to take dates to see movies about women who will kick their butts. And guys will be cringing in their seats BIG time when Jenny is trying to analyze the real meaning of the color of a rose that she just got. "Red means that you're in love with the girl. Of course I'm not trying to pressure you." Ugh! Just take the flower.