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.
Paranormal Activity’s unlikely run atop the box-office chart may have come to an end but the moviegoing public’s nascent fascination with otherworldly phenomena — the unfriendly variety in particular — shows no signs of waning. The Fourth Kind a supernatural thriller from writer-director Olatunde Osunsanmi represents Hollywood’s latest attempt to capitalize on this peculiar trend.
Paranormal Activity and The Fourth Kind are very different movies to be sure but they share the same basic approach employing gritty documentary-style footage to convince us that what we’re watching unfold onscreen is more “real” — and thus more convincing — than the typical glossy Hollywood thriller.
But The Fourth Kind goes far beyond Paranormal Activity in its effort to establish its legitimacy. In an unprecedented — and exceedingly ballsy — maneuver star Milla Jovovich begins the film by breaking the fourth wall and addressing the camera directly. In a lengthy monologue she introduces herself as “actress Milla Jovovich ” explains that she’ll be portraying real-life psychologist Dr. Abigail Tyler and declares that the documentary footage scattered throughout The Fourth Kind is authentic recorded during a sleep-disorder study conducted in Nome Alaska a few years ago.
Why Nome? Because we’re told its citizens are afflicted with an unusual number of nighttime sleep disturbances the bulk of which are accompanied by terrifying visions of hostile alien-like creatures. Nasty fellows these extra-terrestrials are taunting and tormenting and probing their victims as they lie helpless paralyzed with fear. Some of the otherworldly visitors even have the audacity to take possession of their somnolent subjects using them as vessels to deliver ominous warnings to Abby and her colleagues. Speaking in ancient tongues with voices horribly distorted they demand that she end her research.
But Abby won’t listen to them and her persistence effects increasingly dire consequences. One of her afflicted patients kills himself and his family; another is paralyzed after levitating during a harrowing hypnotic episode; finally the aliens set their sights on Abby herself. One might be tempted to dismiss these episodes as merely the hallucinations of a badly traumatized woman — the classic unreliable narrator — if it weren’t all captured on video.
For those willing to buy into The Fourth Kind’s claims of authenticity the experience is at times genuinely terrifying. But after a while it becomes increasingly obvious that the film’s documentary sequences are staged — and often badly so. Director Osunsanmi brought a clever idea to the table but he didn't quite have the skills — or the actors — to pull it off and the result feels like an elaborate cinematic con job.
WHAT IT'S ABOUT?
Loosely based on a documentary about a family who encountered strange goings-on in their new home this Hollywood-ized version finds the Campbell clan moving into a Victorian-style house in upstate Connecticut only to find it was once a funeral parlor dating back to the 1920s where spiritual entities crossed over thanks to the then-owner's clairvoyant son Jonah. You might think they would have gotten the idea that all was not so charming and quaint by the fact there's also a creepy cemetery next door but with the father usually off on a drunken spree and Mom urgently needing a place to take care of her gravely ill cancer-stricken teenage son (not to mention two daughters) there wasn't much time to house-hunt. Now the past is starting to catch up with the present and the Campbell's face terrifying ghostly visitors at just about every turn.
WHO'S IN IT?
At the center of this nightmare Virginia Madsen (Sideways) is well-cast as the rock-solid mom who has to contend with a weak hubby sickly son and a new house seemingly populated by the dead! Madsen once dealt with Candyman so this haunted mansion should be a snap. As Matt her son with a rare usually fatal cancer Kyle Gallner redefines intensity spending the bulk of the movie fighting demons of every kind — including his own. Amanda Crew plays it by the numbers as daughter Wendy the type of movie character that likes exploring dark deserted rooms late at night. Martin Donovan is given the thankless role of the alcoholic father while Elias Koteas is laughable as a Reverend who tries to battle the home's devilish spirits and seems to be channeling Father Merrin from The Exorcist.
Besides Madsen? Not much. But at least this is one horror film based in some semblance of reality with the cancer plotline adding a layer of credibility not found in today's usual brand of torture porn.
In taking its inspiration from countless psychological '60s classics like The Haunting and The Innocents to the more vivid terrors of The Amityville Horror and The Exorcist it only serves to point up this incarnation's inadequacies. There are a few scares but they are all produced by predictably quick editing and heightened music cues designed to give the audience a momentary rush and not much else.
The unintentionally funny sequence when the family first discovers their new dream house may not have been such a good deal after all. It's even more terrifying than a sub-prime mortgage!