We Are Movie Geeks

THE DIABOLICAL – The Review

An original idea is not necessarily enough on its own to ensure a successful film, but it certainly is a good start. Let’s call this half the battle, while the other half is the execution. This is where THE DIABOLICAL falls short. Despite this unfortunate set back, this debut film from writer-director Alistair Legrand has some commendable elements that make experiencing the film a worthwhile endeavor.

Aside from having a super cool name to plaster onto the title sequence of his film, Legrand also has some intriguing ideas. THE DIABOLICAL is, for lack of a more refined terminology, a mash-up of genres, namely horror and science-fiction. This is certainly not the first time these two genres have collided, but never quite like this.

THE DIABOLICAL stars Ali Larter (from TV’s HEROES) as Madison, a single mother raising two adolescent children while struggling to make ends meet. Her son Jacob, played by Max Rose, is trying to cope with some aggression issues, while their house seemingly is haunted by some pretty grotesque entities that come and go sporadically. She’s tried everything from the police to doctors and paranormal experts, but no one believes her story.

The audience, on the other hand, does get the pleasure of being thrown head first into Madison’s dilemma as Legrand wastes no time in establishing empathy in the viewer. In the first 5 minutes of the film, Legrand puts us face-to-face with a far from pretty apparition and we immediately expect to have a wild, terrifying ride. Shortly thereafter, the pace slows and the heavy burden of developing the mystery without giving away its golden cherry too soon begins.

Before we get started, let me clarify one thing… I hate the title of this film. Sadly, it’s yet another example of a title that not only has nothing to do with the film, but also presents the film in a false light. Granted, there’s a surprise twist to the ending that needs to be protected [no spoilers here] and perhaps the filmmakers chose the title to be typical of the haunted horror genre as to not give anything away.

THE DIABOLICAL is a film that suffers from its own setup. The first two acts are slow to develop. There is little of any significant interest in the first two-thirds of the film, while we watch and wait for some glimmer of hope that something cool and unusual will unfold… and it does, but you need to be patient for the payoff. In short, its like waiting in an hour-long line for that burger everyone is talking about, then once you finally get to eat the thing you realize its far from the best you’ve had, but still pretty good.

One of the biggest downfalls of THE DIABOLICAL is that the character development is weak. Legrand had such a cool concept for a story that he seems to have forgotten that a story needs good characters, even if the plot is spectacular. On the flip side, Legrand manages to start out with a fairly straight-forward, standard modern haunted house template and injects it with a wonderfully creepy, science-fiction undertone that builds gradually toward the final act.

THE DIABOLICAL has some decent jump scares and does build some baseline tension, but I would not go so far as to say the film is “scary” by horror fan standards. The most deliberate and readily available terror comes from piecing together the mystery and discovering the truth of what’s happening, not unlike watching an 86-minute long episode of THE X-FILES. Sure, Madison and her family are being terrorized by something unexplained, but that’s almost occurring in the background as we look past the primal fear factor and looker deeper into the clues and the curious differences in how the entities present themselves. That is key to getting the most out of this film.

The special effects in the film are pretty good, not spectacular, but well-done for what this film is and becomes. At first, the effects may seem confusing or misplaced at times, but stick with it and it all makes sense. I found myself frequently reminded of past classics throughout the film, from Cronenberg’s VIDEODROME to Wes Craven’s SHOCKER and even Geroge Lucas’ THX-1138, but they’re all small winks and nods, nothing major or heavy handed in how much is borrowed. Viewers will undoubtedly find other influences, but I’m purposefully refraining from revealing these as not to leak any of the film’s fragile leverage on the first-time viewer.

There is so much I want to discuss with you about this film, that while not flawless, is certainly a film I think will have people talking, especially genre fans. THE DIABOLICAL is the kind of film presents ideas that engage certain overactive, creative minds to discuss and speculate. As a first film, I admire what Legrand has accomplished in concept and shows me that, with more experience under his belt, could become a filmmaker to watch out for in the future.

THE DIABOLICAL releases in Theaters, on VOD and iTunes
on Friday, October 16th, 2015

Overall Rating: 3 out of 5 stars

Watch The First Clip From “Sanjay’s Super Team” – Plays In Front Of THE GOOD DINOSAUR

Check out this first clip from Pixar Animation Studios’ new short film, “Sanjay’s Super Team.”

Director and artist Sanjay Patel uses his own experience to tell the story of a young, first-generation Indian-American boy whose love for western pop culture comes into conflict with his father’s traditions.

Sanjay is absorbed in the world of cartoons and comics, while his father tries to draw him into the traditions of his Hindu practice. Tedium and reluctance quickly turn into an awe-inspiring adventure as the boy embarks on a journey he never imagined, returning with a new perspective that they can both embrace.

“Sanjay’s Super Team” is Patel’s personal story and a “mostly true” chronicle of his journey to understand the Hindu world so important to his parents.

“Sanjay’s Super Team” opens in theaters on November 25, 2015, in front of Disney•Pixar’s THE GOOD DINOSAUR.

And watch this video celebrating 20 years of Pixar and their films.

GOOSEBUMPS – The Review

GOOSEBUMPS is a sweet witch’s brew with dashes of FRIGHT NIGHT (1985), JUMANJI, and R.L. Stine’s original stories all mixed together. Once our young hero Zach (Dylan Minnette) suspects something awry is going on with the crabby neighbor next door, some troublesome snooping transpires and reveals that the neighbor is actually famous horror writer R.L. Stine (Jack Black). But that still doesn’t explain why he locks up his daughter Hannah (Odeya Rush) at night, and why all of his manuscripts are sitting locked on a shelf. The setup is similar to many of R.L. Stine’s stories, complete with the dorky, enthusiastic sidekick (played to a T by Ryan Lee). And if you know the author’s stories, then you know he has a knack for writing creepy characters. Unfortunately, Stine, the trio of kids, and the entire town, are going to come face-to-face with these famous monsters.

I try to avoid getting into too many personal stories in my reviews. Of course when you read any film critic, you are inviting yourself to peer inside the mind of the writer. Every review, opinion piece, or article is influenced by the writer’s previous experiences. That being said, R.L. Stine’s Goosebumps series is one of the reasons why I’m the horror fan I am today. There are other films, books, and tv shows that formed the macabre mind I have today, but Goosebumps was one of the first. I read a lot as a kid. Many of the books that grabbed my attention were because of striking cover art – something that no doubt was a trigger for many kids. However, R.L. Stine’s books had more than just hair-raising covers that grabbed your attention. The pages inside breathed life into the colorful images. And I know I’m not the only kid that believed this. The Goosebumps series continues to grow in popularity over 20 years since its conception. I was 7 when the first book Welcome to Dead House was released, and watching the film GOOSEBUMPS on the big-screen gave me the same sense of wonder and excitement that I felt all those years ago.

GOOSEBUMPS perfectly captures the tone of R.L. Stine’s popular children’s stories, while incorporating a clever conceit so that all of the writer’s creations can emerge on-screen. The monsters and scares are handled in a way that is very similar to how Stein depicts them in the books. The shocks are mild enough without scaring the pants off kids. At times, director Rob Letterman has fun with this. One scene where ceramic gnomes begin popping up in random places around a kitchen is just the right amount of fun and frightful.

Jack Black is refreshingly restrained compared to his usual self. His usual shenanigans are downplayed, forcing him from being the center of attention like his personality customarily demands. How the film uses Black’s tendency towards over-the-top showmanship is through the main villain Slappy – a ventriloquist dummy also voiced by Black. His punny and comedic one-liners inject some dark humor into the film; especially since the other monsters don’t speak. Having Jack Black bring to life the author’s “alter-ego” is just another example of how director Rob Letterman understands and shows love for the source material.

All three of the kids play well off of one another. There’s a natural and carefree charm to their interactions, revealing kids that feel like kids. What many will find the most surprising about the film is its sense of humor. Much of this has to do with the comedic timing and delivery from these three leads. Of course, the monsters like the “Abominable Snowman of Pasadena” deliver some childish gags, but Darren Lemke’s screenplay plays perfectly to the talent of the young leads.

GOOSEBUMPS is nothing but fun. It’s filled with the perfect amount of chills and laughs that will appeal to families looking to get in the haunting holiday mood. Older horror fans should be aware that film is rated PG, and so the level of scares aren’t up to the level of some more extreme films. Some of the CGI monsters like the “Werewolf of Fever Swamp” aren’t as realistically rendered as I would have liked – thankfully, Slappy the dummy is brought to life through the use of a puppet – but that’s a minor complaint when you are having this much fun in a theater. GOOSEBUMPS is an entertaining romp that seems inspired by the work of Chris Columbus and Joe Dante. Ghouls, ghosts, and goblins of all sorts fill the screen, leaving fans of R.L. Stine (like this one) smiling.

Overall rating: 4 out of 5

GOOSEBUMPS opens in theaters everywhere October 16.

Fantastic Fest 2015: FEBRUARY – The Review

Osgood Perkins carries on the family tradition with a directorial debut that is both haunting and enigmatic. The son of screen legend Anthony Perkins has crafted a tale told in three parts. Each titled with a girl’s name, the three chapters ultimately form a story of evil that quietly builds beneath rural banality.

I knew that FEBRUARY took place in a boarding school before seeing the film. And yet, that is the only thing that I knew. In a best case scenario, that would be the only thing you would need to know before watching the film. However, trailers, clips, and stills that appear online make it harder and harder to go into a film blind. FEBRUARY is one of those films that especially benefits from knowing very little because how the story unfolds might be the most interesting element to the film.

Perkins creates dread even out of seemingly mundane visuals. Granted, for those expecting more of a lively scare-fest, these blank walls and abandoned hallways may not come across quite as ominous; the drab and cold color pallet doesn’t help matters. But that’s kind of the point. There’s a desire to show how fiery, pure evil can emerge forth from nothing.

Kiernan Shipka is a revelation. Her blank stare becomes more and more chill-inducing as the film progresses. The whole cast adds to the dream-like – though fever-dream might be more appropriate – nature of the film. Shipka especially though, creates a character that is as equally as complicated as downright terrifying. Her delivery of a line towards the end of the film is one of the most memorable cinematic moments I will most likely see this year.

On the surface, FEBRUARY is a disjointed art film with laborious pacing, that amounts to a random assemblage of scenes. However, the film itself plays out like a mystery that’s worth solving- not just the story. Everything comes together in the end, but the story takes its time dishing out the pieces. FEBRUARY will leave you with many questions at the outset, and more than likely will leave you with just as many after the chilling but emotional ending. Osgood Perkins delivers a confident film debut that examines the horrors of loneliness and innocence.

Overall rating: 4 out of 5

BEASTS OF NO NATION – The Review

Cinema can often be a doorway to witness events going on far from your hometown theatre (or multiplex). I’m talking of real events, often things more horrific than anything screenwriters can type up. Just last year a Best Picture Oscar went to 12 YEARS A SLAVE, which was based on a memoir from over a hundred years ago. SCHINDLER’S LIST also took the big prize nearly twenty years ago for a true tale from, then, just fifty years in the past. The tale told in this new film is ongoing, even as we view the story from the comfort of our theatre seats. It’s the tragedy of the use of child soldiers, boys not yet ten years old, in the near constant civil wars that plague the African continent. Yes, it was a part of the recent films THE GOOD LIE and MACHINE GUN PREACHER, but this new release puts us side by side with a young boy as he is swept up into a sea of brutality. Much has been made in the movie industry press about the fact that this is the first theatrical release from Netflix, the company known for streaming film through the internet into your home. They could’ve gone with a frothy “rom-com” or a CGI-filled fantasy adventure, something fun and “safe”. Instead they went with one of the most powerful, important motion pictures of the year, BEASTS OF NO NATION.

This is the story of Agu (Abraham Attah), who also narrates his story, a young lad of eight or nine. He lives a poor, but idyllic life in his dusty (unnamed) African village. It’s in a “buffer zone” a protected area from the battles being waged between the governments forces and armed rebels. Agu attends school, plays with his buddies (they make “imagin-TV”), helps his parents and siblings. But then the “zone” is dissolved and word comes that the fighting will soon be at their doorsteps. Because of the lack of motor vehicles, only the women and babies can be sent away, to the nation’s capital. There’s no room for Agu on the last truck leaving, so he will stay with his father and big brother. When the tanks roll in, they try to hide along with the rest of the men of the town. But the soldiers find them and accuse them of being rebels. Agu escapes the execution and dashes into the jungle. The hungry and frightened boy is soon picked up by a gang of rebels hiding in the wilderness. The troop’s leader, Commandant (Idris Elba) tells his underlings that Agu could be of some use since “little fingers can pull triggers”. Agu has no choice but to be trained to kill. Alongside his new friend and mentor, the silent Strika (Emmanuel Nii Adorn Quaye), the ragtag rebels cut a bloody trail through the land. Soon, Agu gives up hope of being with his beloved mother and younger siblings and becomes a brutal single-minded soldier.

The best known actor in the cast is, of course, the talented Mr. Elba. Why he’s part of the “Marvel movie universe” as Thor’s pal Heimdall and his name is frequently bandied about as the next 007 via several online campaigns. So it may surprise many moviegoers that he’s portraying such a throughly despicable person in this new film. And bravo to him for lending his efforts and fame to this production. We can understand why the Commandant has mesmerized these young men and boys. He looms over nearly everyone, speaking in an almost gutteral growl that intimidates and inspires. He’s equal parts father, wizard, and perhaps the fiercest of beasts. As formidable a performance as Elba gives, it’s in service to the astounding, heart-breaking debut of Attah as Agu. We see this hostile world through his unblinking eyes, a witness to unremitting horror and brutality. In the film’s opening, carefree minutes, he could be any playful, sweet child of ours, that mischievous son, nephew, cousin. When evil visits his world, Attah shows us the confusion and panic as he is suddenly on his own. He gives us a look at how his childhood is ripped away, how a boy can be turned into an uncaring weapon. The promising light in his eyes becomes dulled until he’s merely a killing robot. What little humanity that’s left is seen when with his only friend Strika played by the mute Quaye, who conveys his lost innocence without words, so scarred that he has no use for speech. These phenomenal young men are the heart and soul of this sad saga.

Cary Joji Fukunaga earned much acclaim last year for his direction of the entire first season (eight hours) of HBO’s hit “True Detective” and now establishes himself as a major film making force with his triple threat work here in direction, screen adaptation (from the novel by Uzodinma Iweala) and cinematography. He expertly goes from the tranquil beauty of nature in the training scenes to the chaos and madness of the conflict. Cary pulls no punches as the boys are forced to take a life, we’re right next to them as they spill blood for the first, and far from last, time. Every bit of abuse of these boys, the physical, verbal, and sexual are captured with an unflinching eye. This is a passionate expose, a call to action that never overshadows the personal story of Agu, who may represent thousands still trapped in the same Hellish torment. Despite the subtitles you may strain to decipher the dialogue, but the unforgettable images will pull you along, until these “freedom fighters” give in to ego and petty jealousy. The intense matter and violence may be the reason why the film has no rating, although it stars children, it’s really not for their viewing (it’s probably because one of the rebels has an aversion to…pants). But for mature, serious audiences BEASTS OF NO NATION is one of the strongest, dramatic cinema experiences ever.

4.5 Out of 5

BEASTS OF NO NATION streams on Netflix starting on October 16. It also opens in theatres everywhere and screens exclusively in St. Louis at Landmark’s Tivoli Theatre

FREEHELD – The Review

It’s been said time and again that major changes in the law and society can actually begin with one person,… or two. You know how just a pebble can gather momentum and bring about an avalanche that can alter the landscape. This new feature film docudrama tells such a story. Its subject is one still discussed, especially with the presidential campaigns starting so very early. The story begins just ten years ago, not that long before the sweeping changes concerning marriage which lead to equality throughout these united states. But at this time there were only “civil unions” which we often denied same-sex couples the rights that straight couples took for granted. Yes, this film is based on a true story, one that has been brought to the screen before, as a documentary short subject back in 2007. And it won an Oscar, too! The new dramatic adaptation shares its title with that earlier film also: FREEHELD.

The story begins with the look at the dangerous profession of Ocean County New Jersey police officer Laurel Hester (Julianne Moore), as she helps take down a drug-selling gang. She has the respect of all at the precinct, especially her macho, womanizing police partner Dane Wells (Michael Shannon). But Laurel keeps her personal life a secret from them: she is a lesbian. This prompts her to socialize many miles away from her home and work. At a volleyball game she meets the several years younger Stacie Andree (Ellen Page), an auto mechanic. After an awkward first date, almost ended when a closeted co-worker spots them, a tentative romance begins, after Stacie accepts Laurel’s need for discretion. Soon they decide to start a home, and Laurel purchases a house the two will share. When he arrives unannounced with a housewarming present, Dane meets Stacie and learns, and accepts the truth, about his partner. All is idyllic until a routine check-up on a persistent bruise shatters their world. Laurel has cancer that’s rapidly spreading through her body. As she retires from the force, Laurel sets about denoting Stacie as the recipient of her policemen’s pension, insuring that she will be able to live in the house they share. But county law doesn’t recognize civil unions and refuses the request. After being ignored at the meetings of the county’s board of “chosen freeholders” (hence the title), a local newspaper reporter contacts gay rights activist Steven Goldstein (Steve Carell), who makes the case of Laurel and Stacie the celebrated cause of Garden State Equality with the hope that justice is served before the decorated policewoman passes away.

The always impressive, and most recent long-overdue Best Actress Oscar winner, Ms. Moore bring every facet of the complex Laurel to dazzling life, making the spokeswomen for sexual equality into a warm, endearing human being. With her feathered “Farrah” blonde hairstyle, she could’ve made this “Joizee” lady cop into a caricature, but we see Laurel’s longing, yearning, tempered by fear and trepidation. We can imagine how tough it must have been to get the law enforcement “boys club” to accept her which spurs her concern over what would happen if her life was exposed. Moore shows her joy and finally finding the love of her life, which makes her descent into disease even more heart-wrenching. Page ‘s Stacie doesn’t have such an extreme conflict, but can’t quite comprehend the need for such secrecy. This tough, garage whiz is quite a change from her more eloquent, cerebral staple of role (she’s no “grease monkey” spin on JUNO) and page gives us a peek on her intense determination coupled with Stacie love and concern for Laurel. It’s only near the end of their public battle that Stacie finally dwells on her fading love. Shannon follows up his superb villainous supporting turn in 99 HOLMES with take on a brusque, tough guy whose surly exterior shields a soft, supportive soul. Dane is a faithful partner, no matter the curveballs thrown his way. When Laurel comes out to him, he’s not angry over her orientation, but rather that she felt she couldn’t share it with him. During the legal battles, he’s truly in her corner, though not as vocal or voracious as Carell playing the loud and proud Goldstein. Although he seems too flamboyant at times (as if he just popped in straight from an episode of TV’s “Will & Grace”), Carrell brings a needed comic energy to the politics and pain of the film’s last act. Also of note is TV vet Josh Charles as the “freeholder” who just may be swayed, and who fights to change the mind and hearts of his fellow members.

The film’s direction by Peter Sollett (NICK AND NORAH’S INFINITE PLAYLIST) is fairly standard and straightforward, never resorting to flashy tricks or narrative techniques that will lose the story’s focus on Laurel and Stacie. Ron (PHILADELPHIA) Nyswaner’s screenplay wisely delves into the love story with a sweet, sensitive touch, until the eventual legal declaration and occasional “speech-ifyin”. The score from Hans Zimmer never hammers at the heart-strings. Ultimately the film’s structure and scope never seems breaks the bounds of a cable TV effort, it’s a “super-special Lifetime movie event. This feels especially true when the story becomes a medical “tear-jerker”. Kudos, however, for showing Laurel’s chain-smoking, so that it doesn’t seem that the lung cancer comes outta’ nowhere. As she begins her long fade-out, Laurel almost becomes a martyr figure, suffering stemming from the injustices from close-minded society. It’s then that the fil almost wallows in her pain as she must trudge to those all-too familiar council chambers once again. Her story is an important one, but despite the terrific cast FREEHELD remains shackled by its dramatic deficiencies, when it should take flight.

3 Out of 5

FREEHELD opens everywhere and screens exclusively in the St. Louis area at Landmark’s Tivoli Theatre

Check Out The First Trailer For RATCHET & CLANK

Watch the first trailer for the upcoming animated movie, RATCHET & CLANK.

The CG-animated movie is based on the iconic PlayStation video game. The voice cast includes Paul Giamatti, John Goodman, Bella Thorne, Rosario Dawson, Jim Ward, James Arnold Taylor, David Kaye, Armin Shimerman, and Sylvester Stallone.

(Apple iTunes)

Two unlikely heroes struggle to stop a vile alien named Chairman Drek from destroying every planet in the Solana Galaxy. Ratchet is the last of his kind, a foolhardy “lombax” who has grown up alone on a backwater planet with no family of his own. Clank is a pint-sized robot with more brains than brawn.

When the two stumble upon a dangerous weapon capable of destroying entire planets, they must join forces with a team of colorful heroes called The Galactic Rangers in order to save the galaxy. Along the way, they will learn about heroism, friendship, and the importance of discovering one’s own identity.

The movie is co-directed by Kevin Munroe and Jericca Cleland.

RATCHET & CLANK releases nationwide from Gramercy Pictures on April 29, 2016.

Visit the film’s official site: www.ratchetandclankthemovie.com

Here’s The New Poster For THE NIGHT BEFORE With Joseph Gordon-Levitt, Seth Rogen And Anthony Mackie

Hitting theaters on November 20, here’s the new poster for director Jonathan Levine’s THE NIGHT BEFORE starring Joseph Gordon-Levitt, Seth Rogen and Anthony Mackie.

Levine is the director of 50/50, THE WACKNESS and WARM BODIES.

Ethan (Joseph Gordon-Levitt), Isaac (Seth Rogen) and Chris (Anthony Mackie) have been friends since childhood, and for a decade, their yearly Christmas Eve reunion has been an annual night of debauchery and hilarity.

Now that they’re entering adulthood, the tradition is coming to an end, and to make it as memorable as possible, they set out to find the Nutcracka Ball – the Holy Grail of Christmas parties. (Red Band Trailer)

The film also stars Lizzy Caplan, Jillian Bell, Mindy Kaling and Michael Shannon.

www.Facebook.com/NightBeforeMovie
www.Twitter/TheNightBefore_
www.Instagram.com/NightBefore
SnapChat: NightBefore

Photo Credit: Sarah Shatz - © 2015 Columbia Pictures Industries, Inc. All Rights Reserved. — Photo Credit: Sarah Shatz – © 2015 Columbia Pictures Industries, Inc. All Rights Reserved.

Watch Charlotte Rampling And Tom Courtenay In New 45 YEARS Trailer

Here’s a first look at the new trailer for Andrew Haigh’s superb 45 YEARS.

The film presents a new take on relationships, old age, forgiveness and jealousy, from a writer/director with a unique insight into relationships. It also presents two performances from treasured stars of British cinema, Charlotte Rampling and Tom Courtenay.

Andrew Haigh’s screenplay is adapted from David Constantine’s short story “In Another Country.”

The film screened at the Toronto International Film Festival in September. In his review, Lou Lumenick (NY Post) says Rampling delivers, “what’s possibly the best scene of her entire career. The actress has never received an Oscar nomination, but she deserves one for this performance. Courtenay, who has two Oscar nods under his belt, rates another one for helping Rampling reach this peak.”

There is just one week until Kate Mercer’s (Rampling) 45th wedding anniversary and the planning for the party is going well. But then a letter arrives for her husband (Courtenay). The body of his first love has been discovered, frozen and preserved in the icy glaciers of the Swiss Alps. By the time the party is upon them, five days later, there may not be a marriage left to celebrate.

Haigh’s film captures, with haunting acuity, just how vulnerable their marriage becomes when past pain surfaces and past jealousy is reawakened.

If Haigh’s previous feature film, 2011’s highly-acclaimed WEEKEND, depicted a barely-begun relationship that may or may not go on to flourish beyond the titular two-day span, this follow-up feature takes the opposite narrative tack. The concerns of 45 YEARS, however, are unexpectedly similar to those of Haigh’s memorable breakout film. How does trust establish itself, and love express itself? How close can we get to another, and how much should we expect to always operate alone?

In his appreciation for these two actors, Haigh says, “Charlotte is a fiercely intelligent actress. She knows what feels truthful and what does not. When I watch her on screen I see a hurricane of emotion under the surface, behind those eyes. You are invited to observe but also warned to keep your distance. That feels incredibly true to me. They are things all of us should keep to ourselves.”

Haigh continues, “There is vulnerability to Tom and to his performance. The last thing I wanted for this film was an angry man raging at the world; I’ve seen that on screen too many times before. I wanted something more complex, something more sensitive. Here is a character struggling with his own sense of self, not the villain of the piece. Hopefully in 45 Years there are no villains, just people trying to figure things out.”

Leave some space on your ballots come awards season for the film, actors, screenplay and director.

45 YEARS opens in theaters on December 23rd.

Win Passes To The Advance Screening Of PARANORMAL ACTIVITY: THE GHOST DIMENSION In St. Louis

See the unseen in PARANORMAL ACTIVITY: THE GHOST DIMENSION – the horrifying conclusion to the PARANORMAL ACTIVITY films in theaters on October 23.

The film is produced by Jason Blum and Oren Peli, based on the film PARANORMAL ACTIVITY by Oren Peli. Story by Brantley Aufill and Jason Harry Pagan & Andrew Deutschman, with a screenplay by Jason Harry Pagan & Andrew Deutschman and Adam Robitel & Gavin Heffernan.

Directed by Gregory Plotkin. Starring Chris J. Murray, Brit Shaw, Olivia Taylor Dudley, Dan Gill, Ivy George, Jessica Brown, Chloe Csengery, Don McManus, Hallie Foote and Cara Pifko.

Find out what happens when these unsuspecting people are invited to an open house, and end up experiencing The Ghost Dimension.

WAMG invites you to enter for a chance to win a pass (Good for 2) to the advance screening of PARANORMAL ACTIVITY: THE GHOST DIMENSION on Thursday, October 22 at 7PM in the St. Louis area.

We will contact the winners by email.

How well do you know the past PARANORMAL ACTIVITY movies?

‘Paranormal Activity’ (2009): What is the name of the couple?

‘Paranormal Activity 2’ (2010): What type of family dog do they have?

‘Paranormal Activity 3’ (2011): What are the names of the sisters?

‘Paranormal Activity 4’ (2012): The old woman says at the end, “esto es solo el comienzo.” What does that mean?

‘Paranormal Activity: The Marked Ones’ (2014): Who directed the film?

TO ENTER, ADD YOUR NAME, ANSWERS AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house. The theater is not responsible for overbooking.

3. No purchase necessary.

The film is rated R for language and some horror violence.

www.paranormalmovie.com

Overall Rating: 3 out of 5 stars

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