As I write, “Oculus is a rather pretentious title for a rather straightforward movie, but despite the assembly line nature of its’ construction, the film still has something going for it. At first it’s hard to say precisely what the film has to offer, because on the surface it deals with so many basic and time-worn horror conventions that it seems to be almost aggressively unoriginal. But as the film picks up speed, and accelerates its march towards death and damnation, it gathers a certain sort of peculiar power that isn’t without value. I’m not about to give away the ending here, or any of the major plot twists, because those are the main things the film has to recommend it. Yet having said that, there’s a certain Resnais-like fatalism to the film that reverberates in one’s memory, despite the workmanlike nature of the film as a whole.
Though released theatrically today, April 11, 2014, the film was shot in 2012-2013, and was first screened on September 8, 2013, at the Toronto International Film Festival. It’s yet another of the Jason Blum / Blumhouse Productions, all of which are low budget horror films, and the best of which to date is The Purge. Blum has a deal with Universal under which he cranks out numerous horror films in the $3 million or so range, but many of them don’t even see the light of day in DVD or streaming format, much less get a theatrical release. His idea is to keep on cranking out as many films as he can, and then see if anything sticks.
Despite the fact that there are a number of cinematic corpses, so to speak, sitting around in Blum’s vaults, with the number of films Blum makes, some of them are bound to hit. The Purge is going into a sequel, which from the looks of the trailer seems a sort of knock off of Walter Hill’s The Warriors (1979) – the premise being that for twelve hours all criminal acts are legal, which acts as a societal safety valve. In the sequel, The Purge: Anarchy, a group of people are left outside when the purge starts, and have to run across a city in lockdown to safety, but it lacks Ethan Hawke in the lead, and screams “knock off” in every department. But I digress.
Oculus is about a haunted mirror, a staple of cinematic fantasy since the days of Georges Méliès. It’s been used in countless episodes of television series, such as Thriller and Twilight Zone, though my favorite variation on this well-worn theme remains the episode of the classic omnibus British horror film Dead of Night (1945), directed by Robert Hamer, in which Joan Cortland (Googie Withers) buys an ornate, oversize antique mirror as a gift for her husband Peter (Ralph Michael), only to discover that the previous owner killed his wife in front of it in a fit of jealousy, and that Peter is now falling under the mirror’s influence, as well. It’s one of the great horror stories of the cinema, and remains the most effective version of this tale, but for all that Oculus still has, as I suggested, something to add to the subgenre.