“The worms crawl in, the worms crawl out. The worms play pinochle on your snout.”
When I was in fourth grade, my school had their yearly book fair. It was a time where kids could go to a large class room where Scholastic Books would litter the entire room with their merchandise for prices ranging anywhere from 25 cents to ten dollars. Of course when I spotted “Scary Stories to Tell in the Dark,” I snatched it up and re-read it at least five times. Which is saying something for a kid who, at that age, took every possible excuse to not read. Alvin Schwartz’s book is one of the first introductions to horror and urban folklore. And judging by the many other nineties kids, Mr. Schwartz’s book was a source of horrific inspiration for them, as well.
Director John Carpenter’s “The Fog” prides itself in being steeped in folklore, and takes on many of the classic traits we know as urban legends. Every urban legend has some source of truth to it and harbors a moral for its audience. “The Fog” creates a new urban legend from a horrific act of betrayal and human greed. Hence why the opening of the film begins with an old seaman regaling local citizens of Antonio Bay with the tale of the spirits on the sea.
I can see why Guillermo Del Toro would be attracted to a film like “Mama.” While it is a horror film in nature, deep down it is a tragic drama about the power of love and the lengths we’ll go to preserve it. “Mama” is the first fantastic film I’ve seen in 2013, a film about spirits and how immense love can be. After their dad murders their mother in a murderous rage, sisters Lily and Victoria are taken to an abandoned cabin where their father looks to mercifully murder them. There, they’ve found something that is not only intent on keeping them safe, but in maintaining their innocence. Years later, the daughters are discovered much older and in a feral state, clinging to a presence they call Mama. Their uncle Luke and aunt Annabel seek to take them back home and establish a life free from the pain of their original lives. But the girls find it impossible not only to adjust, but to display physical affection toward the young couple. Jessica Chastain gives a strong performance as the unkempt Annabel who finds her loyalties lying with her husband Luke when he fights to take care of his nieces Victoria and Lily, and transforms in to a bonafide mother figure of their very own.
One of the primary faults behind “Paranormal Activity 4” is that it makes promises it just can’t keep. It swears new scares with the use of the kinect and light beams and doesn’t quite fulfill the potential for the plot device. It introduces a new protagonist, but never fully develops her. And most importantly it explains that it has all led up to this, but there really isn’t a huge development in the storyline. I’m still not sure why what happened happens at all, and what they’re leading in to, but according to Dreamworks, we have two more films left in this series, and more films with a Latin spin off that will likely continue the mythos well in to 2019. If possible.