A prequel to a profitable but – in these parts – little seen film from two years ago directed by Stiles White, Ouija: Origin of Evil is the work of director and co-writer Mike Flanagan, an up-and-coming genre filmmaker having a prolific year and possibly best known for his minor hit Oculus in 2013. Set in 1967, Origin of Evil proves to be, against all expectations, one of the finest and creepiest horror films of recent times. A struggling single mother, Alice Zander (Elizabeth Reaser) uses her persuasive skills and a few tricks of the trade to earn a living on the side as a spiritualist. She views her job not as a means of ripping off paying customers but providing them with comfort in the knowledge of deceased relatives finding solace in the next life. Her oldest daughter Lina (Annalise Basso) contributes to the special effects but views her mother’s work with increasing cynicism.
The soon after introduction of a Ouija board brings all sorts of wearying associations with it besides the whiff of surely B-grade fright-filled theatrics to come. But that’s far from being the case here as the film has a tone and feel that feels unique even if the narrative promises anything but originality. Neither does it work overtime to bombard us with shock moments that don’t feel earned or warranted until the stakes are truly raised in the predictably heated end showdown. Flanagan’s pacing is superb, as is his handling of the young actors, particularly the cast’s youngest member Lulu Wilson as Doris, the person able to channel forces from the next world with a dexterity and unnerving calm that surprises even her mother, especially in the painful wake of the recent loss of the girls’ father Roger (Michael Weaver).
A couple of scenes cleverly pay homage to genre classics, especially The Exorcist (1973), but despite the obvious influences, there’s something surprisingly fresh about Origin of Evil and it only gets better as intrigue grows and the tension is ramped up by Flanagan and his co-writer Jeff Howard. There’s no over-reliance of CGI effects, whilst some of the creepiest little moments are subtly crafted and often kept at edges of the frame for maximum impact. The acting is credibly grounded, even authentically awkward at times. Screen debutant Wilson is a remarkable screen presence, able to transition from cuteness to creepiness as she becomes a manifestation of the evil summoned through the portal of the Ouija board. Even Henry Thomas, former E.T (1982) child star, gives a fine performance as the local school’s priest and principal, dragged into the drama at his own behest.
This is another work from Jason Blum’s Blumhouse Productions, known for generating ridiculous profits from very low-budget genre films in recent years with franchises like Paranormal Activity, Insidious and The Purge, and excellent one-off efforts like Unfriended (2014) and M.Night Shyamalan’s only decent film of recent memory, The Visit (2015). Many of these films are clichéd but highly competent examples of modern horror. Ouija: Origin of Evil is now definitely a personal favourite, for me, and a great leap forward in the career of Flanagan whose next film, likely a Stephen King adaptation, is highly anticipated.