Slender Man


Stopping by the woods on a misty evening.

(2018) Horror (Screen GemsJoey King, Julia Goldani Telles, Jaz Sinclair, Annalise Basso, Alex Fitzalan, Taylor Richardson, Javier Botet, Jessica Bank, Michael Reilly Burke, Kevin Chapman, Miguel Nascimento, Eddie Frateschi, Oscar Robert Wahlberg, Daniel Beaton, Gabrielle Lorthe, Mark Carver, Kris Sidberry, Angela Hope Smith. Directed by Sylvain White

 

One of the more interesting things to come out of the Internet is the creepypasta movement; that is, essentially urban legends created by internet bloggers for the new generation. Perhaps the best known of these is Slender Man, which inspired an actual real-life stabbing, although that isn’t referenced here.

Four bored best buds in a small Massachusetts town read all about the Slender Man online and decide to see if they can conjure up the Slender Man. Of course, they are successful and are soon be stalked by a tall slim apparition in white shirt and black tie. It is said that the Slender Man will either haunt you, drive you mad or take you and when one of the girls disappears, the others begin to suspect that they will be next.

White does a very good job of creating a mood and his atmospheric tone is very conducive to big scares but sadly he doesn’t deliver any. Most of this is rote teen horror with kids doing insanely stupid things especially given that they suspect that they are being stalked by a supernatural being. King as the goth girl carries most of the water here, but the rest of the cast does at least a fair to middling job, all things considered.

I get the sense that given the publicity surrounding the incident in which two adolescent girls stabbed a third in an effort to summon the entirely fictional Slender Man, Screen Gems seemed reluctant to publicize the film much. There was also the studio’s insistence on a PG-13 rating, so the film is fairly bloodless and some of the best scenes, according to director Sylvain White, ended up on the cutting room floor. This is truly a case of a studio killing their own film.

REASONS TO SEE: Some of the scenes are genuinely creepy.
REASONS TO AVOID: Generic horror film (dumb kids doing dumb things) with a topical subject.
FAMILY VALUES: There are some atmospheric sequences of terror, plenty of profanity and some crude sexual references.
TRIVIAL PURSUIT: Javier Botet, who plays Slender Man, also makes a cameo appearance as the tall doctor in the hospital at the end of the film.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Fios, Google Play, Microsoft, Movies Anywhere, Starz, Vudu
CRITICAL MASS: As of 1/1/20: Rotten Tomatoes: 7% positive reviews: Metacritic: 30/100.
COMPARISON SHOPPING: The Midnight Man
FINAL RATING: 5/10
NEXT:
The Meg

Ouija: Origin of Evil


Never turn your back on your kid for even a minute...

Never turn your back on your kid for even a minute…

(2016) Horror (Universal) Annalise Basso, Elizabeth Reaser, Lulu Wilson, Henry Thomas, Parker Mack, Doug Jones, Chelsea Gonzalez, Lincoln Melcher, Nicholas Keenan, Michael Weaver, Ele Keats, Eve Gordon, Chad Heffelfinger, Nina Mansker, John Prosky, Kate Siegel, Sam Anderson, Gary Patrick Anderson, Alexis G. Zall, Halle Charlton, Sierra Davey, Lin Shaye. Directed by Mike Flanagan

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Some of us are fascinated by the occult. Science tells us that there’s nothing there, nothing that can be measured or quantified but anyone with even a lick of sense can tell you that science doesn’t know everything; often things that are currently unexplainable may seem like the mysterious or the magical. The fact of the matter is that we don’t understand more than what we do.

In the Los Angeles of 1967 lives a widow, Alice Zander (Reaser). Her husband Roger (Weaver) had passed away recently and their daughters – teenage Lina (Basso) and preteen Doris (Wilson) are grieving in their own way. Doris, in particular, is having a difficult time handling the death of her father, praying to him at night rather than to God. There are those at her school who think she’s a little weird. More than a little, in fact.

Alice makes ends meet by conducting fake seances in which her daughters help with special effects. Alice rationalizes all this by saying that they are helping people find closure which I suppose they are. Lulu is too young and naive to question anything but Lina finds herself believing in nothing.

In point of fact, Lina feels constrained in her house and wants to do the things that teenage girls do in 1967. So like any good red-blooded American teen, she sneaks out of the house and goes to a party with a bunch of her friends, including would-be boyfriend Mikey (Mack). There she discovers the magic and the mystery of a Ouija board. Unfortunately, her friends are discovered by an adult and Lina is handed over to an angry Alice. However, Alice is intrigued by the Ouija board and brings one home to help with the act.

Immediately Doris takes an unhealthy interest in the board – or vice versa. Desperate to communicate with her daddy, she has no idea that there are rules governing the use of the board or how dangerous it is to break them. She certainly doesn’t realize that she’s opened a door that may bring something into this world that wants nothing more than to terrorize – and to kill.

This is a prequel to the wildly successful but critically panned Ouija from 2014. There is an appearance by Lin Shaye in a post-credits sequence that links the two films (not for nothing, but she plays an older version of one of the characters in this movie) but there is little to connect the two films. We do see one of the apparitions from the first film alive and well (relatively speaking) in this film.

The acting here is okay but not memorable. There aren’t a lot of recognizable names here, although most of the cast has experience mostly on the small screen. Thomas, the waif from E.T. is surprisingly strong as a sympathetic priest/principal at the Catholic school that the two daughters attend. Reaser, best known for her work on the Twilight series, shows some promise as the single mom which is a very different role than Esme Cullen.

Flanagan, who had three films scheduled to come out this year (one, Before I Wake, has been shelved indefinitely by troubled distributor Relativity and is unlikely to come out before next year) is becoming a very solid director of horror films for the studios. While he might not have the indie cred of a Ti West or a Jennifer Kent or an Adam Wingard, he has proven that he can direct strong horror films while remaining within studio constraints. There’s nothing here that’s so over-the-top that it can’t tolerate a PG-13 rating (which the studios shoot for, with rare exception, for their horror movies) but it manages to come by some pretty effective scares without resorting to an overuse of jump scares which are prevalent in studio horror movies today.

And to be honest, the studio restrictions are what really drag the movie down in my opinion. In trying to make a movie that fits within studio horror film parameters, in many ways it feels like Flanagan has been constrained from making a horror movie that would really blow our socks off. There is plenty here to work with, but there is nothing here that really gave me a truly “wow” moment. It’s like eating vanilla ice cream when what you really crave is salted caramel.

There’s nothing wrong with vanilla, mind you, but I would have liked there to be more layered flavor profiles here. The movie is exactly what you’d expect it would be. Horror movies are at their most effective when they push the boundaries. Those that respect boundaries will always be little more than a trip on Disney’s Haunted Mansion ride; spooky but not scary.

REASONS TO GO: There are some pretty horrific moments here and some really good scares.
REASONS TO STAY: The film really doesn’t break any new ground.
FAMILY VALUES: There are some pretty horrific and terrifying images, some violence as well as thematic elements that some might find disturbing.
TRIVIAL PURSUIT: The house that Lina sneaks out to party with her friends in is the same house set used in the David Duchovny TV show Aquarius.
CRITICAL MASS: As of 10/29/16: Rotten Tomatoes: 82% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: Lights Out
FINAL RATING: 6/10
NEXT: Day 5 of Six Days of Horror!