Movie review Oculus
2002 Kaylie and Timbo have roughly ten years and live with their parents into a new home where she arrived a mirror that is having a bad influence on the parents.
2013 Tim comes from an asylum after 11 years of therapy for killing his father, his sister when it comes to taking the first thing he says is that he found (after years of research) the mirror in question and who can now keep the promise that has been made 10 years earlier.
The brother after a decade of therapy is believed to have killed his father and had imagined a story to make sense of the paranormal horror experience, instead of the sister who had no relationship with therapists is convinced to have witnessed paranormal facts and that the purpose was not to kill Tim’s father but a dark force.
And now he wants to transform the presence predator prey.
Lengthening of the short film in 2006 entitled Oculus: Chapter 3 – The man with the plan, written and directed by Mike Flanagan himself, Oculus expands the facility confirming all the good things he had seen.
Much of the structure and dynamics of this amazing movie, which seems to be initiated under the auspices of the more mundane and yet knows how to surprise all the time, is due to the professional origins of its author Mike Flanagan, editor for years. What is an artist of the cut you can see immediately, from the first minute when a peculiar editing breaks sentences while maintaining the integrity of the concepts and adding meaning through the combination of different times, but then also in the rest of the film we see the way particularly where the story mounts together past and present, what happened in 2002 lived in parallel to what happens in 2013, gradually blurring what is flashback (ie, a solution narrative) and what is imagined by the protagonists.
Yet it is not only the very particular structure of Oculus – The reflection of evil (who manages to hide up to three-quarters of what the film less inventive explain in the early scenes) to make a pearl horror series B, as its protagonist.
The brother-sister pair engaged in the fight against superior forces the usual red Kaylie is a gem of writing comes into the picture with a persistent recovery of his ponytail swinging in a walk determined that in a few seconds announces the character. In the vast gallery of girls that are fighting against the horror Kaylie’s throne is the least predictable, driven by a thirst for revenge that never takes the crease but the obsession remains in the field of lucid self-confidence, is a machine war who is not afraid at all what terrifies the viewer instead (and his brother), rather it seeks and is happy with his chilling manifest because he wants a physical confrontation with that which is not physical.
Whatever’s in that mirror she wants to kill cursed with such fascinating determination that the director makes him understand immediately in the early scenes, generating an affection and a curiosity that will continue to animate the entire film even in the less fluid.
Confusing the waters between psychological thriller (the first part) and pure horror (as found in the blood of the first order as that of the light bulb in the second), Mike Flanagan, creates a little world with its own rules and precepts to be observed, demonstrating not only know how to tell a story the viewer avvincendo but especially to be able to use the assembly to a level higher than the average narrative, without ever experiencing bold solutions affect the comprehensibility of the story.
