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Weekend Box Office: Nov 23-Nov 25

#1 The Twilight Saga: Breaking Dawn Part 2 from Summit Entertainment held at #1 with a gross of $43.6 million (-69.1%) in 4,070 theaters.  Total gross to date is $227.4 million.  Budget was $120 million.

#2 Skyfall from Sony/Columbia held at #2 with a gross of $35.5 million (-13.6%) in 3,526 theaters (+21).  Total gross to date is $221.1 million.  Budget was $200 million.

#3 Lincoln from Buena Vista held at #3 with a gross of $25.7 million (+22%) in 2,018 theaters (+243).  Total gross to date is $62.8 million.  Budget was $65 million.

#4 Rise of the Guardians from Paramount opened at #4 with a gross of $23.8 million in 3,653 theaters.  Total gross to date is $32.3 million.  Budget was $145 million.

#5 Life of Pi from 20th Century Fox opened at #5 with a gross of $22.5 million in 2,927 theaters.  Total gross to date is $30.6 million.  Budget was $120 million.

#6 Wreck-It Ralph from Buena Vista fell from #4 to #6 with a gross of $16.6 million (-10.8%) in 3,259 theaters (-363).  Total gross to date is $149.3 million.  Budget was $165 million.

#7 Red Dawn (2012) from FilmDistrict opened at #7 with a gross of $14.3 million in 2,724 theaters.  Total gross to date is $21.7 million.  Budget was $65 million.

#8 Flight from Paramount fell from #5 to #8 with a gross of $8.5 million (-4%) in 2,638 theaters (+26).  Total gross to date is $74.7 million.  Budget was $31 million.

#9 Silver Linings Playbook from Weinstein Company rose from #17 to #9 with a gross of $4.4 million (+889.5%) in 367 theaters (+351).  Total gross to date is $6.2 million.  Budget was $21 million.

#10 Argo from Warner Bros. fell from #6 to #10 with a gross of $3.9 million (-4.5%) in 1,255 theaters (-955).  Total gross to date is $98.1 million.  Budget was $44.5 million.

#11 Taken 2 from 20th Century Fox fell from #7 to #11 with a gross of $950 thousand (-55.3%) in 763 theaters (-1,300).  Total gross to date is $136.5 million.  Budget was $45 million.

#12 Anna Karenina from Focus Features rose from #20 to #12 with a gross of $896 thousand (+179.5%) in 66 theaters (+50).  Total gross to date is $1.5 million.  Budget was unknown.

The combined gross of the top 12 movies this weekend was $200.4 million.

Sources:
Box Office Mojo

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Theatrical Review: Life of Pi

Pi Patel has led an interesting life; born to a family who runs a zoo in India, Pi has always been curious about religion and finding the soul in all things, including the animals. Financial problems start to plague his family and they’re forced to sell their animals and hope to begin a new life in Canada. Disaster strikes though as the ship that they’re traveling on is capsized. Pi manages to survive on-baord a lifeboat with one other inhabitant; an adult Bengal tiger named Richard Parker.

That is a real simplified description of the premise to Life of Pi the latest film from celebrated director Ang Lee (Brokeback Mountain, Crouching Tiger Hidden Dragon) and there really is much, much more to this than that, but I don’t want to say too much more because really, Life of Pi is something that demands to be experienced in theatres- this is a terrific movie and certainly right up there with Lee’s best.

I can’t claim to have read the novel this is based off of, but I’ve heard it described as “unfilmable.” Well, Ang Lee has certainly risen to the challenge and has given us something that’s absolutely beautiful, thrilling, funny and life-affirming all at once. Visually, Life of Pi is a true masterpiece, with moments that are just indelible on the mind. Right from it’s opening credits to the very end, this is pure visual spectacle. That alone would be enough to recommend the film, but fortunately there’s so much more with it’s compelling story of survival and self-discovery and absolutely terrific performances from newcomer Suraj Sharma and veteran actor Irrfan Khan as the teenage and adult Pi.

While those two performances certainly stand out, I have to give Lee credit with his casting of Gautem Belur and Ayush Tandon as Pi at ages 5 and 11 as well. All four actors play this part seamlessly and make this quite convincing that this is one person at different ages in his life. That alone would be enough as far as good performances go, but Lee has really stepped it up with what he’s done with the tiger, Richard Parker. From what I gather, the tiger is mostly computer animated, but they’ve really created a character here that’s as much a driving force in the film as Pi himself. It’s an amazing achievement and again, it deserves to be seen on the big screen.

And when you’re seeing this on the big screen, make sure you opt to see it in 3D as well. Lee has taken the 3D and really made it very much part of the experience. It’s more than just “in your face” moments (though it does have those). It truly immerses you in Pi’s experience and just enhances the film thoroughly.

Oh there’s so much more I want to say about this, but really I think it’s best that you go and experience this first hand. I’ve given you the basics, but there’s so much more going on here that If I say anything further, I tend to think that I’m going to spoil it and I certainly do not want to do that. Life of Pi is a very special movie that’s certainly deserving of all the accolades that it’s been receiving. Don’t miss this one…

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Theatrical Review: Red Dawn

In Spokane, Washington, returning Iraqi war vet Jed Eckert, is watching his impulsive young brother Matt play in a football game. There’s a little discomfort between the two brothers, but before any of it can be resolved, their town and the United States as whole finds itself being invaded by North Korean forces (with a little assistance from the Russians). Now, the two brothers begin to lead a ragtag team of other teens as a terrorist force called the Wolverines in order to free their town.

That’s the premise to Red Dawn, a remake of the 1984 film from director John Milius, and the first time effort for director Dan Bradley, who’s best known for his stunt coordination work. I have to confess, I’ve never seen the original movie- oh, I’ve always wanted to, but somehow or another I just never got around to doing it, so unfortunately, I can’t really make any comparisons to the original. As it stands though, this new version is a fairly passable time-waster that has a lot of potential, but just seems content to run everything by the numbers.

One plus that I was quite surprised about was the initial prologue to the film which basically goes into a little detail of how this is about to happen and unbelievably, it actually does set it up with the current US administration in mind. Now it doesn’t really do anything with that after the prologue, but I was quite surprised to see them actually tie this all in to current events. After that, this pretty much advances by rote- inspirational speech from the war vet, montage scene of all the training, initial successful attacks by the Wolverines, all peppered with little young adult relationship building moments in-between. There’s no big surprises here, but it’s still pretty watchable.

For the most part, the cast here is pretty good. Chris Hemsworth plays Jed Eckert, and even though this was made before Thor and The Avengers, Hemsworth already displays strong presence. Josh Hutcherson (Peeta in The Hunger Games) plays a bookish type who learns to adapt and has the big rallying moment during a Wolverine attack. Adrianne Palicki and Isabel Lucas play the girls of the group and are mostly there to give romantic moments for both of the Eckert brothers. They’re all serviceable performances and certainly keep things moving.

Two performances that I’ll call out belong to Josh Peck and Jeffrey Dean Morgan, but for different reasons. Peck plays Matt Eckert and it’s an “OK” performance, but I just have a hard time buying that he and Hemsworth are brothers- it’s more a physical thing that anything else, and this might’ve been better served had Peck and Hutcherson each played the other’s roles. Things start to spice up a little bit when Jeffrey Dean Morgan comes into play as a Marine named Tanner who’s seeking out the Wolverines for help. Even in a smaller part like this, Morgan is money in the bank and certainly brings a little more gravity to the part just by sheer presence alone.

Red Dawn isn’t a horrible movie by any means, but it doesn’t do much to really stand out either. Like I said above, I haven’t seen the original, but I certainly know of it, and actually do think that it’s a ripe film to re-make, but maybe re-making it as a feature film might not have been the best way to go. Doing this as a television series could’ve been a better route, at least on an artistic level and certainly would’ve had more opportunities to try some things that wouldn’t be just “by the numbers.” It’s a watchable movie, just as I said, but there’s other things out there right now that’s more compelling to see in theatres than this re-make of Red Dawn.

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Weekend Box Office: Nov 9-Nov 11

#1 Skyfall from Sony/Columbia opened at #1 with a gross of $88.4 million in 3,505 theaters.  Total gross to date is $90.6 million.  Budget was $200 million.

#2 Wreck-It Ralph from Buena Vista fell from #1 to #2 with a gross of $33 million (-32.7%) in 3,752 theaters.  Total gross to date is $93.6 million.  Budget was $165 million.

#3 Flight from Paramount fell from #2 to #3 with a gross of $14.8 million (-40.6%) in 2,047 theaters (+163).  Total gross to date is $47.5 million.  Budget was $31 million.

#4 Argo from Warner Bros. fell from #3 to #4 with a gross of $6.6 million (-35.2%) in 2,763 theaters (-11).  Total gross to date is $85.6 million.  Budget was $44.5 million.

#5 Taken 2 from 20th Century Fox held at #5 with a gross of $4 million (-32.2%) in 2,487 theaters (-152).  Total gross to date is $131.3 million.  Budget was $45 million.

#6 Cloud Atlas from Warner Bros. held at #6 with a gross of $2.7 million (-50.6%) in 2,023 theaters (+10).  Total gross to date is $22.8 million.  Budget was unknown.

#7 The Man with the Iron Fists from Universal fell from #4 to #7 with a gross of $2.59 million (-67.2%) in 1,872 theaters (+4).  Total gross to date is $12.8 million.  Budget was $15 million.

#8 Pitch Perfect from Universal rose from #11 to #8 with a gross of $2.57 million (-16%) in 1,391 theaters (-111).  Total gross to date is $59.1 million.  Budget was $17 million.

#9 Here Comes the Boom from Sony/Columbia held at #9 with a gross of $2.52 million (-28.5%) in 2,044 theaters (-270).  Total gross to date is $39 million.  Budget was unknown.

#10 Hotel Transylvania from Sony/Columbia fell from #7 to #10 with a gross of $2.4 million (-45.6%) in 2,566 theaters (-356).  Total gross to date is $141 million.  Budget was $85 million.

#11 Paranormal Activity 4 from Paramount fell from #8 to #11 with a gross of $2 million (-53.4%) in 2,348 theaters (-658).  Total gross to date is $52.6 million.  Budget was $5 million.

#12 Sinister from Summit Entertainment held at #12 with a gross of $1.5 million (-44.3%) in 1,554 theaters (-328).  Total gross to date is $46.6 million.  Budget was $3 million.

The combined gross of the top 12 movies this weekend was $163 million.

Sources:
Box Office Mojo

 

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Weekend Box Office: Nov 2-Nov 4

#1 Wreck-It Ralph from Buena Vista opened at #1 with a gross of $49 million in 3,752 theaters.  Budget was $165 million.

#2 Flight from Paramount opened at #2 with a gross of $24.9 million in 1,884 theaters.  Budget was $31 million.

#3 Argo from Warner Bros. fell from #1 to #3 with a gross of $10.2 million (-15.5%) in 2,774 theaters (-81).  Total gross to date is $75.9 million.  Budget was $44.5 million.

#4 The Man with the Iron Fists from Universal opened at #4 with a gross of $7.9 million in 1,868 theaters.  Budget was $15 million.

#5 Taken 2 from 20th Century Fox rose from #6 to #5 with a gross of $5.9 million (-23.3%) in 2,639 theaters (-356).  Total gross to date is $125.6 million.  Budget was $45 million.

#6 Cloud Atlas from Warner Bros. fell from #2 to #6 with a gross of $5.4 million (-44%) in 2,013 theaters (+5).  Total gross to date is $18.4 million.  Budget was unknown.

#7 Hotel Transylvania from Sony/Columbia fell from #3 to #7 with a gross of $4.4 million (-53.3%) in 2,922 theaters (-354).  Total gross to date is $137.5 million.  Budget was $85 million.

#8 Paranormal Activity 4 from Paramount fell from #4 to #8 with a gross of $4.3 million (-50%) in 3,006 theaters (-406).  Total gross to date is $49.5 million.  Budget was $5 million.

#9 Here Comes the Boom from Sony/Columbia fell from #7 to #9 with a gross of $3.5 million (-32.3%) in 2,314 theaters (-177).  Total gross to date is $35.5 million.  Budget was unknown.

#10 Silent Hill: Revelation 3D from Open Road Films fell from #5 to #10 with a gross of $3.3 million (-59.1%) in 2,933 theaters.  Total gross to date is $13.9 million.  Budget was $20 million.

#11 Pitch Perfect from Universal held at #11 with a gross of $3.1 million (-22.4%) in 1,502 theaters (-497).  Budget was $17 million.

#12 Sinister from Summit Entertainment fell from #9 to #12 with a gross of $2.7 million (-45.3%) in 1,882 theaters (-465).  Total gross to date is $44.3 million.  Budget was $3 million.

 

The combined gross of the top 12 movies this weekend was $124.6 million.

Sources:
Box Office Mojo

 

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Weekend Box Office: Oct 26-Oct 28

#1 Argo from Warner Bros. rose from #2 to #1 with a gross of $12.1 million (-26.5%) in 2,855 theaters (-392).  Total gross to date is $60.5 million.  Budget was $44.5 million.

#2 Cloud Atlas from Warner Bros. opened at #2 with a gross of $9.6 million in 2,008 theaters.  Budget was unknown.

#3 Hotel Transylvania from Sony/Columbia rose from #4 to #3 with a gross of $9.4 million (-27.4%) in 3,276 theaters (+262).  Total gross to date is $130.4 million.  Budget was $85 million.

#4 Paranormal Activity 4 from Paramount fell from #1 to #4 with a gross of $8.5 million (-70.7%) in 3,412 theaters.  Total gross to date is $42.5 million.  Budget was $5 million.

#5 Silent Hill: Revelation 3D from Open Road Films opened at #5 with a gross of $8 million in 2,933 theaters.  Budget was $20 million.

#6 Taken 2 from 20th Century Fox fell from #3 to #6 with a gross of $7.7 million (-41.8%) in 2,995 theaters (-494).  Total gross to date is $117.1 million.  Budget was $45 million.

#7 Here Comes the Boom from Sony/Columbia held at #7 with a gross of $5.2 million (-38%) in 2,491 theaters (-523).  Total gross to date is $30.3 million.  Budget was unknown.

#8 Alex Cross from Summit Entertainment fell from #5 to #8 with a gross of $5.1 million (-55%) in 2,541 theaters (+2).  Total gross to date is $19.5 million.  Budget was $35 million.

#9 Sinister from Summit Entertainment fell from #6 to #9 with a gross of $5 million (-43.3%) in 2,347 theaters (-195).  Total gross to date is $39.4 million.  Budget was $3 million.

#10 Fun Size from Paramount opened at #10 with a gross of $4.1 million in 3,014 theaters.  Budget was $14 million.

#11 Pitch Perfect from Universal fell from #8 to #11 with a gross of $3.9 million (-41.6%) in 1,999 theaters (-661).  Total gross to date is $51.3 million.  Budget was $17 million.

#12 Frankenweenie from Buena Vista fell from #9 to #12 with a gross of $2.5 million (-43.3%) in 1,738 theaters (-624).  Total gross to date is $31.8 million.  Budget was $39 million.

The combined gross of the top 12 movies this weekend was $81.2 million.

Sources:
Box Office Mojo

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Theatrical Review: Cloud Atlas

Adapted from the novel by David Mitchell, Cloud Atlas tells six main stories across a period of several centuries. Those six stories involve:

A young man from a wealthy family who’s life has been changed by what he’s seen with slavery.

A vagabond composer/musician who seeks to find love and make the music of his life.

A crusading journalist who’s uncovered corruption with a nuclear power company.

A publisher who’s found himself in trouble through his debts.

A serving class woman who could be the key to an uprising in a dystopian future.

A tribal leader in a devastated future who’s haunted by his own demon for cowardice in letting his brother be killed.

Though they are all separate, they are also all interwoven showing us that we’re all connected whether it’s through the smallest acts of kindness or the greatest moments of catastrophe.

That’s the premise of Cloud Atlas, a thrilling epic ride across time brought to us by an equal epic teaming of directors; Lana and Andy Wachowski (the Matrix series, Bound and Speed Racer) and Tom Tykwer (Run Lola Run, The Princess and the Warrior and Perfume) The six stories aren’t told as separate pieces, but instead are all interwoven together with timelines changing after each scene. It might be a little disconcerting at first, but pretty quickly it does indeed all gel together. Maybe the best way to think of this film is like a cosmic version of Lawrence Kasdan’s Grand Canyon or Paul Thomas Anderson’s Magnolia. While it’s message might be obvious, i don’t really find anything wrong with that. Every now and then, we sorta need this type of film just to remind ourselves that we’re all part of a bigger picture.

It’s definitely an ambitious production, and some might even think pretentious. I don’t necessarily mind a little pretension if the heart and drive is there, and it’s definitely there throughout every aspect of the film. Though it’s two separate directing units, so to speak, it’s pretty seamless in it’s presentation. Cloud Atlas runs nearly three hours long but thanks to some extremely skillful editing it moves at a breakneck pace, though it still gives you the chance to soak it all in. The production values are high and quite beautiful and equally complimented by an emotional score from Tykwer working with Reinhold Heil and Johnny Klimek.

The greatest thing that Cloud Atlas has going for it besides it’s directorial vision is an absolutely amazing ensemble cast that literally plays parts in every single story told through the film. Tom Hanks and Halle Berry lead this cast as it’s biggest names, but the film isn’t all about their characters, though each plays six different characters in the film. I watch Hanks in this in particular and not only do I admire his performances, but just give him all the credit in the world for putting himself in the hands of these directors to use him in ways he’s never been used in before on screen. This cast doesn’t stop with Hanks and Berry; it also includes Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae, Ben Whishaw Keith David, James D’Arcy, Xun Zhou, David Gyasi, Susan Sarandon and Hugh Grant, all at the very top of their games here. I was particularly impressed with Broadbent, Weaving, Sturgess, Bae and Grant- really enjoying seeing Grant play so against type in almost all of the sequences. It really is a cast to die for and they’re all committed to seeing the directors’ vision shine through.

The one criticism that I can certainly understand that some might have is the obviousness of the make-up with some of the players. In some instances, the make-up is totally seamless while in others it is obvious, though I tend to think that some of that is by design as well, basically to make those certain characters stand out just a bit more. Just a word of advice though, stay through the end credits because each actor is actually shown along with their credit and shown in all of their appearances through the film. When you see this, you’ll see some instances of the make-up that will truly astound (for me, it was Hugh Grant as the Kona Chief).

Cloud Atlas is indeed a sprawling epic in the truest sense. It’s message may be obvious, but there’s nothing wrong with that when it’s presented with this amount of heart and conviction, and underscored through a truly lavish production. Cloud Atlas is a movie that demands to be seen on a big screen to truly appreciate it’s scope. It’s a meaty and lengthy piece, but it moves at an extremely brisk pace and by it’s end… well, I kinda hated to see it come to an end. I was ready to sit back down and watch it all over again. It’s one of those movies that I think will reward even more on re-viewings and be the sort of thing that you’re going to want to re-visit every now and then. Highly, highly recommended… don’t miss this one.

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Weekend Box Office: Oct 19-Oct 21

#1 Paranormal Activity 4 from Paramount opened at #1 with a gross of $29 million in 3,412 theaters.  Budget was $5 million.

#2 Argo from Warner Bros. held at #2 with a gross of $16.4 million (-15.5%) in 3,247 theaters (+15).  Total gross to date is $43 million.  Budget was $44.5 million.

#3 Taken 2 from 20th Century Fox fell from #1 to #3 with a gross of $13.3 million (-39.4%) in 3,489 theaters (-217).  Total gross to date is $105.8 million.  Budget was $45 million.

#4 Hotel Transylvania from Sony/Columbia held at #4 with a gross of $13 million (-24.6%) in 3,014 theaters (-361).  Total gross to date is $118.5 million.  Budget was $85 million.

#5 Alex Cross from Summit Entertainment opened at #5 with a gross of $11.4 million in 2,539 theaters.  Budget was $35 million.

#6 Sinister from Summit Entertainment fell from #3 to #6 with a gross of $8.8 million (-51%) in 2,542 (+15) theaters.  Total gross to date is $31.7 million.  Budget was $3 million.

#7 Here Comes the Boom from Sony/Columbia fell from #5 to #7 with a gross of $8.4 million (-28.9%) in 3,014 theaters.  Total gross to date is $23.1 million.  Budget was unknown.

#8 Pitch Perfect from Universal fell from #6 to #8 with a gross of $6.8 million (-27.1%) in 2,660 theaters (-127).  Total gross to date is $45.5 million.  Budget was $17 million.

#9 Frankenweenie from Buena Vista fell from #7 to #9 with a gross of $4.3 million (-38.6%) in 2,362 theaters (-643).  Total gross to date is $28.2 million.  Budget was $39 million.

#10 Looper from TriStar fell from #8 to #10 with a gross of $4.2 million (-32.2%) in 2,223 theaters (-382).  Total gross to date is $57.8 million.  Budget was $30 million.

#11 Seven Psychopaths from CBS Films fell from #9 to #11 with a gross of $3.3 million (-21.6) in 1,480 theaters.  Total gross to date is $9.1 million.  Budget was $15 million.

#12 The Perks of Being a Wallflower from Summit Entertainment fell from #11 to #12 with a gross of $2.2 million (+0.1%) in 745 theaters (+19).  Total gross to date is $9.1 million.  Budget was unknown.

The combined gross of the top 12 movies this weekend was $121 million.

Sources:
Box Office Mojo

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Announcement Back Seat Producers Season 07 Shows

BSP Episode 246: Tucker and Dale vs. Evil

Release date:  1/22/2010

Magnolia Pictures

Directed and Written by

  • Eli Craig

Produced by

  • Morgan Jurgenson
  • Albert Klychak
  • Rosanne Miliken
  • Deepak Nayar

Cast

Tyler Labine

  • Dale

Alan Tudyk

  • Tucker

Katrina Bowden

  • Allison

The show begins with a poignant, heartfelt speech by Deuce.

The hosts review:

The hosts all enjoyed the movie.  None had any expectations but they were all satisfied.  David said that what worked was that the audience had to believe the play between Tucker and Dale and the believability as to why the kids seemed to be killing themselves.  The ridiculousness of it works.  One of David’s favorite parts was that, whenever Tucker was injured, he treated each horrific wound by pouring beer on it.  They also agreed that the chemistry between Tyler Labine and Alan Tudyk was really good.

They discussed how this movie turns the commentary on horror movies and how hillbillies would usually be the bad guys.    They also touch on how, in almost every horror movie, the young people will almost always jump to conclusions, thus setting themselves up to be killed.  The conversation touches on “reasonable” ways to save oneself from the horrors of being killed while on a camping trip.

There was also a touch of sadness at the fact that there was no camping-sex, as tends to be the norm for these movies, as well.

Talk then turns to wet t-shirt contests… and David’s participation in said contest, and SausageFest antics of past years.

**There is still time to donate to SausageFest**

Summing this all up, David ranked the movie (out of five fat hillbillies) with four fat hillbillies and one skinny hillbilly.

Your Producers for this episode were:

  • Tony
  • Darrell
  • Tony/Deuce
  • David

This episode was recorded: 10/10/2012

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Theatrical Review: Paranormal Activity 4

It’s the fall of 2011, five years after both Katie and the baby Hunter disappeared at the end of Paranormal Activity 2. Our new setting is Henderson, Nevada and we meet a new family, father Doug, mother Holly and their kids, teenaged daughter Alex and the youngest son, Wyatt. They seem to be a normal family, though the marriage has hit a stale point, but still nothing out of the ordinary. That all starts to change when new neighbors, a mother and son, move into the neighborhood and then weirdness happens.

That’s the broad premise for Paranormal Activity 4 the latest film in the franchise from producer Oren Peli and directors Henry Joost and Ariel Schulman. I make no bones about it; I’m a huge fan of the franchise and so I was certainly looking forward to seeing this one. I thought this was a lot of fun, but the franchise is starting to show it’s age and it might be time for Peli to consider wrapping this one up.

As has been the case with all of the Paranormal Activity movies, this is in the “found footage” horror sub genre. As has also been the case with each film in the series, some new tricks have been brought into play, with this one making extensive use of phones and computers to record the footage as well as using an Xbox Kinect to help give a particular neat effect to some of the scenes. I love the “found footage” sub-genre just due to it’s sheer immediacy of action as well as how it makes you scan every little bit of the screen to keep you on your toes. There’s no problems there at all.

Now also like the previous films in the series, this new one adds a little bit more to the bigger story, though you really won’t see that addition until the very final scene, but still it’s a big one and it certainly expands the scope of these films (and even further, there’s another scene after the end credits as well). But even with that expansion, I think the formula here is starting to show it’s wear and it might be time to start to think to put a bow on this series and wrap it up. Where this new installment falters for me is in a couple of areas. First, the daughter Alex and her friend Ben set up the house with the computers recording the footage. The next day, they check the footage and certainly see that something has happened, but that seemed to me like the last time that they did that, even though stranger things started to happen on subsequent evenings. If they’re consistently checking it, then they should be more driven than what they seem to be in this film and thus trying to tell anyone what exactly is going on. If that was happening that would certainly lead to Alex’s parents finding out more, but here they’re just played as being thick and not much concerned at all. Sure doing these things would’ve probably deprived the filmmakers of a few cheap scares in the film, but I think it also could’ve added to the tension. As it is, even though the scares are cheaper, they still work, but nowhere near as effective as the prior three movies… until you get to the final scene anyway, and for me that made it a little more forgivable, but not much.

The performances are all pretty good here, even if it’s by rote. I mentioned the parents above, and I can’t really fault what either actors Stephen Dunham or Alexondra Lee do here, that fault is more in the script. Of course, this wouldn’t be a Paranormal Activity movie without Katie Featherston in it and so I’m certainly happy to see her here and would like to see her in more features as well (beyond Oren Peli’s projects- Featherston was also part of the cast of ABC’s The River also from Peli).

My suggestion; let’s wrap this series up with the just announced fifth film. We’ve got all of this “found footage” and now let’s put this in the hands of some professional paranormal investigators (or even TV paranormal investigators) and put a new spin on this beyond it’s domestic settings. That’s what I’d do, but I doubt that will happen. These films are very cheap to make and their profit is considerable given their cost. I love the series, and enjoyed this latest chapter, but still the wear is starting to show and it would be better for the series to go out with a huge bang rather than get staler with potential sixth and seventh films.