I was originally going to write a post revolving around the fate of Mike Flanagan’s (Oculus, Hush, Oujia: Origin of Evil) Before I Wake, which was caught up in the failure of Relativity when I found this link on YouTube:
Apparently, when Relativity was solvent rights to the movie were sold for release in other territories, which means it may have been in theaters internationally, which was the beginning of the journey to YouTube.
The link I’ve provided isn’t in English, but an English version is available, in case you were wondering.
Now THIS is the type of activity YouTube needs to police, not people using snippets of trailers or videos (which likely falls under Fair Use) in their own videos.
I think Mike Flanagan (Oculus, Hush) is quite a talented director. That being said, I find the latest trailer from his upcoming Ouija 2: Origin of Evil in some ways a bit disturbing (and not in the good, creepy, what’s that shadow doing there kind of way).
It’s not that I think that it’s going to be as bad–keep in mind I paid to see the original Ouija, so knowing Flanagan’s bona fides I can’t see it being as horribly ‘meh’ as that– as the movie that it’s a sequel to.
Though what it feels like is that Flanagan is playing in James Wan’s (Saw, Insidious, Dead Silence, The Conjuring, etc) sandbox rather than creating something all his own.
And on some levels that’s not quite fair. Wan doesn’t own period pieces–as Ouija 2: Origin of Evil appears to be–but he has partially built a career on period supernatural movies like The Conjuring, Insidious and their sequels, which are very much products of their times (the 80’s).
Then there’s that most of James Wan’s horror movies are slicker than they have any right to be, and if there’s anything that I hope Mike Flanagan doesn’t learn, it’s that.
Don’t Breathe is an interesting trailer that comes off as the anti-Hush, if you will.
Hush, currently on Netflix, revolves a woman who–if I recall–loses her voice to a bout of meningitis at some point in her past.
She ends up terrorized by a killer and she’s unable to call for help because the aforementioned infection robbed her of her voice.
The point being, Don’t Breathe takes a similar approach, though makes the bad guy–if the trailer is any indicator–blind.
What’s pretty clever is that in one instance the blind man has his prey in a dark room, putting everyone on even ground, which I am not sure that I buy because being unable to see doesn’t mean that your remaining senses are any sharper; so a blind person in a unfamiliar dark room would be no better off than a sighted person in a room too dark to see in.
Though if the blind person were in a familiar location…the equation changes demonstrably.