Notable Cast: Jeffrey Dean Morgan, Kyra Sedgwick, Natasha Calis, Matisyahu
With the general public and initial critics crying 'fail' as loud as they could, my expectations going into "The Possession" were generally low. The trailers seemed decent, but with a generic title and a well treaded horror theme like demonic possession I wasn't exactly gung ho for the film from the start. Fortunately the film did have Sam Raimi's name attached to it as producer and being the fan boy that I am, I had to see it. Now I won't go as far as many critics did to slaughter this film in my analysis nor am I going to praise it like its a film never been seen before or the scariest of the year, but I will say that I was generally (and pleasantly) surprised with "The Possession" as a film that was fairly well executed even if it was obviously castrated to a PG-13 for a larger audience.
Clyde (Morgan) and Stephanie (Sedgwick) have been having a tough time with their two daughters. Their divorce was final just three months prior and despite their best efforts to remain cordial, its obvious the change of familial dynamic has the girls in a tough spot. Clyde has done his best though and he desperately tries to be a good father and even takes them where they want to go...even if its a yard sale where his youngest Emily (Calis) finds a strange wooden box. He never gives two thoughts about the thing, until Em begins acting odd. Not herself. Strange things begin to happen around the house and it all points to her box...or something inside of the box.
|If I learned anything from "Seven", it's don't open the fucking box.|
|"Was it head towards the light or don't head towards the light? Oh shit I can't remember!"|
|Demonic possession or gothic hipster? You decide.|
BONUS PRAISE: When I saw that singer/rapper Matisyahu was in the film, I groaned. Seriously? Turns out, he handled it quite well and had some great humor to break up the tension of the film in the last act. Believe it or not, I would have liked to see him in it more. Who knew?
Written By Matt Reifschneider