Uma mãe viúva e suas filhas incorporam um truque para reforçar seu negócio de espiritismo, convidando uma presença maligna para dentro de casa, sem perceber como isso é perigoso.Uma mãe viúva e suas filhas incorporam um truque para reforçar seu negócio de espiritismo, convidando uma presença maligna para dentro de casa, sem perceber como isso é perigoso.Uma mãe viúva e suas filhas incorporam um truque para reforçar seu negócio de espiritismo, convidando uma presença maligna para dentro de casa, sem perceber como isso é perigoso.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 2 vitórias e 7 indicações no total
Avaliações em destaque
It's obvious that Mike Flannigan is on his way to becoming one of our true masters of horror, but this film seems more like a paycheck movie for him and it shows. He does the best he can with the tepid material, but ends up using the old "distorted faces/mouths with rolled back eyes" effect a few too many times and it quickly becomes tedious.
Like all of Flannigan's films, it's wonderfully well cast and beautifully put together. I just wish they'd spent a little bit more time with the script. You might be better off watching Flannigan's Hush, Absentia, Gerald's Game, Occulus, or The Haunting of Hill House.
This is a film that shouldn't exist, should never have gotten theatrical distribution and definitely shouldn't have attracted the likes of Flanagan (okay, he probably did this to increase his clout in the industry, but still). He musters some great work here, following familiar supernatural clichés but bringing his own touch to the proceedings.
The setting is beautiful, the characters likable and not completely square. The atmosphere is given time to build, he luxuriates in teasing and messing with audience expectations (as a way of spiting this, and goosing the audience lulled into a slow burn placation, he includes an explosive scene wherein the actual demon is seen shoving his fist down the little girl's throat. It's both too much and a necessary jolt at the time, a conundrum if ever there was one and a small encapsulation of everything right and wrong within this film).
It's too bad some of the nice work done in the first 2/3rds of the film is undone by a clichéd, boring, exorcism-lite finale. None of it is very scary, and it all has the feel of fitting into the "Ouija" franchise package, whatever in God's name that could mean. Considering the stakes here, what Flanagan does is still impressive.
Alice and her two daughters run a scam business in which they "speak to the dead". The mother justifies this business by telling her youngest daughter, Doris, that it helps people move on and get closure. When her eldest, Lina, plays the new Ouija boardgames at a friends house, she tells her mother to incorporate it into her act. She does and things take a sinister turn when they scam becomes reality.
It's hard to make a game board scary. The first film tried, failed and this one tries and succeeds for the most part. Any non-horror fan might balk at the idea that this film is good, but I consider this movie to be one of the most underrated flicks of the year. Flanagan knows how to build solid tension and he doesn't rely on cheap scares or an obscene amount of gore. This film has none of that. Careful framework and lighting is all he needs to create an unsettling atmosphere. Whenever someone decides to look through the ouija glass piece, you feel yourself tense up expecting something to happen.
Kids in horror films are the go to for anything scary. Most movies tend to cast children horribly and they end of ruining the film. Doris, played by Lulu Wilson delivers an innocent and somewhat chilling performance as the youngest daughter. Her goodbye message to a young boy about what it feels like to be strangled to death is an excellent scene to send chills down your spine. No scary images, sounds or blood needed. Just a child delivering one monologue about suffocating you.
Obviously the film is far from perfect, but it doesn't cater to the happy ending crowd either. It takes some chances and for the most part, lands them. I was surprised by how much I liked this film, which may be why the rating is higher than what others would tend to give a film like this. Had the first film never existed, this would be a bigger hit.
First off, the scenes were beautiful. It was like watching a warm sunset. In addition, the direction and camera angles really enhanced the suspense and intensity. The special effects were also top notch and at one point I was like, "Whaaaat? That is cool".
I was pretty captivated throughout, although it did have it's clunky moments but not too many of them and they quickly worked their way out of them.
The cast did a superb job with the young Lulu Wilson pretty much stealing the show. I'll most likely be seeing her again in my nightmares. Annalise Basso, Elizabeth Reaser and Henry Thomas also did an excellent job so I don't want to sell them short either.
Overall this was a pleasant surprise with moments of nail-biting suspense. Definitely worth the watch on a dark and quiet night. Oh, and one other reviewer mentioned not watching the preview. I didn't so that might have helped.
At the end of the final act, I was thinking "high-fives all-around, good job guys" and was about to give this two thumbs up.
And then, inexplicably, in the last 5 minutes the filmmakers revert to cheesy B-horror cliches making for a jarring denoument that simply feels wrong.
WTF? Was that studio exec interference or just plain bad judgement? Nope. Because it's a prequel (to a movie I haven't seen yet), I guess it had to end with a bridge to the other movie. But it could have and should have been better, so the truth is, it's just bad writing. The last few minutes just don't match the tone or narrative arc of the first hour and a half, and it comes across feeling like a cheap add-on. Not a twist ("cool!"), or a surprise ("gotcha!") just lame ("seriously? Pffthtttt!") (That's the raspberry sound, BTW.)
This movie should have wrapped up nicely at 1:27:25. If it had: 8/10.
With the dopey last 4 and a half minutes added: 6/10.
PS - If you can, stop watching at 1:27:25 and just imagine a better CODA; e.g., Lana, the sensible one, getting on with her life as best she can, and the Ouija board washing up on some beach like in Jumanji.
Você sabia?
- CuriosidadesThe film was shot digitally, but director and editor Mike Flanagan, in order to add a retro feel to the film, added elements in post-production to give the appearance of a movie shot on film. Those include the 'cigarette burns', marks that appear every 20 minutes or so in the upper right corner of the frame, which were used to signal a change of reels for film projected.
- Erros de gravaçãoIn order to make the film appear more authentic for the time in which it is set (1967), cue marks, or "reel change" marks, are inserted at approximately every 20 minutes. However, the marks are oval when they should actually be circular, since this is a film presented in a 1.85:1 aspect ratio and not in a 2.39:1 aspect ratio. The only time the marks should be oval is if a film is projected with an anamorphic lens. On an anamorphic film print, the cue marks are circular, but the anamorphic lens makes the circle look like an oval when projected on a screen.
- Citações
Doris Zander: Wanna hear something cool?
Mikey: Sure.
Doris Zander: Do you know what it feels like to be strangled to death? First, you feel the pressure in your throat. Your eyes water, and you start to taste something very, very sour in your mouth. Then it's like someone lights a match right in the middle of your chest, and that fire grows. It fills your lungs, and your throat, and all the way behind your eyes. And finally, that fire turns to ice; like pins and needles of ice are sticking into your fingers, your toes, your arms. You see stars, then darkness. And the last thing you feel... is cold.
[Mikey looks confused and horrified]
Doris Zander: [smiles] Goodnight, Romeo.
- Cenas durante ou pós-créditosThere is a post-credits scene with Lin Shaye.
- Trilhas sonorasYou Gotta Move Me
Written by Dennis Michael Lacey
Performed by Mike Lacey
Courtesy of Crucial Music Corporation
Principais escolhas
- How long is Ouija: Origin of Evil?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Centrais de atendimento oficiais
- Idiomas
- Também conhecido como
- Ouija: el origen del mal
- Locações de filme
- Clark Residences - 306 Loma Drive, Los Angeles, Califórnia, EUA(the girl's school)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 9.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 35.144.505
- Fim de semana de estreia nos EUA e Canadá
- US$ 14.065.500
- 23 de out. de 2016
- Faturamento bruto mundial
- US$ 81.705.746
- Tempo de duração1 hora 39 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1