I can confidently say The Nun II is far and away from its predecessor’s flaws, even if it has a few of its own. The demonic entity that had so much influence with so little screentime in the first two Conjuring films never really jumped out at me until the end of The Nun, and by then, it was too late. Valak’s first feature film had some redeeming qualities but didn’t feel like a necessary addition to the Conjuring universe.
I only recently rewatched The Nun and was underwhelmed for a second time, primarily with the scares and structure. I did not go into The Nun II with high hopes. Just as some viewers today laugh at anxieties of the past, so too will the next generations laugh at Zoom. Because the story is so firmly rooted in the present, it’s probable that the terror will fade in the future. If/When we move past the pandemic and Zoom calls acting as the only source of connection are a phenomenon of the past, it’s likely that future viewers won’t feel the same sense of unease and dread that current ones do. The audience knows that something will happen in those 60 seconds, yet the suspense does not fade.Īs the years wear on, how will this flick fare? Will it lose its punch and become “cringe”? I think, and hope, that Host will become a relic of its time. The timer in the corner, ticking down until the call is forced to end, adds tension. In fact, the only scene that is drawn out is the final one, but it doesn’t feel tedious. Add in the time limit on Zoom calls, and there’s your sense of urgency that is often shed with conventional film. Then we see typical Zoom annoyances, like lagging, freezing, noise feedback, background distractions (mostly in the form of Teddy’s and Radina’s partners), and obnoxious filters. In terms of tropes, we get fake-out scares, jump scares, interpersonal drama, naivete, etc. Host combines tried-and-true tropes with modernity to great success. A horror movie incorporating technology is nothing new, but a horror movie firmly planted in our disconnected, digital pandemic world is innovative. Perhaps the most rewarding aspect of Host is the premise itself. While none of the characters stand out, they still work cohesively to portray the horrific situation. We get the one who takes it all seriously, perhaps to a fault (Haley), the one who doesn’t take the seance seriously at all and possibly instigates the whole conflict (Jemma), the gruff man who proves useless (Teddy), the wise spiritual expert who is also useless (Seylan), the innocent one (Emma), and the rest. Instead of trying to shove in backstory and growth, the writers embrace the audience’s expectations of stock characters. Such a short runtime doesn’t allow for much character development. But when they do start, oh boy, they just keep going. The story and scares don’t pick up until roughly halfway through the film. There are also a few fake-outs, such as a knocking that is not from the astral plane but instead from a delivery person. A couple hints are shown of what is to come, but overall, the beginning is a bit tiresome.
SEANCE MOVIE STILLS FULL
We have about ten minutes of exposition, which is a decent chunk of time for a screenplay that doesn’t even last a full hour. Why should a spirit be barred from contacting us just because we’re connected online? Evidently, there is no reason. Set during the COVID pandemic, a group of friends decide to have a seance over Zoom. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.Host (2020) is a delightfully modern take on the seance film.
SEANCE MOVIE STILLS TV
In theaters and available to rent or buy on FandangoNow, Vudu and other streaming platforms and pay TV operators. Seance Rated R for buckets of blood and un-ladylike language.
But moments of true innovation can be found among the blunders. Like its characters crafting a planchette out of lipstick and a phone case, “Seance” mashes ideas together and hopes for the best. Myriad bizarre choices - like costuming the teen characters in form-fitting pajamas and haphazardly inserting music into scenes - don’t help. When the film does choose a genre, it occasionally sticks the landing, but “Seance” ultimately feels jumbled. It tries to be a murder mystery, a slasher, a coming-of-age tale and a haunted house flick all at once. “Seance” meanders for most of its running time, wavering between tones and styles. Unfortunately, the film’s climax is at odds with its buildup, a plodding narrative constructed around flimsy characters with even flimsier motivations.
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