When I woke up this morning, I didn’t even have this movie in my mind, but a great endorsement by another review motivated me to switch off the spoiler filled review and look up showtimes. The Conjuring is directed by James Wan, the man behind Saw and Insidious, a couple of horror films I have yet to see, but I’m more motivated to do so now, especially the latter. When a director demonstrates the level of tight grasp on taut, wicked suspense and horror that Wan does here, it puts him emphatically on my radar.
Based on a true story, the film tells the horrifying tale of how world renowned paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Verma Farmiga) were called upon to help a family, the Perrons, terrorized by a dark presence in a secluded farmhouse. Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most terrifying case of their lives.
I love many kinds of horror from slashers films to vampire flicks and beyond, but what really gets me excited is a film like this. A film that is all about the careful art of suspense and tension, and just thinking about what this film does to an audience gives me chills now. As with any “based on a true story” movie, there are potentially some embellishments from the filmmakers for dramatic or storytelling effect. Thus, that can allow an audience to slip a suspension of disbelief into this viewing experience. However, whether it’s all dead bang true or not, this movie is terrifying as living hell. My heart was pounding for five minutes after the film ended. James Wan is clearly a master at this craft because I’ve rarely seen anything this well executed. There is so much he doesn’t show you that utterly chokes the breath right out of your throat. He uses the pitch black dark corners of a house, making you project your own anticipations and imaginations into what lurks there. What these people say they are seeing will stand your hair on end, and when eventually Wan does reveal something to you, it will set your nerves on fire and jump start your heart like nothing else. Yet, this is not a film of jump scares. Every terror is subtly and brilliantly crafted and entirely earned. Things don’t just jump out of the darkness at you, they creep their way in under your skin, and scare the crap out of you. Wan does such a remarkable job showing you just enough to creep you out, and have the tension choke you up. A demonic face will ease its way into the frame, but will smartly cut to the next shot, keeping you on edge.
The film does have moments that could have been false jump scares, if handled by a much lesser filmmaker, but this film has so much better stuff waiting for you that it doesn’t need to fall back on cheap tactics. This film starts out ready to slam the fear factor into full gear. From the guy who made Dead Silence, it’s no wonder that a creepy, demonic doll jump starts the looming, pounding terror, and weaves its way back into the film later on. I just love that Ed Warren knows the doll is so dangerous, he has to keep it in a glass case with a sign that says, “Positively do not open,” in a room full of demonic artifacts completely out in the open.
Patrick Wilson and Vera Farmiga do an amazing job as Ed and Lorraine Warren, respectively. You can tell these are two people who have been through some intense circumstances because their bond is extraordinarily strong. All of these people, based on real life individuals, feel like fully dimensional, deeply human people. The emotions are strong, and the depth of belief in one another between Ed and Lorraine shows that a rare love would have to exist to keep these two people together through the hell they have experienced, first hand. Ed cares deeply for her safety after a terrifying exorcism incident really traumatized Lorraine, but seeing her strength constantly show through is amazing. If this is at all an honest representation of these two legendary paranormal investigators, my respect goes out to them just for their unwavering dedication to one another and what they do.
This film does a great job of balancing the story between the Warrens and the Perron family. Both of their stories are being told side-by-side and are interconnected. The fact that this entity latches onto both families compounds their problems makes for a greatly more intense story, and Lorraine getting more and more visions that frighten the hell out her just drives the terror forward incredibly intense.
Lili Taylor is taken on a real rollercoaster ride, and she handles it incredibly well. As Carolyn, she’s a wonderful mother and wife, but as these horrific experiences befall her and her children, Taylor sells the fear with grave importance. She and Ron Livingston work very naturally together, and no one here feels cheated on character or substance. All of the daughters are magnificently portrayed by an array of solid young actresses. Everyone feels like a real human being, and have very realistic chemistry and dynamics amongst them. Joey King has an amazing moment of paralyzing terror seeing something terrifying in the shadows that is never revealed to us. There is solid talent all throughout this cast that is absolutely impressive creating a very grounded, convincing realism to this extraordinary series of events.
The Conjuring also looks excellent as James Wan works with his regular cinematographer John R. Leonetti. They use light and especially shadow to brilliant effect. Few horror films really utilize the unseen mystery of darkness remotely as well as this film does. There are many moments where light bulbs are busted out, or very little light is present down to a mere match lighting up a whole creepy, spider web filled basement. It puts you so precariously on edge that you don’t know where or when the terror will come at you through that thick blackness. The cinematography really starts to get stylistic, in very good ways, during the climax. Many unique angles and good movement is utilized to surprising, clever effect. Yet, overall, the film is shot wonderfully never trying to distract or dazzle you with frenetic movement. Instead, there’s a lot of great still shots and flowing steadicam work to make this feel like this is a horror film with its feet firmly planted in the ground. It would’ve been easy for another filmmaker to make this feel like a 1970’s movie with a lot of film grain and handheld camera work, but again, this film doesn’t need much in the way of stylistic visuals to be amazingly effective.
And the score is greatly crafted and perfectly utilized. Most commonly used is a very low rumble that will rattle you with an ominous, foreboding feeling. The score never tries to over accentuate the scares. It’s right there in line with the intensity of the moment, and only strikes out at you when needed. This is a horror film that knows the value of silence, and the right time to tweak your nerves in the right direction with an appropriate music cue. You won’t find any clichés in the work of Joseph Bishara here.
And as any haunted house movie begs the question, this movie clearly answers why this family doesn’t just pack up and haul ass out of there. They’ve poured all their money in this new home as a family of seven in a new area where they don’t know anyone else. They have no alternative but to stay here. Yet, even if they did, the film has that great hook that the demonic presence has latched onto them. It doesn’t matter where they go, this thing is going to follow, and so, there is no escape. They have to confront and defeat this entity in order to move on with their lives. This is a horror film that has good doses of exposition, but it is handled so damn well that you are intently invested in every word that Ed or Lorraine relay to the Perrons. We see all of this come greatly to a head in a riveting third act.
When things ultimately go all to hell, the film ramps up the intensity so damn tightly. Anyone who has seen their fair share of horror films is quite familiar with the exorcism scene formula. While The Conjuring doesn’t do anything that will revolutionize that aspect of horror, James Wan still executes it will a lot of artistic merit and vision. Having the possessed individual covered in a sheet the entire time allows for the audience to project their frightening imaginations upon it, and think of just what this demonic entity is doing under there screaming and shrieking. The house shakes, birds crash into the windows, things are going insane, and just when you think the calm is setting in, it’s only elevating to the next level. There is so much hair-raising terror to be sucked into throughout this film, but I think it’s best sequence is when the Warrens’ daughter is being haunted by the entity and the possessed Annabelle doll from the opening sequence returns. Just thinking about it sends chills all over me. Typed words simply don’t do it justice. This is a film designed to tighten your every muscle, and strain every nerve across your skin. If you read my review of Sinister from last October, you’ll know how much that film scared me, and I would put The Conjuring right up next to that if not above it. The heart pounding terror continues to amplify throughout the film, and even the final moment of the movie still gets you in a really smart way that is never cheap. This is a high grade horror film with sophisticated filmmaking by a director who is clearly a master of the genre.
If you love being scared at the movies, and really enjoy something that is taut, chilling, and suspenseful, it is all here in The Conjuring. This film will indeed scare the living hell out of you. It is one of the most frightening horror films I’ve ever subjected myself to, and I look forward to being scared by it again and again. You should absolutely go see this as long as you’re not weak of heart because it will put a toll on it, for sure. This film earns every scare so brilliantly. There is just so much great terror on intense display that I could never cover it all, and there is no way I would spoil a single scare for you. Backed by a stunningly strong cast, especially in the case of Patrick Wilson and Verma Farmiga, you cannot go wrong with The Conjuring. This movie keeps giving me chills thinking about it. It is worth every penny you spend on your ticket and then some. This is one of the best horror films I’ve seen in years. Based on this film alone, I am going to check out Insidious, and then, hopefully look forward to Insidious: Chapter 2 coming this September.
This film was based on the novel A Stir of Echoes by Richard Matheson, and David Koepp, the screenwriter and director, made a hell of solid and smart thriller out of it. Koepp has plenty of fine credits to his name ranging from generally good to great films. While there are a few black marks on his filmography, he showcases a vast amount of solid talent with this nicely crafted supernatural thriller that is Stir of Echoes.
Tom Witzy (Kevin Bacon) lives with his wife Maggie (Kathryn Erbe) and his son Jake (Zachary David Cope) in Chicago. They live in a neighborhood with a good reputation, but at a party with a bunch of his neighbors, the narrow-minded Tom dares his open-minded sister-in-law, Lisa (Illeana Douglas), to hypnotize him. She does, but when she implants a post-hypnotic suggestion for him to ‘open his mind’, he begins to see disturbing and confusing visions. His son has an imaginary friend called Samantha (Jennifer Morrison), but Tom soon realizes that she is not imaginary. She is the ghost of a young girl that is now terrifying and driving Tom towards strange ends. As the horrific visions intensify, Tom realizes they are pieces of a puzzle, echoes of a crime calling out to be solved, but when his other-worldly nightmares begin coming true, Tom wants out. He desperately tries to rid himself of his eerie, unwanted powers – only to be seized by an irresistible compulsion to dig deeper and deeper into the mystery that is consuming his life.
Kevin Bacon absolutely does an incredible job in this role. He really absorbed himself into it adopting a subtle Chicago accent and a textured blue collar working man appearance. His physicality is very raw, and it helps that he seemed to be in excellent, lean shape for this film. He pushes the performance through every fiber of his body with a powerful nervous energy and charisma that is electrifying. Bacon portrays the increasing obsession and near psychotic behavior amazingly well. His manic intensity becomes scary like he is going off the deep end, which is quite the truth. On the flip side, he shows the heart of Tom Witzy with a lot of genuine depth. Beneath this crazed obsession, he is a deeply caring husband and father with a touching levity of heart. It’s good to see the real man before this psychic awakening occurs, and thus, we get full context on how drastically he changes and what he’s jeopardizing with his crazed behavior. There’s ultimately a lot of compassion and humanity in this man who starts out with a bit of an abrasive attitude.
Playing perfectly off of Kevin Bacon is Kathryn Erbe. She also shows a strong range from loving, bright wife and mother to woman of fire and conviction when Tom goes further out of control. Erbe and Bacon have very honest and heart-filled chemistry which is a main strength of the movie. Zachary David Cope was a fine young actor here. While he has an appropriate innocence and cuteness, he proves to have a mindful intelligence to portray the nuances of the role. Acting opposite thin air to an unseen ghost is definitely a challenge, but Cope really showed a lot of promise here. Sadly, it was only second and last film acting role. The remainder of the cast does equally fine jobs building up a realistic community of dimension characters that ground the film very firmly.
Stir of Echoes is definitely a spooky and startling film with a tight pace. It keeps a nice unsettling atmosphere going as Tom is very unnerved following his hypnotic awakening. As the visions begin inflicting more graphic images upon Tom, the more freaked out he gets, and the more the tension of the film rises. It’s an entertaining and fascinating descent into manic hysteria which just drives the film’s suspense and danger to a more chilling height. When the film hits those peaks, it gets the heart pounding very strongly. It winds itself up to a frightening full head of steam once the third act slams itself upon the audience. While it’s not a rousing climax that is practically horror-based, it definitely resolves itself properly. It builds upon the more underlying qualities of the film, namely the characters and the community they inhabit.
Thus, I really like the character driven strength of this supernatural thriller. It’s a ghost story that doesn’t boil down to defeating an evil specter, but instead, helping find justice for an innocent soul. Showing the quality of this seemingly tight knit Chicago neighborhood plays an important role in the story, and it’s nicely developed and demonstrated to ultimately explore the heart and soul of these people, no matter where they might lie.
Admirably, this film boasts some very good visual effects. From the ghoulish effects to make Samantha a frightening apparition to the hypnosis sequence in the theatre, these are all consistently top notch effects. The ghostly make-up effects work done on actress Jennifer Morrison are very haunting and unsettling. She did a fine job in that aspect as well as the living Samantha in the flashbacks late in the film. She was a very sweet, shy young woman that is a worthy of the sympathy and tragic value put on the character. While the “shot in reverse” movement is a clichéd trick to give a creepy quality to her ghost, it is still very effective.
Now, I also have to admit I find a bit of pleasing notoriety from the theatre scenes when Lisa hypnotizes Tom. They were shot at the Rialto Theatre in Joliet, Illinois where my high school graduation was held the year before this film’s release. I really love that the filmmakers shot on location throughout the Chicago area bringing a real authentic feel to the neighborhood and other locations. There’s one shot where Tom’s up on a telephone pole making a call to Lisa, and it pulls back to reveal the Chicago River and Metra trains rolling by. It’s a location I am very familiar with, and it just creates an honest sensibility that I commend. Chicago really is a diverse and beautiful city that deserves to be shown off more prominently in film and television, and this is a small gem that takes pleasant, if small advantage of that.
While David Koepp is the sole on-screen credit for the screenplay, there was some work on it done by Andrew Kevin Walker (Se7en). So, I would like to share my praise for the quality of the script with them both. I’ve never read Richard Matheson’s novel that this was based on, but Koepp and Walker clearly had an intelligent foundation to build upon. The story never goes for cheap clichés of the genre, and instead, stays focused on its smart supernatural thriller path. The film makes it a point that it is very focused on Tom Witzy from early on, and the script follows that path very steadily. It keeps the audience in tune with what he’s experiencing, and we are able to relate to him even when he becomes more irrational and brazen. He’s intensely driven to uncover whatever it is he needs to in order to shut these psychics visions down. He himself becomes connected with Samantha, even if he doesn’t entirely know what his purpose in all this is. So, we follow him on this haunting journey that is exceptionally well executed by David Koepp. It surely helps this film that there was a highly effective score put together by the immensely talented James Newton Howard.
While this turned out to be a bit shorter review than I usually post, I think the quality of Stir of Echoes has been well conveyed. It’s not a very complex story, but it lacks no depth of character or scares. It won’t slam bang you with horror, but it has a solid atmosphere, some startling, graphic imagery, and air of compelling supernatural mystery that is very satisfying. Seeing the film is worthwhile for Kevin Bacon’s exceptional and amazing performance alone. He really showed a very wide breadth of talent and commitment here that I find incredible. The only iffy aspect is that I’m sure the climax would feel stronger if there was an actual supernatural element added into it instead of a straight physical confrontation. However, I’ll say again that it suits the more character based sensibility of the story, which is somewhat refreshing to see, and does support the idea of needing a living person to resolve things instead of a vengeful spirit stalking and killing people. So, I certainly do not knock the climax one bit, but an audience could feel like a little extra punch was desired after all the spooky paranormal happenings throughout the film. There’s just not much of a climactic pay-off for the scary elements in the film. Overall, I do highly recommend Stir of Echoes as a smart and suspenseful film that has some refreshing turns on the old ghost stories premise.
Back in 1999, the horror genre was a different game. We were in the wake of the post-modern, self-referential Scream clones, but there was room for something a little more creepy and atmospheric. Remakes hadn’t become an epidemic, despite a couple of reviled ones surfacing. Then arose Dark Castle Entertainment who wanted to re-fashion several old William Castle black & white scare flicks for a modern audience. In the long run, their attempts took a quick, steep decline in quality, but their first effort was House on Haunted Hill, which originally starred classic horror icon Vincent Price. This was an interesting effort that left many critics of the day very cold, but I have always found it to be an effective, if slightly flawed film that did entertain.
Eccentric millionaire and amusement park thrill ride mogul Steven Price (Geoffrey Rush) learns that his vindictive wife, Evelyn (Famke Janssen), twistedly chooses to hold her birthday party at the “House on Haunted Hill.” The house used to be the Vannacutt Institute for the Criminally Insane until a violent mass murder marked its end decades ago. Being an equally twisted master of thrills, Steven plans to alter his wife’s guest list, but the vengeful spirits of the house have other plans. When the five guests arrive at the house, they are met by Watson Pritchett (Chris Kattan), whose grandfather designed the house, and whose father helped build it. After a bit of a scare to jump start them all, Steven Price reveals himself and his intentions in grand fashion – he knows no other way. If these guests can all survive the night, they will receive one million dollars each, and if any should die, their money shall be divided up between the survivors. Obviously, none of them know why they’ve been invited to this place, and neither do Steven or Evelyn. However, when the house suddenly and mysteriously goes into lockdown, sealing off all exits, and further bizarre, frightening incidents occur, they slowly begin to heed Pritchett’s claims of the house being haunted by the murderous spirits of the inmates who were killed here decades ago.
House on Haunted Hill is an immensely creepy film. There is a wealth of frighteningly chaotic and psychotic imagery that will have most audiences jumping out of their skin. It has a very classic haunted house ghost story, but with a modern intensity. There’s a mix of subtle, ominous moments, and intense in-your-face, bone rattling scares. One of the best chilling moments is when one of the characters, toting a video camera, comes across a room of ghosts who are only visible via the video camera. She observes them for a moment before they all become aware that she is watching them. The scene is then punctuated with one of the film’s biggest exclamation points. It’s a deeply effective scene on multiple levels with a creepy setup and startling conclusion.
The film really incorporates plenty of dark, eerie atmosphere and a chilling sound design to keep an audience rattled and on edge. The cinematography by Rick Bota is very powerful with an abundance of shadows and clever, moody lighting which set a very rich tone throughout the picture. There’s a very effective score by Don Davis who incorporates some dark, heavy compositions that really drive home the imminent danger and ominous, haunting qualities here. His score never allows you to feel very safe at any moment in the film, but still is able to strongly punctuate the right scares at the right times.
Making the house an actual former asylum for the criminally insane run by a madman was a great idea. It opened the film up to some extremely disturbing visuals such as when Steven Price is locked in the “saturation chamber” which causes sensory overload, and forces him to become delusional. All of that archaic, jagged medical equipment really added a creepy feeling to the bowels of the house. It just has a very hard edged industrial look that brings out a very primal fear. The Dr. Vannacutt character himself comes off as immensely disturbing without ever speaking a word, and seeing his ghost stalk the house always sends chills up and down my spine. The bizarre, jittery motion of Vannacutt presents something so unnatural that it is downright creepy. Not only is this place haunted, but it’s haunted by the mentally disturbed. The creep factor couldn’t be richer in that regard. It’s a very smart creative direction for this remake. It adds something new to the mix without altering the base concept.
The cast here is all gold all the way through. You can never deny the wonderful charismatic work of Geoffrey Rush. He leads the film with a very sly, venomous quality and a rich helping of enthusiasm. He was having a lot of fun playing this role. Steven Price will do anything for a good scare. That makes the character both very interesting and entertaining, but also, a cutthroat foil for certain characters. Being so cunningly manipulative and dastardly egotistical, he is easily viewed as shady and coldly villainous. Overall, Steven Price is a showman, and there couldn’t have been a better actor to bring those elegant, classy qualities to life than Geoffrey Rush. Also, the mustache was a nice touch to his appearance emulating the look of Vincent Price.
There is a dark, spicy performance here from Famke Janssen who is right up to Geoffrey Rush’s level as a conniving, devilish woman. There’s no lack of a dangerous edge to Evelyn as she proves to be capable of wicked, devious turns. The love-hate relationship between the unhappily married Prices is a juicy bit of conflict in the film, and provides a lot of fine material for Rush and Janssen to work with. Their chemistry is deliciously vile, and creates an enthralling, passionate fire to keep the film lively.
Chris Kattan has great comedic energy, as always. He plays up Pritchett’s skittish fear in a very entertaining way. He’s the one person that knows the dreadful reality of the house, and that frightful knowledge really manifests in a very funny yet prophetic performance. It adds levity where needed while bolstering the grim threat that the house does possess. Kattan’s performance really sets a foreboding tone that plays nicely off of Geoffrey Rush’s more mischievous, enjoyably despicable style.
The always vibrant Taye Diggs plays the strong heroic type in the ex-pro baseball player Eddie Baker. Diggs is a bright talent with a lot of charm and charisma who never fails to endear himself to an audience, and that’s no different here. The beautiful Ali Larter from Final Destination fame gives us a solid, assertive performance as Sara Wolfe that really drives her into the forefront by the end. Bridgette Wilson does nicely as the ambitious Melissa, but has the least amount of screentime of the main cast to really breakout. Of course, the wonderfully talented Peter Gallagher brings a subtle, engaging intelligence to Donald W. Blackburn, M.D., and showcases a fine tinge of humor and a perfectly seedy dark side. He has a nice twist in the film that fits comfortably into the treacherous, scheming ways of the Prices. Capping it off is genre great Jeffrey Combs who puts in an excellently psychotic and spine-tingling performance as Dr. Vannacutt.
Granted, aside from Steven and Evelyn Price, the characters aren’t given all that much to work with. They’re essentially one-note characters, but in a lively, entertaining B-movie style with high quality talents behind them. The film doesn’t take itself too seriously, and basically just wants you to have fun scaring you in the most effective ways possible. With a solid cast that has very natural chemistry together, it makes that approach work very well.
The film does have some highly effective visual effects, and the practical effects are yet again done by the standard bearers of the industry – KNB EFX Group. You’re likely to see them pop up in a lot of reviews I’m doing for Forever Horror Month because of that fact. While House on Haunted Hill is not very heavy on splatter effects, it does have its generous helping of blood, a few graphic images that required only the best to achieve them.
The digital effects near the end when the full dark spirits are unleashed are arguable if they’re up to the standards of 1999 era CGI. Regardless, they still come off as very lacking, in retrospect. To my eyes, they just seem rather typical and not exceptional in conception or execution. They seem more akin to what you’d see if this were adapted into a video game at the time, but for the big monstrous evil to cap off the film, it is a definite nose dive. While some effects in this climactic sequence are a little better than others, the CGI apparition just doesn’t do much at all for me. It’s a failure in design, primarily, and quite lackluster in execution. For a film that showed some strong creativity in its scares and production design, this feels like someone running out of good ideas at the last minute. This digital creation definitely could’ve used more creative thought put into it for a more unique impact.
The ending overall is not the best it could have been. It just sort of shifts into high gear racing to the end credits in the last ten minutes discarding with much of the plot and suspense it had built up, and it dispatches of its characters very swiftly. The richly enjoyable characters just don’t have a conclusion befitting their performances, and are disposed of like ripe smelling trash. While the “darkness” is setup early on, the creep factor of the film is so focused on the Vannacutt spirit and the other twisted ghosts that it just goes a little off-kilter when it takes a turn into that full-on CGI creation stalking the characters. The film could’ve used a far smoother and natural transition into its final act, and had a more prolonged climax to allow for a more graceful resolution for each member of this stellar cast. As it is, a great scene of Steven and Evelyn literally at each others’ throats is cut short to unleash this manifestation of evil. It’s an abrupt shift in the momentum and direction of the film, and in this case, it works against the better strengths of the film. It’s not a bad ending, just one that disappoints when the build up had more potential. A better setup would have been showing this darkness slowly leaking out throughout the film until it finally forms out in the open, thus, allowing for an underlying foreboding tension to build as the film goes on. It would allow the knowledge that this darker, more powerful evil is soon to befall these characters instead of springing it onto an audience in sudden fashion.
I do like the reveal of why the ghosts chose these people to invite to the party. It fulfills the vengeful spirit angle smartly, and gives a purpose to collecting an unlikely group of strangers here. How it pays off at the very end is rather cheap, and adds to the weakness of the film’s conclusion. That whole ending just feels like a different screenwriter took over without a fraction of the ambition for creativity as the rest of the movie. I will give credit to how the Steven Price character continually enhances the danger, tension, and distrust as the film goes on. Giving everyone a handgun is the first unsettling step. The fact that he has the house wired up with video cameras, and likely has plenty of wild tricks setup throughout the house, heightens that shady air of distrust. He establishes the intense, sly situation with a devilish smirk so that everyone can easily accuse Price of these strange occurrences, and they constantly do so throughout the film as people die or go missing. This creates a strong conflict as Price sees the ghost of Vannacutt stalking through the house, knowing exactly who is responsible, even if he doesn’t believe what he is. It’s a smart dynamic which maintains a level of heightened tension, paranoia, and suspense amongst these diverse personalities. There’s enough uncertainty circulating amongst these characters to constantly question what to believe. It keeps them nicely off-balance for an exciting, intense ride. Generally speaking, the premise is nicely laid out with a tight pacing that keeps the thrills coming at a regular interval.
The direction of William Malone is superb as he easily gave us the best film from Dark Castle Entertainment. Obviously, it has its flaws near the end, but up until then, it is a film of solid, spine chilling scares with plenty of creepy atmosphere. It has plenty of fun thrills that will satisfy a late night desire for a haunted house tale. The film is worth seeing just for the entertaining cast with Geoffrey Rush and Chris Kattan the most enjoyable among them. House on Haunted Hill was a decent success for Dark Castle that I think holds more entertainment value than most critics gave it credit for. It’s certainly not a great horror movie, but it’s definitely a good one that delivers on the scares. I do recommend it, but just don’t expect much from the ending. Enjoy the good while it lasts!