Paranormal Activity 2 Review

Rated R (Some Language and Brief Violent Material)

Running Time: 1 Hour & 31 Minutes

Cast:

Katie Featherston-Katie

Micah Sloat-Micah

Sprague Grayden-Kristi Rey

Brian Boland-Daniel Rey

Molly Ephraim-Ali Rey

William Juan Prieto & Jackson Xenia Prieto-Hunter Rey

Seth Ginsberg-Brad

Vivis Colombetti-Martine

David Bierend-Surveillance Camera Expert 

 

Directed by Tod Williams

There's something by the door...

Paramount Pictures struck gold with last year’s terrifying “Paranormal Activity,” from first-time director Oren Peli. With a shoe-string budget of $15,000 and featuring unknown actors, the film went on to make $193 million worldwide. A sequel was quickly announced but many people were skeptical and feared that it would be a repeat of the disastrous “Book of Shadows: Blair Witch 2,” which eschewed the minimalist style of its predecessor as Artisan felt that it wasn’t ‘commercial’ enough. These fears only grew when Peli revealed that he wasn’t returning to direct and will instead serve as producer. Fortunately, our skepticism was much ado about nothing, as “Paranormal Activity 2,” while lacking the freshness of the original, retains everything that worked but also subtly upping the ante to once again create an unsettling atmosphere.

The film does not pick up immediately after the first one until its final minutes but instead focuses on the events that led to it, so in a sense, this is more of a prequel. Katie’s (Katie Featherston) sister, Kristi (Sprague Grayden) is happily married to Daniel Rey (Brian Boland) and has recently given birth to a beautiful baby boy named Hunter. Their family includes Ali (Molly Ephraim), Dan’s teenage daughter from a previous marriage, the nanny/housekeeper Martine (Vivis Colombetti), and their loyal German Shepherd Abby. When Hunter is a few months old, the family finds their house ransacked but with the exception of a necklace formerly given to Kristi from Katie, nothing valuable was stolen. Daniel decides to install a number of motion sensor security cameras throughout the house in case they get burglarized again but it soon becomes apparent that there is an unseen force at work as strange things begin to occur at night, such as random objects falling to the floor or a door slamming shut. The situation gets worse as the days go by, forcing the family to take drastic and questionable actions to protect themselves.

For the most part, “Paranormal Activity 2” feels indistinguishable from the original and the only major change is the new and expanded cast of characters. You might say this is a flaw but this is one time where changing the formula was not necessary. Director Tod Williams wisely maintains the escalating sense of fear and dread but the new characters present a new dynamic in how they react to what is happening to them. While we may expect the sudden loud noises, the scares still pack quite a punch and I was literally on the edge of my seat every time that low droning noise is heard in the background. The film does stumble at one point as it rushes toward its climax when Daniel sees the footage of his wife being dragged away and suddenly changes his tune, leaping onto a drastic measure to save her and their son without considering the consequences but given his emotional state, it’s not hard to see why. The only other issue I can point out is the fact that since this is a sequel, it lacks that sense of newness audiences experienced with the original film and it would be wise for Paramount to avoid turning this into another “Saw” franchise. Of course, there’s going to be a third one if the ending is any indication.

The acting still convinces and we buy the illusion that this is a normal, everyday family but the increased budget allows for the employment of professional actors. While all of them are largely unknown with the exception of the returning Katie Featherston and Micah Sloat, some may recognize Sprague Grayden, who had a supporting role during the seventh season of “24.” This does not derail the film but it’s a small misstep as it’s important for the filmmakers to not let the audience feel that what they’re watching is staged. The final minutes serve as an epilogue to the original and while not packing the same out-of-you-seat shock, it’s no less unsettling and keeps us yearning to know what will happen next.

“Paranormal Activity 2” was released on October 22, 2010 and went straight for a wide release, compared to the slow roll-out of the original film as it depended more on positive word-of-mouth and viral marketing. Reception has been noticeably more mixed with 61% on Rotten Tomatoes, with the most common complaint from critics being that it ‘doesn't cover any new ground’ but agreed that ‘its premise is still scary—and in some respects, it's a better film than the original.’ Its opening weekend was heavily front-loaded with $41 million at the box office, suggesting that it might flame out in its second week but the only competition is the rematch with “Saw 3D,” which is being billed as the final chapter, though this can be taken with a grain of salt. However, last year’s “Saw VI” failed to top $30 million and it does not seem like the seventh will either despite the added premium price of 3D so expect “Paranormal Activity 2” to take the top spot once again. Despite the novelty having worn off, “Paranormal Activity 2” is the rare sequel that maintains its frightening atmosphere despite its minimalist style but those who didn’t appreciate the original won’t likely be converted.

Final Rating: 4 out of 5

"I don't know if the house is haunted, but I hope it is."

Read More

Let Me In Review

Rated R (Strong Bloody Horror Violence, Language and a Brief Sexual Situation)

Running Time: 1 Hour & 55 Minutes

Cast-

Kodi Smit-McPhee-Owen

Chloë Grace Moretz-Abby

Richard Jenkins-The Father

Elias Koteas-The Detective

Cara Buono-Owen's Mother

Sasha Barrese-Virginia

Dylan Kenin-Larry

Ritchie Coster-Mr. Zoric

Dylan Minnette-Kenny

Jimmy 'Jax' Pinchak-Mark

Nicolai Dorian-Donald

Brett DelBuono-Kenny's Brother

Chris Browning-Jack

Directed by Matt Reeves

Chloë Grace Moretz stars in Matt Reeves' "Let Me In," a remake of the 2008 Swedish film "Let the Right One In."

Around the time of the release of the original “Twilight” in 2008, there was another vampire film in limited release called “Låt den Rätte Komma In” or translated “Let the Right One In,” based upon the 2004 novel of the same name by John Ajvide Lindqvist. The Swedish film received widespread critical acclaim due to its effective blend of ‘scares with intelligent storytelling’ and currently holds a 97% on Rotten Tomatoes. Since Hollywood can’t leave well enough alone, they’ve decided to remake the film for an American audience. The renamed “Let Me In” largely follows the general plot of the original with some subtle changes but despite playing second fiddle, this is an oddly sad and poignant horror romance which owes much to the strength of the source material. One of the best vampire films I've ever had the pleasure to see, director Matt Reeves has crafted a remake that does not sacrifice the integrity of the original to pander to a more mainstream audience and for that, I applaud him for keeping his promise.

Set in Los Alamos, New Mexico in 1983, a lonely twelve-year old boy named Owen (Kodi Smit-McPhee) is bullied at school while his parents are going through a divorce. With no friends, he spends his time spying on his neighbors until one night, a strange barefoot girl named Abby (Chloë Grace Moretz) moves into the apartment next door with her ‘father’ (Richard Jenkins). Owen is naturally drawn to Abby as she seems to be impervious to the cold and the two quickly strike up a friendship, as she offers him advice on how to fight back against his tormentors and communicating through the wall of their apartments with Morse code. Although Abby possesses the physical appearance of a twelve-year old girl, she is actually an ancient vampire that needs to consume human blood to survive, which is provided by her elderly companion who goes out every night to kidnap teenagers and drain them of their blood. These killings attract the attention of a detective (Elias Koteas), who suspects it to be the work of a satanic cult.

The title “Let Me In” is a reference to vampire folklore which states that a vampire cannot enter a person’s residence without being invited in first. Although fans of the original Swedish version may decry the changes, they are minor at best with the ambiguity of Abby/Eli’s gender removed and the relationship with the father made more palatable for American audiences but no less disturbing. The driving force between Owen and Abby is that the two suffer from extreme loneliness. His relationship with his mother is distant at best and Reeves films her in such a way that her features are blurred and indiscernible. Owen is desperate for any sort of human connection and becomes excited at the prospect of having a friend like Abby. Being twelve and at the cusp of puberty, he is unable to articulate his feelings but the bond he shares with Abby transcends a label such as love. To make it ‘official,’ Abby shows up in Owen’s room one night and sleeps with him unclothed. Obviously, there is no sex involved but it’s not all that hard to read between the lines. As for Abby and her older guardian, their relationship could be likened to that of a ‘long-time wedded couple who have grown apart during the many years they have spent together’ (James Berardinelli, ReelViews). When he fails to provide her with human blood, he wearily remarks that perhaps he wants to be caught and feeling left behind, requests that Abby stop seeing ‘the boy.’ I overheard one of the audience members remark that Abby was essentially using the boys she befriends to help her procure blood. While that’s a more cynical interpretation, I don’t believe that’s true. Being immortal, it’s only natural that Abby will come to grow weary and seek new companionship.

Reeves has chosen his two leads well and both bring a surprising level of maturity and talent to a film which could’ve been sanitized to make a quick buck. Kodi Smit-McPhee’s (last seen in 2009’s “The Road”) melancholy performance makes us empathize with his lonely existence as he lives in fear of being brutalized at school but comes into his own as he spends more time with Abby. He is initially shocked when he discovers that she is not what she appears to be and although we can tell that he is unable to come to terms with her violent nature, the fact that he cares for her and she for him overcomes any doubts that he may have had. Like “Kick-Ass,” the real star is Chloë Grace Moretz and she is quickly becoming a favorite amongst genre fans. Her Abby is vicious but she is also brave and confident, having accepted that her life is a constant battle for survival and that the only way to make this burden easier to have someone to spend her time with. Richard Jenkins only has a few lines of dialogue but how he came to know Abby is revealed in a key scene when Owen sees a faded photograph. Finally, there’s Elias Koteas as a detective who’s in way over his head and cannot fathom the horror that awaits him.

“Let Me In” doesn’t hold back with the gore as these aren’t your normal, everyday vampires that sparkle in the daylight. When Abby assumes her vampire form, her eyes glow a bright blue and takes on a discolored complexion, with her voice becoming an inhuman growl. She becomes little more than an animal when she feeds and in the film’s final scene, she eviscerates all of Owen’s attackers in a shower of severed limbs. The only weakness is the CGI but since it is used sparingly, it does not detract from the film.

“Let Me In” was released on October 1, 2010 and has received positive reviews with 88% on Rotten Tomatoes. Critics hailed it as the rare successful remake that has 'enough changes to stand on its own' without adding 'insult to inspiration.' The film competed with David Fincher’s “The Social Network” which took the number one spot with an estimated $23 million and although I had pegged this film to come in second, it flopped at the box office, coming in at a shockingly low eighth place with a paltry $5 million. Audience reaction was positive but a few muttered that the film was boring and openly mocked some of the more touching scenes. Granted, some may find the content disturbing or ‘wrong’ but mainstream American society is often way too uptight. “Let Me In” is an excellent vampire romance film and one could say that given their circumstances, Owen and Abby were destined to be together. This is the high standard that all remakes should set for themselves.

Final Rating: 5 out of 5

"Do you think...there's such a thing as evil?"

Read More

The Social Network Review

Rated PG-13 (Sexual Content, Drug and Alcohol Use and Language)

Running Time: 2 Hours

Cast-

Jesse Eisenberg-Mark Zuckerberg

Andrew Garfield-Eduardo Saverin

Justin Timberlake-Sean Parker

Armie Hammer-Cameron Winklevoss

Josh Pence-Tyler Winklevoss

Max Minghella-Divya Narendra

Patrick Mapel-Chris Hughes

Joseph Mazzello-Dustin Moskovitz

Rooney Mara-Erica Albright

Brenda Song-Christy Lee

Rashida Jones-Marylin Delpy

Dakota Johnson-Amelia Ritter

Douglas Urbanski-Larry Summers

Wallace Langham-Peter Thiel

Bryan Barter-Billy Olson

Steve Sires-Bill Gates

Directed by David Fincher

"Did I adequately answer your condescending question?"

When we look back through the last ten years, one of the most defining attributes is the rise of the social networking site and in particular, Facebook, which currently boasts over five hundred million active users as of July, 2010. Facebook was launched in 2004 by Mark Zuckerberg, Eduardo Saverin, Chris Hughes, and Dustin Moskovitz in a Harvard dorm room but the journey toward the site that we know and use today is a sordid tale of lost friendships, greed, and betrayal as recounted in Ben Mezrich’s 2009 nonfiction book, The Accidental Billionaires. David Fincher’s latest film “The Social Network” recounts the tumultuous first years of Facebook’s founding and the resulting lawsuits that followed. However, do not mistake this for a documentary. As it takes inspiration from Mezrich’s book, where Saverin served as a consultant, the details are skewed against Zuckerberg’s favor yet no one can deny his ambition and genius. “The Social Network” is a highly engrossing picture that boasts amazing writing and direction but it’s the excellent performances that cements its status as one of the best, if not the best, film of 2010.

Mark Zuckerberg (Jesse Eisenberg), a Harvard University student, is having dinner with his girlfriend Erica Albright (Rooney Mara) where he reveals his desire to join an exclusive Final Club but she breaks up with him when he unintentionally insults her about sleeping with the doorman and going to Boston University, which he feels is less academically rigorous. Afterward, Mark rushes back to his dorm room and begins to write an insulting blog post against Erica on his LiveJournal account while drunk. Inspired by an offhand comment from one of his roommates, he begins to write the code for a website dubbed ‘FaceMash,’ which allows users to rate the attractiveness of the student female body at Harvard. Since there is no unified directory of all of Harvard’s students and their photos, he hacks into the databases of various residence halls to download the information. The site goes live once Eduardo Saverin (Andrew Garfield), Zuckerberg’s best (and only) friend supplies him with a special algorithm. FaceMash becomes highly popular with over 22,000 hits overnight, causing the entire Harvard network to crash. Zuckerberg is brought before the Administrative Review Board and is put on six months academic probation for violating privacy and disrupting security. The creation of FaceMash catches the attention of Cameron and Tyler Winklevoss (Armie Hammer, Josh Pence), and their business partner Divya Narendra (Max Minghella) who meet with Zuckerberg about having him work on a social networking site called Harvard Connection, which will be exclusive to Harvard students with people joining through invitation only. Zuckerberg agrees but goes off on his own to create ‘The Facebook,’ with his friend Eduardo putting up $1000 to start the site. When Facebook finally goes live, the site quickly becomes popular and angers the Winklevoss’, who believe that Zuckerberg had stolen their idea. They eventually sue him for theft of intellectual property. As Facebook expands to more universities, Napster founder Sean Parker (Justin Timberlake) wants in on the action, driving a wedge between Zuckerberg and Eduardo. Facebook soon becomes a full-fledged company with the backing of various investors but as the site is about to reach its one millionth subscriber, Eduardo realizes that his share of the company has been reduced from 30% to less than 1%. Furious, he decides to sue his former best friend.

“The Social Network” offers a more-or-less accurate account of the founding of Facebook and the lawsuits that followed during the period of October, 2003 to September, 2005, but keep in mind that it does take liberties for dramatic effect. The film is presented as a series of flashbacks while Zuckerberg is involved in two separate lawsuit depositions where he stands accused of cheating his best friend and committing theft of intellectual property. Although we don’t know whether the film’s version of Zuckerberg is true to his real-life counterpart, the character as presented by Fincher and screenwriter Aaron Sorkin is a multi-faceted individual. There is no doubt he is a genius and filled with big ideas. Unfortunately, he lacks humility, coming off as arrogant, over-confident, obsessive, and cold to most of his peers. He lacks the social graces to be accepted and it’s not hard to wonder whether he created Facebook to prove to everyone that the nerd whom everyone vilified at school has become the youngest billionaire ever. While his actions make him out to be total a**hole, there at times where, thanks to Eisenberg’s performance, that he looks on at his best friend that is now suing him with weary and regret. His portrayal of Zuckerberg defies any conventional praise and is deserving of an Oscar nomination. It also helps that the rapid-fire dialogue from Sorkin's script keeps the film's momentum going and at times, darkly comic. Before the credits roll, we're left with an important question: is Zuckerberg really a jerk or is his behavior the product of his own genius? I'll leave that for you to ponder.

Andrew Garfield’s (our future Amazing Spider-Man) Eduardo Saverin is a devoted friend who manages to put up with Zuckerberg’s idiosyncrasies, much like Wilson and Dr. House on the FOX television show. As Facebook continues to expand at an exponential rate, Saverin wants Facebook to start generating revenue through advertising since he is the CFO with a 30% stake but Zuckerberg refuses because he feels it would ruin the ‘cool’ factor and exclusivity of the site. He gets pushed further into the background once the founder of Napster, Sean Parker, whom Justin Timberlake portrays as a Faustian character, enters the scene and eventually his ownership in Facebook gets reduced to virtually nothing. Part of the blame lies on Saverin because he didn’t fully read the contracts before signing as he got caught up with the excitement of the site going fully incorporated. Like Eisenberg, Garfield’s Saverin is also full of regret that it had to come to this. It represents a prime example of how money and greed combined with the cutthroat world of online business ventures can destroy even the strongest of friendships. Timberlake defies all expectations and turns in a fine performance as Sean Parker, charming Zuckerberg with the promise of billions of dollars but at the cost of his own integrity.

There is no denying that Facebook has changed the way we communicate but while it has brought millions of people together, it has also driven them apart as they eschew physical interaction. The anonymity that the Internet brings has allowed people to create a persona in which it was not possible or acceptable in the real world. Let’s be real here, Facebook is an absolute useless tool, an addictive time waster but Zuckerberg created it to take the ‘entire social experience of college and putting it online.’ People are naturally curious about other people. They want to know what kind of friends they have, if they’re in a relationship or not and Facebook provides that. Yet all this is really on the surface in “The Social Network” and at its core, it’s about a friendship lost. ‘You don’t get to 500 million friends without making a few enemies.’ Never has a tagline been so appropriate.

“The Social Network” was released into theaters on October 1, 2010 to critical acclaim with a whopping 97% on Rotten Tomatoes, making it one of the few highly rated films of 2010. Critics called it ‘impeccably scripted, beautifully directed, and filled with fine performances, [the film] is a riveting, ambitious example of modern filmmaking at its finest.’ As it is one of most anticipated films of the fall, it should have no problem coming in number one at the box office with an estimated $25 to $30 million. A Best Picture and Best Director nomination at the Academy Awards is a no-brainer at this point and it is well-deserved as this is as good as films come. With “The Social Network,” David Fincher has crafted a crowning masterpiece that takes themes as old as time itself: friendship and betrayal, and marries them with the electronic interconnectivity of the world that we live in such a way that ‘defines the dark irony of the past decade’ (Peter Travers, Rolling Stone).

Final Rating: 5 out of 5

"I think if your clients want to sit on my shoulders and call themselves tall, they have the right to give it a try, but there's no requirement that I enjoy sitting here listening to people lie. You have part of my attention; you have the minimum amount. The rest of my attention is back at the offices of Facebook, where my colleagues and I are doing things that no one in this room, including and especially your clients, are intellectually or creatively capable of doing. Did I adequately answer your condescending question?"

Read More