Most people are familiar with the Ouija board, a supposed tool to communicate with spirits who’ve passed on into the afterlife. Often viewed as a silly, harmless game, some folks really take it seriously, as is the case with the Zander family. In fact, mom Alice Zander (Elizabeth Reaser) “talks” with the dead for a living as a medium.
Based in 1967, Ouija: Origin of Evil invokes reminders of other horror films (like the excellent The Conjuring, which was also set in this time); the fashion, the music and the scenery are spot on, and somehow adds an authenticity to the proceedings. Horror works so seamlessly in the past, a time without cellphones and the internet — things that can easily undo a plot or bring easy answers.
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Still, this prequel to 2014’s Ouija manages to lose its way in the third act, leading the audience adrift as well. The movie unravels as one of Alice’s two daughters (Doris, played hauntingly by Lulu Wilson) begins to unravel herself. Once Alice brings home the Ouija board as a “new prop” for her work, Doris discovers she has a knack … sorry, a “gift” … for talking with the dead, and then it’s all downhill from there.
Is it scary?
Some parts are scary, yes. Typical jump scares are frequent, and there are some visual effects horror fans have seen before: the gaping maw, the sewed-up mouth, the bending backwards of bodies and crawling on the walls. The movie starts off scarier with a slow building of suspense, and then veers towards the nonsensical as the plot winds up. The gore factor is essentially nil, with a few gruesome things here and there. Still, there’s something about a creepy little girl that goes a long way.
Are there any especially clever bits?
There are definitely nods to horror classics and meta moments that any horror fan can appreciate. When the teenage daughter, Paulina (Annalise Basso), exclaims, “Splitting up sounds like the stupidest thing in the world right now!” the audience clapped. Ouija: Origin of Evil is self-aware, that’s for sure, and despite the lack of logic as things proceed, the horror movie checklist is still enjoyable to tick off.
Isn’t that Elliot from E.T. that I saw in the trailer?
It sure is! Now 45 and a long way from Elliott, Henry Thomas plays the school principal/priest in what seems like another nod to the classics. His character, for the most part, is wasted, and the religiosity his role is supposed to impart never really materializes. In most horror, when the priest comes on the scene, whatever evil demons are present usually skitter into the shadows or suffer some setback. Not only is Thomas’ priest relatively useless in that regard, but he bumbles around inexplicably rather than help save Alice and her two girls. He tries, but … it’s a pretty sad attempt.
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What about the young actors in the movie? Are they good?
This may be the film’s saving grace, even though the dialogue is wooden in several instances. Doris is perfectly cast, eerie and so achingly sweet that it works to have her possessed by an evil demon. Paulina is the smart one, the person who realizes something is amiss, and her character acts almost as a tour guide to the (jumbled) plot. Perhaps the most unbelievable aspect of the movie is Alice herself — what kind of mother would allow her children to keep living in a haunted home? Or better yet, what mother, knowing her daughter has developed this “sight,” would permit her child to keep communicating with dead, potentially nefarious spirits?
So what’s the bottom line?
If horror fans want to head to the theatre for some scary moments, despite the actual movie being unsatisfying in terms of plot, then it’s a good time. If you’re looking for a serious horror film with a coherent story line and original framework, then you may be disappointed. If you want to get in the mood for Halloween, then this just might do the trick, minus the treat.
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