It’s tempting to call Paranormal
Activity overhyped, but doing so might imply that there’s a
good movie underneath said hype and it’s just tough to access in
the current cultural climate. While the film is shaping up to
become a low-budget box-office phenomenon in line with The
Blair Witch Project, it doesn’t even approach the
narrative quality of that cult-classic. Paranormal Activity
represents amateur, cheap horror that constantly drags attention
to the fact that it accomplishes its “scares” on a shoestring,
rather than simply accomplishing the scares period.
In fact, I’d assert that much of the
favorable audience reaction is simply a response to effective
Internet promotion conditioning people to like the movie. What
they actually like, however, is the long-lost idea of communal
movie-going embodied in the film’s distribution strategy: the
ritualistic midnight showings and the word-of-mouth driven
anticipation have culminated to make this a can’t miss “event.”
Not even the most successful summer Blockbusters—take
Transformers 2
for instance—have been able to capture
this level of buzz among young people. In other words, the
experience is dictating a blindly positive response to the
content.
For those cynics who don’t
particularly enjoy standing in long lines of teenagers at late
hours—not until this week could the movie be seen throughout the
day—the mediocrity of Paranormal Activity is much more
apparent. Unless one falls hook, line, and sinker for the
premise and disregards larger structural flaws, it’s a tough
movie to enjoy, much less get scared by. Speaking of the
premise: something freaky is happening when live-in couple Micah
(Micah Sloat) and Katie (Katie Featherston) go to sleep in their
suburban San Diego home. More specifically: spooky, unexplained
noises. So, like everyone who can’t explain creaks in the
floorboards, they run a video camera all night to see what’s
going on (the whole movie is conveyed through this lens). The
results are disturbing: their bedroom door opens and closes on
its own, footprints appear on the floor, et cetera. So they
enlist the help of a psychic (Michael Bayouth)—cameras still
rolling nightly—to find out what paranormal phenomenon is taking
place. They’re told a demon is stalking Katie, and it likely
can’t be stopped.
OK, clever enough. But I found it
pretty hard to buy into Paranormal Activity because every
time something spooky happened, I couldn’t stop thinking about
how the effect was achieved. When the door opened and closed, I
pictured the grip on the other side, smiling at the idea of how
scary it would be for viewers. Don’t even get me started on
where my imagination went during a scene in which Katie is
inexplicably dragged across the room. (If you can e-mail me why
the technical process involved reminded me of a certain “It’s
Always Sunny in Philadelphia” character, you get a cookie.) For
a while, I considered the idea that this could be a result of
the movie’s low-budget reputation (it was shot on DV for
$15,000), which somehow brought my attention to process-related
issues. But if this were true, then wouldn’t I be just as
skeptical of big-budget horror and its equally prominent
creature CGI?
The real reason the filmmaking
process is so apparent is because it’s more interesting than the
characters themselves. Micah and Katie may seem like real
people, yes, and they’re convincingly portrayed by actors Sloat
and Featherston. But the viewer has no reason to care about
them; they’re bumbling 20-something idiots who should just as
well be tortured by the invisible demon in the movie. Without
the viewer’s emotional investment, there’s nothing scary about
what happens to these characters. One feels removed from the
action, and hence the external process becomes the level on
which one relates. The story of an independent filmmaker who
shoots a hit movie on consumer cameras for $15,000 (his name is
Oren Peli) is far more empathetic and interesting—at least to
me—than character invented to be the ploy of cheap scares in his
movie.
Of course, just because I’m
fascinated by Peli’s newfound commercial success—it’s the type
of thing that could only happen in Hollywood—doesn’t mean I
think he has made a good movie. Beyond the lack of scares
stemming from unsympathetic characters, Paranormal Activity
is one of the most annoyingly structured and edited films in
recent memory. The first act—the calm before the storm for the
characters—is painfully boring and runs way too long. I respect
the concept of building suspense as much as the next guy, but
this doesn’t work when the viewer knows exactly where the film
is going. OK, maybe the “demon” idea hasn’t been introduced yet,
but one can infer that the cause of the paranormal activity is
something like this. Then, once the film begins to use long
stretches of Micah’s nighttime security video, it only becomes
more irritating because of Peli’s liberal use of fades in and
out. Come the twentieth time the transition is employed, one
wonders if the movie’s style intends to become an obnoxious
parody of itself.
For all its flaws, however,
Paranormal Activity has a few interesting intrinsic things
to say about modern media consumption. The film is not only
edited together, but also uses a surround sound mix of ambient
noise signaling doom before each of the scares. This implies,
without question, that in the mirror world where Micah and Katie
exist, the movie is an actual release being shown to the public,
not a “found tape” ala Cloverfield. Therefore, audiences
in this mirror world are paying to watch a film that promises to
show real people get, at the very least, traumatized by a demon.
(For the sake of this review remaining spoiler free, I’ll leave
it at that.) Whether the filmmakers intended to make this
statement or not, it says a lot about the modern media climate
and the way that, in such an emotionally distant world, we’re
troublingly aroused by perceived intimacy and realism, even in
the most horrifying of situations. While this subtle commentary
may not lead to any direct “gotcha!” moments, it offers far
scarier ideas than anything plot-oriented in Paranormal
Activity.
However, recognizing what the movie
gets right in terms of media consumption also makes one realize
what it overlooks. This relates to one of the movie’s largest
contrivances. Early on in the movie, Micah’s narcissistic camera
tendencies are established: he’s obsessed with shooting
everything and celebrates when he finds something
potentially paranormal in the footage. Even at the most chaotic
moments, he keeps the camera rolling, much to the chagrin (and
even downright fury) of his girlfriend. And yet, as Micah and
Katie desperately seek answers when fearing for their lives—the
“expert” their psychic refers is conveniently out-of-town—Micah
never once thinks to put his footage on YouTube. Not even when
they find certain hints about the demon online, clearly
establishing there are Internet resources out there for this
type of haunting. To which I write: you’ve got to be kidding
me! While I understand that the movie’s strategy of keeping
things in the house works to support its scare tactics, the
absence of even a passing reference to YouTube is just too big
an oversight to believe. Not to mention, the social commentary
that could have been achieved in one scene of Micah and Katie
interpreting the YouTube community’s response could have packed
more substance than the entire rest of the movie. It would have
been a logical place to take the movie for any filmmaker
thinking outside the box, but Peli is unfortunately stuck in
horror conventions, however “indie” his work may be.
Of course, as is the case with most
horror pictures, there’s a laundry list of other contrivances in
Paranormal Activity. But this wouldn’t matter if there
were more to the movie. Had it had further probed into media
consumption, I would be able to recommend the movie based on its
thought-process alone. Had the scare-construction been less
derivative of The Blair Witch and other grassroots horror
films, I would be able to recommend the movie for its style. Had
the protagonists been more compellingly written, embodying even
half the humanity of the strong-willed and similarly doomed
women of The Descent, I would be able to recommend the
movie for both its sympathetic characters and the ensuing fear
for them. But, alas, Paranormal Activity is an emperor
with no clothes – a cultural phenomenon about a scary movie, but
not a scary movie itself. While it boasts a few engaging
characteristics and should be celebrated for renewing interest
in seeing and supporting movies as a community (vital to the
sustenance of the art-form as a whole), there’s really nothing
special about the picture. And that’s a damn shame.
-Danny Baldwin,
Bucket Reviews
Review Published
on: 10.14.2009
Screened on:
the eve of 10.4.2009 at Midnight at the AMC Mission Valley 20 in
San Diego, CA.
Paranormal Activity is rated R and runs
99 minutes.
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