Is Ouija a spooky addition to the holiday market? Yes. But is it in any way memorable, valuable, or important to the genre? I have to say, No.
Poor Ouija. It's really not too terrible, when contrasted with the plethora of horror movies. There are "good" and "bad" of any genre, but horror seems to get the rap when it comes to "bad" cinema. It's certainly entertaining -- in terms of bad horror -- when it comes to historical comparison. But that may only be because it is more "up-to-date" when it comes to contemporary digital special effects. The fact that the film is entertaining purely because of its placement in acceptable film presentation is just sad; it should have some values other than its vague tension and its cinematographic familiarity.
Okay, Olivia Cooke is great. But she's about it. The Bates Motel and The Quiet Ones (2014) star is the sole soul of the picture. Granted, she is totally worth the watch, simply due to her emotional connection and deliverance in every single scene. One must wonder, though, if a single performance makes a film worthwhile. I mean, her delivery is admirable, but why waste a good 90 minutes? Lin Shaye (Insidious (2010), and A Nightmare on Elm Street (1984), for you genre lovers) pops up for two pivotal scenes, but these scenes are heavily contrived and make us audience members feel cheated. Why would any post-Insidious film feel sincere in casting Lin Shaye as the same plot device, but with slightly heightened character? Answer: It wouldn't. Why? Because since Snakes on a Plane (2006) she's been too recognizable.
Director Stiles White is not without his credits, either. But a history of horror writers (The Possession (2012), Boogeyman (2005)) and special effects artists or production assistants (Jurassic Park III (2001), Lake Placid (1999), The Sixth Sense (1999)) does not a director make. White's approach to the material is bland, disconnected, and familiar. He never sees the material as exciting or fresh, and so it isn't to us. Granted, the script isn't wildly novel. But especially in this genre, we should expect the director to give us an entry into the material that is unusual, intelligent, or overwhelming. White gives us none of the above. In fact, every single moment that could be brilliant -- and, for the record, there are several moments that could be brilliant and, moreover, unique in the genre -- is sacrificed by White for comfort and familiarity. I think I actually muttered that twice during the screening: "I saw that coming." That's a phrase I usually reserve for uttering during third-time viewings on DVD in my own home, because I think vocalizing those comments in a movie theater is a cardinal sin.
I really don't know what else to say. Wikipedia may tell you the plot, but I guarantee you already can guess the plot simply by knowing the title and seeing the trailer. I had hoped that the performances or the director's aesthetic might increase the picture's value, but my hopes have been dashed. If you are looking for late-night Halloween-weekend entertainment and potential foreplay action, you may want to book a date for Ouija. My recommendation? Buy the actual board game. It's much more titillating. If you want the movie, wait for it on RedBox or Netflix. It's not worth the $5 for a cinema experience.
IMDb: Ouija
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