In-Depth Movie Reviews & High Quality Trailers

Posts tagged “true story

The Conjuring (2013)

The ConjuringWhen 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.


Fire in the Sky (1993)

Fire in the SkyIt’s unusual to review a movie of this sort.  Fire in the Sky is based on a true story of alien abduction.  I know there are skeptics out there about this sort of thing, understandably so, and my stance is that I’m willing to believe, same as with the paranormal.  I can’t apply the same approach to a film of this sort, talking about characters like they’re fictional creations, or how clever the story is conceived and executed.  This is about how well the reality of these peoples’ lives are conveyed on screen, and the quality in which these events are portrayed.  What we have here is a great, solid movie that I really should have watched a lot more over the years.  I first saw it as a VHS rental back in the late 1990s.  I owned the DVDs for probably five or six years before I actually watched it.  So, I can accurately say that for this review, I watched Fire in the Sky for the third time, ever.

Six men saw it.  One man became a prisoner inside it.  But who would believe them?  In 1975, logger Travis Walton (D.B. Sweeney) and his co-workers discovered a hovering UFO.  Walton’s pals fled, but Walton was not so fortunate.  Whisked aboard the strange craft, he was subjected to a painful, unearthly medical study.  This is the amazing tale of that ordeal, and of the contempt and ridicule endured by his co-workers as they try to explain Walton’s mysterious disappearance.  Skilled investigator Frank Watters (James Garner) suspects their story may be a murder cover-up, but these men, led by Travis’ best friend Mike Rogers (Robert Patrick), stand by the extraordinary events they recount.  When Walton is returned in a severe traumatic state, questions become even more fantastical with the answers being more disturbing than they could imagine.

This film is smartly structured starting out with the aftermath of the abduction, and then, having Rogers and the other loggers fill in the story with their own words.  Everything that is shown about Travis pre-abduction is done in lengthy flashback, and I feel that was the perfect way to start out the movie and present Travis – show him through the eyes of his best friend.  This also presents the idea of witness accounts showing us the story from a subjective point of view, and sets up the real life oppositions these men had to face from their fellow townsfolk.  Next to no one would believe such a wildly fantastical story, and the police would surely look for criminal motives for Travis’ disappearance.  They have to fight for every ounce of credibility they can get, and the film takes us on that journey while focusing very deeply on their emotional turmoil.

D.B. Sweeney does a wonderful job in these flashback scenes showcasing a very lively, fun, and enthusiastic young man full of aspirations.  He’s clearly the brightest personality amongst these men with the biggest heart.  Showing the audience these substantive glimpses into Travis makes the impact of his traumatic abduction all the more terrifying and disturbing.  The abduction scene itself is frightening, and still gave me choked up chills.  This is a credit to the realistic, grounded, and textured nature of the film.  Director Robert Lieberman makes the danger feel paralyzingly real, and gives the film honest, emotional weight.

The last time I watched Fire in the Sky I made a note reminding me of just how great of an actor Robert Patrick is.  He really is the lead for most of the movie holding the weight of emotion on his shoulders, and doing so in masterful fashion.  The absolute depth of pain and fear is soaked into every fiber of his performance with his eyes selling so much.  Patrick is both very sympathetic as well as full of conviction and fire.  As Mike Rogers, he is both a confident, passionate leader and a man dealing with his own internal fears and grief.  There is so much humanity and strength in what he does here that this should stand as one of Patrick’s best performances.  He genuinely made me feel every emotion that he poured out of his soul, and it was a very wide and complex range of humanity offered by him.  It is only a shame that the only accolades he was offered for this film was a Saturn Award nomination.  He clearly deserves a lot more notoriety for having this level of talent.

This film is also packed with a strong supporting cast.  James Garner puts in a very solid performance as the consummate investigator Frank Watters.  You can sense the fair and just manner of Watters from everything Garner does on-screen.  He never jumps to conclusions or to condemn these men.  Even at the end, he’s not convinced of what they all say is the truth as the evidence is simply not there for him to make a conclusion.  He’s simply willing to wait and see.  Peter Berg and Henry Thomas greatly portray two of Travis’ friends, David Whitlock and Greg Hayes, both with their shaken qualities.  Yet, both actors showcase strength where needed to show that these men were standing by their statements.  Craig Sheffer has a surprisingly excellent turn as Allan Dallis, one of the loggers who has a bad attitude and doesn’t get along with anyone.  I’ve only seen Sheffer in some really poor Dimension Films direct-to-video sequels, and has never impressed me before now.  I think he did a very solid job making Dallis a very strong element in this story as a sort of wild card in the mix.  Dallis almost went out of his way to make it known he didn’t like Travis, and Sheffer’s performance really brings that friction and tension to the forefront.  Lastly, Noble Willingham fits very comfortably into the role of the local Sheriff Blake Davis bringing a trusted, honest, firm quality.  Overall, every performance feels very authentic with both obvious and subtle depth throughout.

In the latter third of the film, when Travis Walton does return, he’s in a terribly traumatized state with Sweeney putting in a great performance.  The lively young man that he once was has been entirely eviscerated leaving only a shell of a man behind.  This abduction experience forges a hard, deep wedge between Travis and Mike.  Travis is so traumatized that he resents Mike for running away from the scene of the abduction instead of helping him when he had the chance.  Unfortunately, this aspect is not given much screentime as the film shifts its focus deeply towards Travis’ struggles.  I certainly would’ve liked to have seen that strained friendship drama play out more to see how hard it truly hit Mike, and the process of how it damaged his life.  Fortunately, the film doesn’t forget about this as it is given its proper due by the end remembering that it is the people and their lives that mean the most here.

When we are finally shown what Travis Walton experienced during those five days, it is the most visceral and terrifying alien abduction sequence ever committed to film.  The production design is stunning like something out of your most dreadful nightmare with its surreal qualities and purely absorbing, grim reality.  It is something that would leave you scared out of your mind, and leave you never being the same person you once were, if you experienced it in reality.  This is a very elaborate and long sequence that will freak you out down to your very core.  This is possibly the most paralyzing sequence I’ve ever seen in a film.  Even after it ended, it took me a minute or so to ease myself out of it.  To even consider that this might have actually happened to another human being is unfathomable.  Industrial Light & Magic did an unspeakably remarkable job on this entire sequence.  The aliens themselves are so finely detailed and textured that you’d swear they were real, and this adds further to how visceral this all is on film.  It is stunning work down to the smallest nuanc.  So much so that this deserved special awards recognition at the time as well, but sadly, received none.  Of course, it’s very little in terms of visual effects as it is an overall collective work of production design, cinematography, physical effects, animatronics, sound design, and music that made this sequence so chillingly effective.

And of course, the cinematography is damn good all the way through.  Bill Pope and director Robert Lieberman clearly worked very hard to create a look for Fire in the Sky that was firmly grounded in reality.  There is such texture and weight to every shot to maintain that solid grip on the fact that this is based on a true story, and directly avoid injecting even the smallest sense of fantasy into this.  I know that sounds a little peculiar due to the alien abduction nature of the story, but even that feels shockingly real down to the grittiest of details.  This film is shot exceptionally well with wonderful angles and compositions which complement the dramatic scope of the story, both internal and external.  In all technical qualities, this is a superbly executed film made by a very solid crew of creative forces.

Now, the thing that tends to make films based off of true events different than fictional films is that there’s rarely a traditional conclusion to them.  The lives of these people continue on, and not everyone gains closure from what is documented in the movie.  So, there’s only so much of a complete story the film can offer.  Thus, Fire in the Sky is more focused on the people involved instead of a traditional three-act structured plot.  I’m sure there were a few tweaks to reality, such as the filmmakers reducing the number of loggers from seven to six for ease of storytelling, but I’m sure the human emotion of what happened remained very much intact and accurate.  Also, unlike many true stories, this one still requires the audience to believe in something they may not be inclined to believe in terms of extraterrestrial life.  However, even if you are not a believer, there is still a very strong, human story to experience in Fire in the Sky.

This is an amazingly effective and masterfully executed movie that brings more impactful reality to an alien abduction story than I’ve ever witnessed on film.  A viewing is highly worth it for two things  – Robert Patrick’s deeply emotional performance and the entire terrifying sequence aboard the alien spacecraft.  Even the film’s trailer is scary featuring only brief glimpses of that sequence along with a very foreboding voice over.  Ultimately, this is a hell of a great movie that is definitely worth your time, if this genre is your thing.  Again, I would’ve liked to have seen more of Mike Rogers in the aftermath of Travis’ traumatic return to give their reconciliation more pay-off, and to follow through on how this entire experience affected Mike, in detail.  Still, what we are given is solid, fascinating, and disturbing.  Fire in the Sky is a unique film that surely deserves more credit than time has seen fit to grant it, and I hope my words of praise here will help a little in that regard.