oculus movie review plot

Oculus (2013) : Movie Plot Ending Explained

Mike Flanagan’s direction Oculus, is a horror flick which has a non-linear narrative (his other popular films are Gerald’s Game  and Doctor Sleep ). The Oculus movie cast includes Karen Gillan, Brenton Thwaites, Katee Sackhoff, Rory Cochrane, Annalise Basso and Garrett Ryan in the lead roles. I got quite a few requests for this film, finally got watching it, so let’s get going. This is not an Oculus movie review, this is the plot and ending of Oculus Explained, so spoilers ahead!

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The strength of the film is the fantastic non-linear storytelling. However, it’s just a lot easier if we walked through the plot in a chronological order. I’d like to mention here that there are two ways to view this film – either as a horror (a paranormal mirror) or a psychological thriller (a crazy family) . Let’s do the paranormal approach first.

Oculus Explained: The Paranormal Version

It began 11 years ago.

A family moves into a new house. Alan, the dad. Marie, the mom. Kaylie, the elder daughter. Tim, the younger son. They buy new furniture. Amongst them is this one mirror. This mirror is evil. And as evil objects, this mirror takes a while before it extends its field of control and domination. The mirror uses illusions to trap its victims.

Dogs and Plants

Through the happenings of this film, we find out that the mirror feeds on dogs, plants, and human minds for its energy. The family dog begins to fall sick. One day, Marie locks the dog up in the office and when Alan gets back in the evening, the dog is gone. Presumably, the mirror consumed it.

Woman in the Office

Marisol, the evil in the mirror seduces Alan. This mind is slowly corrupted by the the mirror as it is in the office room where he is most of the times. Both Kaylie and Tim happen to see this woman in the office room on multiple occasions. Now, they both assume that it is a human woman. Marie has never seen her, although, she does hear Alan talking to someone when in his office room. Marie begins to suspect that Alan is having an affair. Alan begins to grow more distant. He is spoken to by Marisol quite often now and his mind is well possessed.

One day, Marie sees that Alan has bought a gun, apparently for protection. She asks him to lock it away, he agrees. As Marie leaves the room the mirror calls her a “Grotesque cow” in Alan’s voice. Marie is wounded deeply by this. She looks into the mirror and is presented with a distorted image of herself.

Marie Gets Possessed

After hearing from both her children about the “woman in the office”, Marie goes to the office to see a sheet filled with “Marisol”. Not knowing that is evil in the mirror, she concludes that Alan is having an affair. In her anger, she throws something in the direction of the mirror and she hits only the wall next to it. Right after this, Marie is possessed. Tim and Kaylie come to check on her, she chokes Tim. The two kids break away and run upstairs and lock themselves in their room. Just then Alan shows up. He quickly subdues Marie and knocks her out. For a short moment, Alan is in his senses and tries to call for help. But the mirror intercepts and tells Alan to chain and lock up Marie like an animal instead. Alan tells the kids that their mother is sick and they need to keep away from her. He ends up saying “we” instead of “I”, Kaylie notices but Alan doesn’t care to clarify who “we” is. Later, we are shown Alan taking some really bad looking food for Marie. He’s torturing her and making her eat plates. Marie loses her teeth as a result.

Kaylie Calls For Help

Alan has not been paying any bills or buying groceries. The TV goes out, and there is no more food. Kaylie tries telling Alan to get groceries and get their mom a doctor. He doesn’t seem to care. Kaylie decides to talk to her mother only to realize that she’s now a wild creature chained to the wall. Alan gets furious with the kids and grounds them. The kids try calling various doctors but constantly get the same voice asking them to tell their father to make the call. The two realize that there is something extremely strange going on. Kaylie tries to get a neighbour for help, but Alan talks to him like it’s nothing at all. Kaylie tells Tim that it’s time to get really brave. She means that busting their way out might be the only option.

Death Of Marie

The house finally loses power. Tim tries to get his dad to fix it and is greeted by Marisol. Tim freaks out and runs upstairs. At a later time, Tim peeks into the room to see that his dad looks into the mirror and then takes the gun out and loaded it. The kids decide that the mirror is the root of all evil and they need to smash it. But they are faced by Marisol and they run back up to their rooms. Alan goes up to Marie’s room and releases her. She goes banging on the kids’ door. Kaylie instructs Tim to run for the stairs and she goes out and clobbers Marie with a golf club. Tim runs down and Kaylie jumps on to the outside lawn from the window. Inside, Alan goes after Tim and fires a shot. Kaylie hears this and goes in, she finds Alan hiding and he’s signaling to get out. Marie attacks Kaylie and begins to choke her. For a small moment, Marie is back to her senses but Alan shoots and kills her. The kids run and try to smash the mirror but are hitting the wall instead. They realize that the mirror won’t allow them.

Death Of Alan

Alan enters the room and points the gun at Kaylie. He beings to say what the mirror tells him. Tim hits the gun out of Alan’s hands. Alan tries to choke Kaylie, Tim gets the gun and holds it to Alan. He stops choking Kaylie, turns around and get on his knees, puts his hands on the trigger. Alan is back to his senses (just like Marie) for a short bit and he asks Alan to run and pulls the trigger.

Case Concluded

The cops show up and declare that this was a case of a domestic violence where a husband has brutally killed a wife and his son retaliated by killing him. Tim is put into a psychiatric institution and Kaylie is taken to a foster home. Kaylie screams to Tim asking him to remember to keep the promise of killing the mirror. As he’s driven away, at the window, he sees both his dead parents staring at him.

After 11 Years, The Present Day

11 years go by. Tim completes his treatment. The movie begins with a dream sequence where young Tim and Kaylie are at gunpoint and the shooter is Tim. We aren’t shown what the treatment has been like but this seems to be a defining moment to release Tim from his custody. Tim believes, or wants to believe, that what he saw as a kid was merely his young brain creating an elaborate ghost story to cope with the events of his parents’ murders. Kaylie is left all alone in the foster home. She grows old there and their house is now transferred to her. She lives with her fiancee in a different house. In the time that has passed, she has been researching on the mirror to find out that weird and ghastly things have happened to the owners of this mirror. She locates the mirror via the auction company she works in and gets it taken to the old house. There is a short moment where the mirror plays tricks with Kaylie at the auction house (with the blanket-clad disappearing ghoul, the mirror clearly likes to mess around). When Tim comes out Kaylee receives him. She reminds him of their promise to kill the mirror.

Kaylee’s Preparation

In the night Kaylie has a nightmare of her father choking her, she wakes up screaming. Next day, she has Tim come over to the old house where the mirror is back, and Kaylie has set up cameras, screens, plants, food, water and a trip mechanism connected to a 20-pound Danforth anchor. Kaylie thinks she needs to ensure that in case they die, the trip mechanism will cause the mirror to be shattered. She has also asked her fiancee to call on the hour to check on her. If he doesn’t get a response he is to call the police. She begins recording and goes through a list of people who have owned the mirror and their fates. Tim doesn’t believe her because he truly feels that their experiences were just imagination. They argue about their dog and how it perished. Tim says that their dad was a homicidal maniac and killed their mother and that he was having an affair. Kaylie disagrees because their mother had lost her mind when she died. Tim releases Kaylie’s sacrificial dog.

It Begins … Again

For the remainder of the film, the mirror essentially toys around with the two of their minds, makes them run around like children and annihilates them . Kaylie first sees that the cameras have gotten into a position facing each other. When they play the recorded footage, they see that the two of them move the cameras but can’t remember doing it. This would have been an ideal time to bail on the plan and run out, but they don’t. They can’t. They don’t know it yet, but they are already screwed. Tim leaves the house to make a call but can’t get a network. He is suddenly back in the house. He only imagines exiting. They go back in to arrange the cameras. Tim is seeing an image on the screen completely different from what’s going on. This scene is enough to say that, you can’t believe the electronics if your mind is being played around with. Kaylie gets a call from her fiancee checking on her, looks like there is no way to know it’s him. The plants begin to rot as well.

An Apple A Day

Slowly the lights start going out. Tim starts seeing flashes of the past. As Kaylie is fixing bulbs, she picks up an apple and bites into it, only to think she’s bitten into a bulb and is bleeding. Soon she snaps back and sees that it’s indeed the apple. Both their minds are beginning to wander.

Memories Of The Past

Both of them begin to start seeing the past play out in front of them. The event of their mom becoming crazy, the doctor calls, etc. Tim finds himself upstairs and Kaylie is standing in front of the mirror, daydreaming. Just before the timer trips she snaps back and resets it. She begins getting frustrated and breaks a vase with a dead plant in it. Tim sees his younger self who goes down to ask his dad to fix the electricity issue and sees Marisol. The house loses electricity and Kaylie begins to turn on the battery operated lamps. Upstairs, she sees a chain and broken plates and tells herself that it’s not real. As she gets back down, she sees more pieces of a broken plate. When she looks through her phone, the floor is clear. Suddenly dead Marie appears and Kaylie stabs her with a piece of the plate she’s holding. Soon she sees that it’s her fiancee she has stabbed. The piece in her hand is not from a plate but from the vase. Now there is a 50-50 chance that the fiancee is actually in the house and dead. It could be that he’s tried reaching Kaylie, didn’t get through and shows up at the house. But it might be good to assume that all that is happening in the house are mirages. The mirror is projecting visions in their minds to get them to do things.

The 911 Call

The two of them run out and Tim calls 911. A point to note here is that this call goes through (the cops show up, in the end, saying Tim made the call). The mirror has already planned their fates, it’s just executing it . Tim now says that they just have to wait till the trip goes off and the mirror is shattered. It’s not that simple. The lights come back on and they see their doppelgangers inside the room standing in front of the mirror. The two are confused now if what they’re “seeing” from the outside is an illusion or them “being” outside is the illusion. Tim places another call to 911. He hears the old voice asking their father to call the doctor. Kaylie stomps on the phone. The two are convinced that a call never went through and go back into the house. They see their doubles at the mirror with Marisol walking up to them talking in their dad’s voice.

Reliving The Nightmare

Kaylie sees that Tim is now a kid again and running up in fear. She remembers running up with him in the past for similar events. They are back up in the room and haunted by their ghastly mom. Tim realizes that this is just a replay of older events. He goes out and sees his dad with a gun and fires at him. Kaylie, like in the past, is now outside and runs indoors when she hears the gun. She sees her dead fiancee by the mirror. She sees Tim hiding as before and she goes through the events of her mom choking her and dad shooting her mother all over again. Tim sees the events of him finally shooting his dad. He imagines being haunted by ghouls, this is not a memory, this is an illusion currently being projected to instill enough fear in him. Tim wakes up sitting alone by the mirror in the present day, scared.

Oculus Movie Ending Explained. Mirror Wins. Flawless Victory. Fatality!

Tim thinks he is alone in the room. He can’t see Kaylie. She is in the room too. The illusion being projected in her head is that of her younger-self looking into the mirror to see her mom who’s calling out. Young Kaylie goes to the mirror and hugs her mom. In reality, the present day Kaylie is standing in front of the mirror, hugging it. Tim is not seeing this. In his fear, he sees an opportunity to destroy the mirror. He runs to the timer and turns it to zero. The anchor drops and gets Kaylie at the back of her neck. She dies. Tim sees Kaylie only after the anchor hits her.

All Is Lost

The cops arrive and see the footage. Tim recollects all the events as they happened 11 years back. It’s happening again. This time Kaylie is dead. They shouldn’t have messed with that mirror. Tim is arrested as the cops only see Tim killing Kaylie in the recordings. As Tim is driven away, he remembers his promise to his sister which he’s not been able to keep. At the window, this time, he sees his dead parents and now Kaylie too staring at him as the film comes to an end.

Oculus Plot Explanation: Psychological Thriller

Remember we talked earlier about two approaches to this film. This one is seeing all of the events as simply illusions of a deranged family. It will be short and not a lot of fun, which is why it’s at the end of the article. Consider this, the mirror is not evil. Alan is a crazy person. He locks up and tortures Marie who, as a result, loses her mind. Alan eventually shoots and kills Marie. The kids are young and create an elaborate ghost story to deal with this. In this version, their dog just falls sick and dies during one of the trips to the veterinarian (this scene exists in the film too). Years later, the kids too become looney and end up being wrapped up in their own illusions. Tim kills Kaylie because of this. No ghosts, no evil mirror. Just a family with looney genes. The End.

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Review: Why ‘Oculus’ Is One of the Scariest American Horror Movies In Years

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“Oculus” is an exception. Appropriately being co-released by microbudget fear factory Blumhouse Production — its founder, Jason Blum , helped turn the scrappy productions “Paranormal Activity” and “The Purge” into profitable franchises — much of the new movie’s chilly atmosphere involves the experiences of two characters in a room with one very ominous mirror. As the haunted object plays tricks on its two would-be victims’ minds, the audience falls prey to the ruse as well. Director Mike Flanagan turns the fragile nature of consciousness into a better fear tactic than any visceral shocks could possibly achieve.

“Oculus” certainly relies on a familiar toolbox, including the occasional clichéd moment when something scary materializes right behind an unsuspecting character. But the specifics of the scenario engender a fundamental state of dread that grows heavier with each murky twist. Flanagan’s script, co-written by Jeff Howard and based on an earlier short film, nimbly moves between events that transpired 11 years ago and their ramifications in the present: In the opening scenes, 21-year-old Tim (Brenton Thwaites) is released from a psychotherapy ward after years on lockdown and reunited with his sister, Kaylie ( Karen Gillan ). With a steely resolve, she announces that the pair must return to the childhood home and “kill it” — a declaration that immediately establishes a menacing supernatural presence that remains hard to define throughout the movie.

But Flanagan quickly fills in a few more pertinent details: The siblings’ youth was disrupted with the arrival of the mirror into the claustrophobic study where their father (Rory Cochrane) worked alone; at some point, maybe because of his own lapsing sanity or maybe because the mirror drove him mad, their ill-fated father murdered their mother (Katee Sackhoff), at which point young Tim shot him dead. Kaylie has been waiting for her brother to reemerge into society so the two of them can confront the bizarre ancient menace, which is apparently responsible for 48 deaths in 400 years. As soon as he’s free, she snatches up the mirror at a local auction and brings him back to the scene of the crime, with camcorders set up to capture their every move over the course of one isolated, dreary night. In short order, plenty of things go bump in the night, but it’s gradually clear that nothing happening can be taken for granted, including Kaylie and Tim’s own behaviors. At its best, “Oculus” is a tightly enacted chamber drama that just happens to include supernatural phenomena. The mirror is messing with them at every turn — and, by extension, it’s messing with us.

The first sign that “Oculus” has more on its mind arrives as the adult Tim attempts to shrug off his sister’s recollections of supernatural occurrences with the “fuzzy trace” theory of human psychology — essentially, false memories derived from inaccurate associations: In Tim’s view, their dad was an unfaithful lunatic — hence the cryptic presence of another woman in his study after hours — and eventually went ballistic on his wife as a result of their marital tensions. His kids’ convictions about the nature of these events, the thinking goes, suggest a history of mental illness in the family.

And who’s to say whether Tim has it right? As the duo creep around the house, evading passing shadows and lashing out blindly in the wrong directions, it’s never entirely clear if any given point of view holds ground. “Oculus” keeps digging further into their frightened state, thickening the dreary atmosphere at every turn, so that even while the outcome of the scenario is fairly predictable early on, it’s continually haunting as it maps out a path to get there. A truly contemporary horror movie, its eeriness stems from manipulated cell phone conversations and recorded data on the ubiquitous cameras that may or may not accurately represent events as they transpire. No matter how much technology they have on their side, nothing in certain.

In recent years, few American genre films have managed the extreme spookiness found in many of their overseas brethren. Even while “Oculus” plays by the book in individual moments, it manages to invent a shrewder context for the events in question. It’s not the scenes that matter so much as the way they do (and don’t) fit together. It uses subjectivity like a weapon. By contrast, last year’s generally well-liked haunted house effort “The Conjuring” capably grappled with issues of faith, but failed to unite its bigger ideas with the rudimentary process for freaking us out.

In “Oculus,” the horror is at once deceptively simple and rooted in a deep, primal uneasiness. Its scariest aspects are universally familiar: By witnessing the two leads fall prey to the ghastly object’s manipulation, we too become its victims. Reflecting the way our greatest fears lie within our own insecurities, the mirror is an ideal metaphor for the horror genre’s lasting potency.

Criticwire Grade : A-

HOW WILL IT PLAY? Relativity opens “Oculus” nationwide this weekend. With little competition, it should find respectable returns among the sizable audience for horror films, although its primary audience lies on VOD, where it should be successful for a long time.

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Oculus: film review.

A brother and sister attempt to destroy the spirit-possessed mirror that killed their parents.

By THR Staff

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A brother and sister face off against the mysterious force that destroyed their childhood in Mike Flanagan ‘s Oculus , an effective little creeper that makes the most of its ghost-hunting conceit. Key art focusing on our heroes as young kids fails to capture the well-balanced nature of the yarn, which is as involving in its present-tense action as in the extended flashbacks showing the horrors that the children witnessed. But strong word-of-mouth should help genre fans find the picture, which has no fright-flick competition in theaters at the moment save for a Jim Jarmusch vampire film that will never be mistaken for fanboy fare. Sequels are a possibility, though screenwriters would be unable to reuse the devices responsible for much of this outing’s appeal.

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When they were young, Kaylie and Tim ( Annalise Basso and Garrett Ryan ) were moved into a big new home by their parents ( Katee Sackhoff and Rory Cochrane ), who very soon succumbed to dark forces. While dad grew increasingly secretive and distracted, spending all his time locked in his home office, mom went insane. When she grew so dangerous that she threatened the children, dad killed her in a domestic struggle. Tim, traumatized, shot him dead.

The Bottom Line Enjoyable ghost story makes good use of clashing perspectives.

Or so Tim’s shrinks say. Upon his release from a mental institution 11 years later, authorities declare that Tim (now played by Brenton Thwaites ) “is a healthy adult” ready to reenter society. Kaylie ( Karen Gillan ), on the other hand, still believes in the version of events the children pieced together at the time: Their parents were controlled by a spirit residing in the beautiful, ornate mirror Dad bought for his new office, a mirror they tried and failed to break before it was sold in the aftermath of the killings.

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Now, having tracked down the mirror at an estate auction and returned it to its place in their old house, Kaylie intends to document its powers before destroying it with Tim’s help. She has turned the house into an elaborate observational machine, building ingenious countermeasures she thinks will record any paranormal activity, even if the mirror gets inside their heads, making them think they see things that aren’t there. While Tim argues with her plans, parroting the psychological explanations of events he has heard for years, she uses an array of video cameras and computers to recount the history of this evil looking glass — which has caused four centuries of deaths in the households that owned it — and prove its power is real.

Flanagan and co-writer Jeff Howard get good mileage out of Kaylie’s no-nonsense planning, demonstrating the strength of “the Lasser glass” by showing how she hopes to foil its efforts to protect itself; the certainty of Gillan’s performance introduces another layer of unease as the debate between the siblings heats up, leading us to wonder if Tim is right in his more prosaic explanation of events.

That possibility is thrown out in one of the film’s cleverest moments, which involves Kaylie’s recording equipment and the characters’ faltering hold on their senses. Given the importance of character-generated video here, it’s a relief the filmmakers chose not to rely on a found-footage conceit; for once, our heroes have an excellent reason to view all the action through cameras, but limiting the audience to those perspectives would have resulted in a more ordinary film.

As the scares pick up pace and ghost-induced hallucinations dominate the action, the past and present start to overlap with each other; the adults watch their younger selves enduring horrors they can’t undo. These visions have a poetic quality at first, but as they proliferate (and as more and more of the mirror’s victims materialize in the house), the film’s tension between objective and perceived realities loses some of its power. Having tasked us with the job of separating one from the other, Flanagan needs to preserve some shred of our hope that we can do so. If we lose that briefly, though, the story’s conclusion benefits from a closure that is satisfying despite — and even because of — its predictability.

Production: Intrepid Pictures, Blumhouse Productions, WWE Studios Cast: Karen Gillan, Brenton Thwaites, Katee Sackhoff, Rory Cochrane, Annalise Basso, Garrett Ryan, James Lafferty, Miguel Sandoval, Kate Siegel Director-Editor: Mike Flanagan Screenwriters: Mike Flanagan, Jeff Howard Producers: Marc D. Evans, Trevor Macy Executive producers: Michael Ilitch Jr., Dale Armin Johnson, Nail Kurian, Michael Luisi, D. Scott Lumpkin, Julie B. Many, Glenn Murray, Peter Schlessel Director of photography: Michael Fimognari Production designer: Russell Barnes Costume designer: Lynn Falconer Music: The Newton Brothers

Rated R, 103 minutes

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‘Oculus’ movie review: A satisfyingly scary ghost story

A good carpenter never blames his tools. But neither does he go out and buy a new hammer every time he makes another cabinet.

Using the most tried and true of techniques and material, " Oculus " director Mike Flanagan has crafted a satisfyingly old-fashioned ghost story that, in its evocation of shivery dread, is the most unnerving poltergeist picture since " The Conjuring ."

A remake of an earlier short — shot by Flanagan on the cheap in and around Baltimore in 2005 — “Oculus” is the story of a haunted antique mirror, known as the Lasser Glass. Over the centuries since its fabrication in 1754, dozens of owners have experienced madness and mysterious, often violent death. The movie depicts the efforts of two near-victims to destroy the cursed object.

The idea of an artifact inhabited by a malevolent supernatural entity is, of course, nothing new. Nor are such horror-movie tropes as the spooked dog, the staticky television set or camcorder surveillance ( thank you , " Paranormal Activity "). Yet it's what Flanagan does with these well-worn tools here that counts. The filmmaker may not break new ground, but he marshals each of these tools — and more — with the skill of a pro, laying down a fresh path through familiar territory and deftly skirting cliche.

Brenton Thwaites and Karen Gillan play 20-something siblings Tim and Kaylie, both of whom, as we see in flashbacks, were almost killed 10 years ago when their parents (Katee Sackhoff and Rory Coch­rane) went bonkers after purchasing the mirror. In the intervening decade, Tim has been locked up in a mental facility for the killing of his father, while Kaylie has put her time to good use in tracking down the home accessory, which she blames for what happened.

Set just after Tim’s release from the hospital, the movie is structured around Kaylie’s elaborate plan to exonerate Tim by proving that the events of 10 years earlier were the results of the mirror’s manipulative mind games. To this end, she has set up video cameras and other high-tech equipment in their old house to document the activities of the mirror, out of which she hopes to lure whoever — or whatever — is possessing it.

“Hello again,” Kaylie whispers to this home furnishing from hell, adding tauntingly, “You must be hungry.”

What Flanagan gets exactly right about this far-fetched scenario is that he never shows us the “you” Kaylie’s talking to. To be sure, the trailer suggests there is at least one creepy woman with devil eyes living in the mirror, but you would be wrong to assume that the tale is that straightforward.

Kaylie and Tim’s old house also is haunted by those scariest of demons: memories.

Juvenile actors Garrett Ryan and Annalise Basso play the sibling protagonists as children, popping up in the old house like they still live there — which, in a figurative sense, they do. The younger actors appear both in flashback sequences and in scenes in which their characters seem to be interacting with their adult selves. Whether it’s fantasy or mental illness is unclear.

That’s the most satisfying aspect of “Oculus” — the way in which Flanagan plays on the power of imagination. Shunning traditional flashback techniques, he tells the story in a twisty, perception-distorting way that messes with the audience’s heads as much as it does with Tim’s and Kaylie’s.

In that sense, using a mirror as the central metaphor for our darkest fears is a fairly brilliant strategy. When Kaylie and Tim look into the glass, of course, they see nothing but their own reflections.

★ ★ ★ R. At area theaters. Contains creepy, violent images and brief crude language. 105 minutes.

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Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – Oculus (2013)

June 12, 2014 by Luke Owen

Oculus , 2014

Directed by Mike Flanagan Starring Karen Gillan, Brenton Thwaites, Katee Sackhoff, Rory Cochrane, Analise Basso and Garrett Ryan

SYNOPSIS: A woman tries to exonerate her brother, who was convicted of murder, by proving that the crime was committed by a supernatural phenomenon.

Over the last decade or so, the horror genre hasn’t really turned out many “classics”. Despite a great showing of movies at FrightFest and Grimm Up North every year, it always seems to be the gutter-trash “jump scare” horrors that make it in front of general audiences. Oculus certainly isn’t a game-changer, nor is it a “classic”, but it’s easily one of the best horror movies you’ll see this year.

Based on Flanagan’s own short Oculus: Chapter 3 – The Man with a Plan , Oculus plays as a sequel to a film we never saw as a brother and sister duo, Tim and Kaylie, return to their family home to tackle a strange occurrence that happened during their childhood. After their father purchased a beautifully designed mirror, he started to show signs of losing his mind and he eventually killed his wife and was shot dead by Tim. Now that Kaylie has tracked down the mirror, she intends to prove her father innocent and show that the mirror is pure evil.

What’s great about Oculus is that it doesn’t give us the full back story straight off and instead drip feeds you information as the film progresses, which means you are essentially watching two films that cut between each other. This works especially well as the film makes its way towards the third act as the mirror plays tricks on Kaylie and Tim (as well as the audience) and we see both films play at the same time. It’s a hard one to explain, but it’s a superb experience.

Karen Gillan (who is set to kick arse in Marvel’s Guardians of the Galaxy ) is fantastic as the determined Kaylie. Her brother Tim (Brenton Thwaites) may be viewed as the “crazy” one of the duo as he was incarcerate following their father’s death, but it’s Kaylie who really shows signs of losing her mind in the early goings. She has become obsessed with this mirror and in a wonderful piece of exposition, she explains to a series of cameras she has set up just where the mirror came from and what it’s done in the past. It’s a clever way of setting up the mirror’s evil while strengthening and furthering Kaylie’s character. Thwaites also does a great job as the recovering Tim and he draws genuine sympathy from the audience as he tries to move on from his previous life while trying to help his sister get past hers. Credit should also be given to Analise Basso and Garrett Ryan who play the younger versions of Gillan and Thwaites. The pair have a big job on their hands but, for young actors, they really show conviction in their characters and you can feel that they are younger versions of their older counterparts.

It’s also refreshing to see a horror movie that doesn’t rely on the now standard “jump scare” tactic to frighten its audience. Instead, Oculus aims to unnerve those watching it with creepy visuals, suggestion and drawn out moments of tension. There are great directorial and writing flourishes as Flanagan pulls some beautiful ‘bait-and-switch’ moments as if the mirror is influencing the audience as well as the characters. Flanagan doesn’t play his hand too soon and he creates a fantastic atmosphere that will have you itching around your seat while gripping the arm chairs. It’s not exactly In Fear , but it can certainly make you uncomfortable.

Oculus is a film that shows that genuinely good horror does exist and it deserves to be seen by all. It takes its time, it draws you in and – while the finale is a bit lame – it does a great job in unnerving its audience. Gillan and Thwaites are fantastic and the way Flanagan blurs the lines between past and present via the evil of the mirror is a touch of genius. Oculus may not be seen as a “classic”, but it’s brilliant movie.

Flickering Myth Rating  – Film: ★ ★ ★ ★ / Movie: ★ ★ ★

Luke Owen is one of Flickering Myth’s co-editors and the host of the Flickering Myth Podcast. You can follow him on Twitter @LukeWritesStuff.

You can watch a video of Luke Owen meeting the mirror from Oculus here .

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Oculus Reviews

While it may have taken unconventional approaches to the visual language of haunted house movies, the narrative is messy and never offers up anything more than surface-level intrigue.

Full Review | Original Score: 2/5 | Sep 20, 2023

We’re left with the terrifying fear that if Tim and Kaylie can lose themselves in the mirror’s reflection, so can we.

Full Review | Original Score: A | Feb 18, 2023

Flanagan's treatment elevates the material, both in his use of mind games and emotional complexity.

Full Review | Original Score: 3.5/4 | Feb 12, 2022

It may sound a bit ridiculous, but Flanagan and co-writer Jeff Howard do a fantastic job of making people question whether the threat to our characters is real or imagined right up until the very end of the film.

Full Review | Apr 14, 2021

The horror elements work because this is a character driven story and while there are blood and guts aplenty it is the intensity of the story and the performances that will stay with you.

Full Review | Original Score: 3.5/5 | Feb 1, 2021

Mike Flanagan's debut to mainstream audiences is a tour de force of horror, seamlessly weaving between two timelines as he prepares us for a devastating gut-punch of an ending.

Full Review | Original Score: 4.5/5 | Dec 29, 2020

While there are some solid scares and creepy scenes, considering the pieces, they never amount to much.

Full Review | Original Score: C+ | Jul 8, 2020

Oculus is an ambitious horror film that doesn't quite reach its potential. While it has a strong cast ... the story just feels like it's spinning its wheels, trying to find the traction it needs to propel forward.

Full Review | Jul 6, 2020

Oculus is a smartly-plotted evil mirror film which slowly reveals itself as a haunting portrayal of child abuse. It's a nice light movie!

Full Review | Jun 30, 2020

The biggest misfortune in Oculus is that it's almost a good movie.

Full Review | Original Score: 2.7/5 | Nov 22, 2019

The final product is a beautifully shot and wonderful acted entry in the never-ending pool of niche horror movies looking to shock, scare, and unnerve.

Full Review | Original Score: 6.5/10 | Aug 8, 2019

Horror fans shouldn't miss Oculus; films as creepy as this one don't come along too often.

Full Review | Original Score: 7.6/10 | Jun 21, 2019

Mike Flanagan's Oculus does more to a familiar premise than most standard-issue scary movies out there.

Full Review | Original Score: 4/5 | Jun 14, 2019

Ultimately, though, it is the characters that count, and Flanagan gives emotional resonance to the story of charming family undone by unexplained forces; and his actors go a long way in portraying this with honesty.

Full Review | Mar 5, 2019

A clever storyline keeps the pace, although it could be argued the film had too many storylines going for its running time.

Full Review | Feb 1, 2019

Oculus was actually awesome, even though I didn't have any expectations for it at all...happy to tell you that this one was well thought-out with some great performances.

Full Review | Jan 5, 2019

In some off-the-wall realm, Oculus works its seedy magic because the concept of frightening furniture and childhood disillusionment is not exactly what one would expect as a passable taunting tie-in of sorts.

Full Review | Original Score: 2.5/4 | Nov 11, 2018

The acting and characters are solid enough, the general idea of the story is captivating and the atmosphere of the piece is genuinely disconcerting.

Full Review | Original Score: 7/10 | Nov 1, 2018

The acting is solid, the camera work is noteworthy, and the story is well written.

Full Review | Oct 26, 2018

I thought that the storyline was original, awesome and definitely refreshing.

Full Review | Original Score: 2.5/5 | Oct 15, 2018

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Common sense media reviewers.

Outstanding horror flick has gore, children in peril.

A Lot or a Little?

What you will—and won't—find in this movie.

Though the characters quickly get themselves in to

While the brother and sister characters are well-w

Several very bloody, gory scenes. A man rips off h

Both a married couple and an engaged couple are sh

"S--t" is heard a few times, and "f--k" is used a

Apple computers are shown during a scene featuring

An upset mother drinks glass after glass of wine w

Parents need to know that Oculus is an outstanding horror film about a haunted mirror. Expect several gory scenes that are designed to induce squirms (including photos of grisly deaths and crime scenes, fingernails being ripped off, etc.); there are also some flat-out scary images that aren't meant for the…

Positive Messages

Though the characters quickly get themselves in too deep (and resort to stealing, lying, and violence), Oculus has a very strong, interesting sibling relationship. Yes, they argue, but they also clearly care for each other and try to help and protect each other. But in the flashback sequences, the younger children are in peril, and their situation looks pretty hopeless.

Positive Role Models

While the brother and sister characters are well-written and interact in realistic ways -- working together, fighting, and trying to help each other -- overall, their behavior in the film isn't very admirable. Their plan requires stealing, lying, and resorting to violence and destruction.

Violence & Scariness

Several very bloody, gory scenes. A man rips off his fingernails. A woman accidentally bites into a light bulb (she thinks it's an apple). A woman's scar turns into a bloody, gaping wound. In one scene, a woman shows photographs of grisly deaths and crime scenes. A gun is used. But the main issue here is in the flashbacks, showing two younger children in peril. They're neglected, ignored, tricked, trapped, and eventually attacked -- though viewers do know that they both lived to grow up.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Both a married couple and an engaged couple are shown kissing. A mom wears a sheer nightie around the house.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

"S--t" is heard a few times, and "f--k" is used a couple of times. "Damn," "hell," "Jesus," and "oh my God" are also heard a few times.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Apple computers are shown during a scene featuring surveillance equipment.

Drinking, Drugs & Smoking

An upset mother drinks glass after glass of wine while her kids eat dinner.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Oculus is an outstanding horror film about a haunted mirror. Expect several gory scenes that are designed to induce squirms (including photos of grisly deaths and crime scenes, fingernails being ripped off, etc.); there are also some flat-out scary images that aren't meant for the faint of heart. But while there's plenty of blood in the movie, its real focus is on story and characters (the siblings are interesting, albeit not always admirable). Language is somewhat strong, with a few uses of "s--t" and one possible use of "f--k" (spoken quietly during a noisy scene). There's a scene of heavy drinking, some minor kissing between couples, and some Apple computers shown. The movie is likely to be a must-see for horror buffs, and many teens will want to see it, too. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (7)
• Kids say (23)

Based on 7 parent reviews

Outstanding direction with decent scary scenes

What's the story.

After 11 years, Tim Russell (Brenton Thwaites) -- who killed his father as a boy -- is released from a psychiatric hospital. His sister, Kaylie ( Karen Gillan ), immediately asks him to participate in a ritual: to help destroy the creepy old mirror that she thinks caused all the trouble. At first, it appears as if Kaylie may be crazy, but it soon becomes apparent that the mirror does have the power to make people see things. Before long, the siblings are flashing back to the events of their childhood, when the mirror drove their mother ( Katee Sackhoff ) into hysterics and turned their father (Rory Cochrane) into a homicidal maniac. Will Tim and Kaylie be able to tell reality from nightmare -- and survive?

Is It Any Good?

Creepy mirrors have been featured in horror movies plenty of times before, but none of them have been anything quite like OCULUS. It immediately turns your expectations upside via the character of Tim, a troubled but cured soul with blood on his hands. The question of whether he'll kill again quickly becomes moot as his old bond with his sister re-asserts itself. The characters are strong and interact in vivid ways, and they remain the movie's anchor; they're no horror movie amateurs, and they struggle to stay on top of the scares.

But Oculus ' real weapon is its flashbacks, which aren't specifically used as flashbacks but rather as illusions and nightmares forced upon the characters by the mirror's evil. They fold over into reality as younger and older versions of the same characters regard one another, and it's clear that they shouldn't be taken literally. This is a breakthrough for director Mike Flanagan, and (apologies for the pun) a most reflective horror movie.

Talk to Your Kids About ...

Families can talk about Oculus ' violence and gore. Which scenes were meant to make you squeal and squirm, and which had a more visceral effect? What's the difference between these moments? Do bloody scenes make a movie more frightening?

How scary is Oculus compared to other horror movies you've seen? What's scary about it? How did you feel about the scenes with the young children in peril? Did it make a difference knowing that they were only flashbacks or nightmares and that the children survive to grow up?

What's the relationship between the central brother and sister like? Is it realistic? Is it stereotypical ? If you have siblings, how does it compare to your relationship with them?

Movie Details

• In theaters : April 11, 2014
• On DVD or streaming : August 5, 2014
• Cast : Karen Gillan , Katee Sackhoff , Brenton Thwaites
• Director : Mike Flanagan
• Inclusion Information : Female actors
• Studio : Relativity Media
• Genre : Horror
• Run time : 105 minutes
• MPAA rating : R
• MPAA explanation : terror, violence, some disturbing images and brief language
• Last updated : March 2, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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The Orphanage

Best horror movies, scary movies for kids.

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Discovering good movies, one bad movie at a time

Oculus (2013)

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• A recently released inmate from a mental asylum learns from his sister that the murders he was convicted of committing were actually orchestrated by a supernatural entity, the Lasser Glass mirror.
• Haunted by the violent deaths of their parents 10 years earlier, adult siblings Kaylie and Tim are now struggling to rebuild their relationship. Kaylie suspects that their antique mirror is behind the tragedy and contains a malevolent, supernatural force that infects the mind of anyone who gazes into it.
• The movie begins with two young children trying to open the front door in the middle of the night. The children are Kaylie (Annalise Basso) and her younger brother Tim Russell (Garrett Ryan). The pair are obviously trying to escape from the house. They hear footsteps and turn around to see someone carrying a gun approaching. Kaylie steps between the menacing figure and her brother, staring up defiantly at the gunman. The camera rotates so we see a young man holding the gun, looking horrified. The gun fires and... The young man holding the gun wakes up from his nightmare. We soon learn that this young man is a grown up Tim (Brenton Thwaites). He is in a mental hospital. He tells his doctor that this is the first time that he, and not his dad, was holding the gun in his dream. The doctor says that this is Tim's final breakthrough (it signifies that he has finally taken responsibility for past actions) and will recommend that he be released. Meanwhile, we see his now grown sister Kaylie (Karen Gillan). She works for an auction firm and is overseeing an auction with her fiancée and co-worker, Michael Dumont (James Lafferty). They watch as an antique mirror is auctioned off. The mirror, called the "Lasser Glass," is in near mint condition except for a crack in the bottom right-hand corner. The mirror is sold for tens of thousands of dollars. Tim tells his doctor that Kaylie has found him an apartment and is helping him get a job. The doctor says that it is good for he and Kaylie to reconnect, but also reminds Tim that Kaylie did not receive treatment after the incident but was instead sent into foster care. He says Tim must guard himself and make sure Kaylie doesn't undo his recovery. Tim walks out and Kaylie is waiting for him, a smile on her face. She takes Tim out for lunch and they catch up. Suddenly, Kaylie tells Tim she found "it" and they only have a few days to keep their promise. Tim questions what promise she's talking about. Kaylie replies, "To kill it." In a flashback to 11 years ago, the Russell family is moving into a new house. Tim and Kaylie play happily with each other and their family dog. They are watched by their mother Marie (Katee Sackhoff) while their father Alan (Rory Cochrane) begins setting up his new home office and is on the phone with his boss. Although Alan is a workaholic, he loves his kids, calling them by affectionate nicknames. The movers carry the Lasser Glass into the home and place it into Alan's office. Marie is surprised that Alan bought this mirror, but does admire the mirror's beauty. Back in the present, Kaylie drops Tim off at what looks to be a hotel room, saying he could stay with them instead. He insists on staying at the hotel and Kaylie says he promised to not forget what had happened. Tim says he was only ten at the time. Kaylie says she is "doing it" the following night and would like his help. She then leaves. 11 years in the past, we see Marie looking in her new bathroom mirror. She lifts up her nightgown to look at her C-section scar. She gets into bed and complains to Alan that her scar looks worse. He asks to look at it and begins kissing her belly while asking "what scar?" Marie is pleased at her husband's flattery and the two make love in their new home. We later see Alan downstairs getting a midnight snack. As he journeys back to the bedroom, he thinks he sees a ghoulish woman in the hallway. He turns on the light and walks into his office, where all he sees is the mirror. Present: Kaylie sleeps in her bed. She is awakened by a dog barking and goes into the hall to find the mirror hanging in one of the rooms. She steps in and examines it, then turns and is attacked by her father, strangling her with a demonic grin. She begins screaming... then wakes up in bed next to Michael who is comforting her. He says she was having one of her night terrors. The next morning, Kaylie is confronted by Michael at work. He notes that she submitted an order to have the Lasser Glass repaired before it is delivered to the winning bidder. Michael says that when he last spoke to the head of the company, the boss had not wanted to repair the mirror. Kaylie says the boss changed his mind. Michael also says that the I.T. department also found images of corpses on her computer. She asks him to have patience with her for a couple of days and then everything will be back to normal. He agrees to stand by her. We see Kaylie walk into the warehouse, where the Lasser Glass is covered by a sheet. She gives the warehouse employee the repair order and tells him she will personally drive the mirror to the repair center. The warehouse employee leaves to process the form and Kaylie takes off the sheet covering the mirror. She sees her reflection and two covered objects behind her. She runs her hand over the crack and then asks the mirror if it remembers her. She also notes that it is probably hungry. She looks up and now sees three objects covered in sheets behind her, and one of the objects moves. She looks behind her and sees only two figures. She turns back to the mirror and says she will be destroying it. Kaylie then sees all three figures behind her move. Kaylie turns around and now there are three objects behind her. She walks over and pulls the sheets off the first two objects, revealing statues underneath. She begins to tug at the third sheet when the warehouse employee comes back in and distracts her. Kaylie looks back and once again sees only two statues. They load the Lasser Glass into her car (covered once again) and Kaylie drives off. Tim calls up Kaylie and says he apologizes for the other day. He wants to see her and asks where they can meet. Kaylie says to meet them at their old home. Past: We see Marie going to water her plants only to find they're all dead. It then cuts to young Kaylie running through the yard, playing laser-tag with her brother. She looks in her dad's office and thinks she sees a woman rubbing Alan's chest. She blinks and the woman disappears. Later at dinner they sit around talking. Alan seems distant and is chewing his nails. Marie says that she always hated that habit. Alan accidentally chews his nail completely off. He goes and puts on a bandage. Kaylie asks him who the woman in his office was. He responds that there was no woman in his office. Present: Tim and Kaylie arrive at the house, Kaylie letting a small dog out of a carrying cage. She tells Tim to look around. Kaylie tells him the house sat on the market until she leased it when she turned 18. She asks him to help her with something before he goes. Tim helps her carry the mirror, still covered, inside their father's old office where there are numerous computers and cameras set up, and some kind of device on the ceiling. Kaylie tells him it's a kill switch. She tells Tim he can leave if he'd like, but she needs to get started. He says he will stay for a while. Kaylie turns on one of the cameras and introduces herself and her brother before detailing her numerous precautions she has set up. She explains the cameras and computers all have their own power source, that there is an alarm to remind her to change the tapes, another alarm to remind them to eat and drink, and that there are thermometers in each room which will go off if there is a significant change. She explains the point of the experiment is to prove the mirror possesses a paranormal entity. She also receives a phone call from her fiancée and explains that she has requested he call her each hour. She has researched the history of the Lasser Glass and begins telling it to the cameras. Every person who has owned the mirror ended up dying a gruesome death, often mutilating their own bodies or being driven to madness. Many of the victims were found dehydrated or malnourished. With each victim, she holds up photos of the victims, crime scenes and locations, which were the pictures previously printed off of her work computer. One of the timers goes off. The two sit down and eat. Tim asks her who the tapes are meant for. She says everyone who ever accused Tim and her father of being murderers. Tim says their father was a murderer and a sick man. Kaylie slaps him and tells him not to speak of their father that way. She then resumes detailing the mirror's history for the camera. We learn that their father had tortured and killed their mother before Tim shot their father in front of Kaylie. She says she intends to prove that they were all victims of the mirror and not responsible for their actions. Tim asks why they don't just destroy the mirror now. Kaylie tells him to do so if he can. We see a quick flashback of Kaylie and Tim swinging golf clubs at something. Tim takes a stool and walks over to the mirror to smash it. He then puts the stool down and tries to convince Kaylie that she is delusional and this is just her trying to cope with what happened. Kaylie points out that Tim has put the stool down and asks if he remembers putting it down. He doesn't answer, but Kaylie says that the mirror has defenses against a direct human attack. She says in its recorded history only one person ever tried to attack the mirror. He tried to hit it with a fire poker, but stopped just before he struck it. After staring at it for some time, the man left his home and walked into traffic where he was killed. Tim says he did not destroy the mirror because Kaylie must break her own delusions. Kaylie then demonstrates the kill switch rigged to the ceiling, which is an axe connected to an egg timer. If the timer isn't reset every half hour, the axe will swing down from the ceiling right into the center of the mirror. Past: Alan types away at his computer in his office. The bandage is still on his injured finger and is bothering him. He takes it off and begins typing again, only to see the bandage is still on his finger. He tries to take it off, but it is stuck. He uses a staple remover to try and grip it, but ends up digging it into his own finger, drawing blood. Alan realizes that the bandage had not been on his finger after all. He looks up and approaches the mirror. He then calls the children into his office and accuses them of moving his things around, though the children deny it. He tells them they are not allowed in the office. Present: Kaylie is telling Tim that the mirror feeds off of life force, starting with plants and animals. Thus, she has healthy, live plants and the dog in the house so that the mirror can begin feeding from them while she records it. Tim says the plants in their house likely died due to poor water quality, and notes the plants throughout the house are all alive and well. Kaylie tells him to give it time and places the dog she brought back in the cage, placing both in the front of the mirror and covering it. The Lasser Glass also interferes with electricity, which is why she has plenty of spare light bulbs and battery-powered devices. Its power also causes extreme changes in temperature (thus the thermometers). It eventually consumes its owners, dehydrating and feeding off them, often after driving them to madness in the process (thus the timers to remind them to eat and drink). She says that she has a couple other safeguards. First Michael has agreed to call Kaylie every hour (though he is unaware of her plan, her belief that the mirror is evil, or why Kaylie wants him to call) and if she doesn't answer, to call the police. Past: We see the Russell's family dog, Mason, laying on the ground, looking very ill. It then cuts to Alan and Marie discussing the gun he has bought for safety. Marie is very upset and he agrees to lock it up. As she leaves the room, she hears Alan call her a "grotesque cow." When questioned, he says he did not say anything. Her already sensitive psyche is wounded. Later, Marie is woken by the sound of their dog barking outside Alan's closed office. She goes to let him in and he bites her and runs away. She pulls on the door again and yells for Alan, who yells back that he is working. Marie hears him talking to someone and she attempts to listen in when Alan suddenly opens the door. She asks who he is talking to and he says he isn't talking to anyone. Marie, upset, says there is something wrong with the dog and that Alan is lost in his own world. They begin arguing loudly. The next day, Alan leaves to go golfing with a client and tells the children to stay out of his office. Marie becomes annoyed with Mason, who is once again barking outside Alan's office and lets him in, closing the door behind him. The dog begins to whimper but Marie is unable to open the doors. When Alan gets home, Marie says she had to lock the dog in the office, telling the kids he was "grounded." Alan unlocks the door but the dog has disappeared. Present: Tim tells Kaylie she is remembering the events wrong and that Mason got sick and had to be taken to the vet. Kaylie insists they sat outside the door and that Tim has been brainwashed. Past: Marie and Alan are fighting again, Alan telling Marie she is losing her mind. They are loud enough to wake up the kids. When tucking her in, Kaylie asks Marie if they're fighting because of the woman in the office. Present: Tim tells Kaylie their father was having an affair and her memories regarding the mirror are fabricated; that it was a bad marriage and that was it. Kaylie argues she went through everything in the estate and there was no proof of an affair. The two continue arguing until Tim gets frustrated and lets the dog out of its cage and out of the house. He points out that the plants are still alive and the only one endangering the dog is Kaylie. He then begs Kaylie to leave the house with him, saying they can go somewhere and deal with everything together. Kaylie agrees to disarm the trap and take the cameras down, but just as they are about to do so Kaylie sees that the plants in the house are dead and the cameras have been turned away from the mirror. They replay the tape and see that during their argument they were subconsciously moving the video cameras. Kaylie also knows that the temperature has gone up over five degrees but the alarms have not gone off. Tim goes to call his doctor but Kaylie stops him and says to make any calls outside, as the mirror can mimic voices on the phone so long as they are within its range. Tim runs outside and attempts to call his doctor, getting an error message each time. He is suddenly distracted by Kaylie saying his name. It turns out he never left the house but had crouched in the hallway and spoke to nobody. Past: Young Kaylie walks into the office to find her mother there with the vacuum, gently swaying in front of the mirror but otherwise not moving. Later, Marie, Tim, and Kaylie sit at the dinner table without Alan. Marie is drinking an entire bottle of wine herself and has made toast for dinner. She looks physically ill. Marie asks the kids to tell her more about the woman in Alan's office. Kaylie lies and says she didn't see a woman after all, but Tim says that he has now seen the woman. Tim says the woman was standing on the stairs the previous night and it scared him. He says he thinks she lives in the office. Marie tells them to go upstairs and play. Marie enters the office and sits at Alan's desk, where she sees a paper covered with scribbles and the name "Marisol." Devastated, she shoves the items off of Alan's desk. While cleaning the mess, she runs her fingers over a family portrait before yelling and throwing a pen holder at the mirror. It misses and hits the wall. The lights suddenly dim and Marie sees a smiling reflection of herself in the mirror. The reflection looks down and undoes the buttons on her dress, revealing her C-section scar has reopened. Marie screams and Tim and Kaylie run downstairs. Marie turns around and tries to strangle Tim. Kaylie pulls him free and they run away, Marie chasing them. They lock themselves in their bedroom while Marie slams on the door. Alan comes home and runs upstairs. Marie grabs his head and he pulls her arms away. She begins slapping and fighting him. He gets her in a chokehold until she seems to pass out. Kaylie sticks her head out and Alan tells her to go back inside. Alan pulls his cellphone out and dials 911. We hear whispered voices from the mirror and Alan hangs up his phone. He pushes Marie off of him and drags her away. Kaylie opens the door again and sees her father walking down the hall with chains in his hand. Present: Kaylie is comforting Tim, who seemed to be having a flashback. They return to the room with the mirror, where Kaylie is turning the cameras back on. On the computers, Tim sees Kaylie approaching the screen. The lights dim and we see brief flashbacks of him and Kaylie. Past: Tim and Kaylie are in their father's office, where he tells them their mother is very sick and will need to rest for a while but that they are not to bother her. Kaylie asks what's wrong with her, but Alan does not answer, instead telling them they can hang out in the office and play video games. Tim says he thought they weren't allowed in there. One of the lights goes out. Present: The alarm goes off for them to eat. Kaylie hands Tim an apple and asks him to help her replace the lights that have gone out. We see a brief flashback of Kaylie yelling at Tim, who seems to be in a trance, as well as Alan going up the stairs with a plate of food. The light Tim just replaced goes out. Kaylie replaces another light, which immediately goes out. She replaces it again and picks up the apple she had set down. When she takes a bite out of it, she finds she has bitten into a light bulb. She pulls the bloody piece of glass out of her mouth in horror. Tim then appears and she finds that it was in fact the apple she had bitten. She tells Tim they should stay together. Past: Tim watches cartoons when the TV suddenly turns to static. He and Kaylie hear pounding from upstairs and Tim says he's hungry. They look in the fridge but it has barely anything in it. Kaylie storms into her dad's office and tells him that he needs to go grocery shopping. She also tells him the TV is out and they need to call a doctor for their mother. Alan simply stares at the mirror, distracted, and says it's on his list. Kaylie becomes frustrated and leaves. The two go upstairs and Kaylie decides to tell their mother they are out of food. She opens the door where their mom is. It's filthy and there's broken glass on the floor. When Kaylie approaches the glass, Marie suddenly lunges at her. She is chained to the wall by her neck and is missing most of her teeth. Kaylie runs out of the room. Back in the office, Kaylie demands they call a doctor. Alan becomes angry and says Kaylie's problem is that she does not listen. He says she and Tim are not to set foot outside the house. Kaylie later calls a doctor. When she gets off the phone, Tim asks what he said. She said he told her to have their father call and had the same voice as the last doctor they called. We cut to Kaylie walking up the lawn and knocking on their front door with one of their neighbors. Alan apologizes and tells their neighbor Kaylie is upset about Marie's illness and is acting out. We also see Alan has chewed his nails almost completely off. He looks up at Kaylie and goes into his office. Present: Kaylie leans against the mirror with her eyes closed. She opens them to find the timer for the kill switch is about to go off and runs to reset it. She yells for Tim and one of the timers goes off. She throws it on the ground. Tim is upstairs, looking at his younger self, who looks up at him. The lights go out and older Tim disappears. Young Tim walks down the hall and yells for Kaylie. We see older Kaylie walking downstairs with a lamp. The power has gone out so she turns on some emergency lamps throughout the house, kicking and smashing a pot in anger as she does so. As she goes upstairs, young Tim walks down the stairs past her. While turning on one of the lights, she see broken ceramic and chains. She tells herself it isn't real and leaves the room. Young Tim opens the office door and asks his dad to fix the lights. He sees a gruesome woman hunched behind Alan, and she comes to the door. Young Tim screams and runs back upstairs, where he locks himself in his room and hides in the corner. Older Tim is on the other side of the room watching. Kaylie is back downstairs, where she sees broken plates all over the floor. She picks up a piece, pulls out her cellphone and uses the camera to scan the floor. The shards do not show up on the camera. She turns and sees her mother standing behind her. She screams and instinctively stabs her mother in the neck with the broken plate. Her mother is shown to actually be her fiancée, who drops to the ground, bleeding. Tim comes downstairs and Kaylie asks if he sees him, unsure if he's real or not. Tim crouches by him and Kaylie's phone rings. She answers it and it's her fiancée on the other line. Kaylie says she couldn't have killed him because the plate wasn't real. Tim looks at the floor and sees the broken pot. Kaylie uses the camera on her phone to look at the body and finds it shows up on camera. She begins to sob. Tim takes Kaylie outside and calls 911. Kaylie tries to run back in and Tim stops her, telling her they just have to wait for the kill switch to go off. Suddenly all the lights in the house come back on and they see themselves in the room with the mirror, standing in front of it. Tim says it's a trick to get them back inside, and Kaylie says it may be a trick to keep them standing there. She tells Tim to call for help again. He calls 911 again and gets the response that he's going to have to have his father call. Kaylie breaks the phone and asks Tim what they should do. Past: Alan is in the office, leaning on the mirror. He then sits at his desk, pulls out a gun and begins loading it. Tim, outside watching, runs upstairs and tells Kaylie. Kaylie says they're going to have to smash the mirror. Present: Tim and Kaylie enter the room with the mirror, seeing themselves still standing in front of it. There is now also the woman from before, speaking with their father's voice. Kaylie keeps repeating that it's not real. She looks down and sees young Tim holding her hand. He pulls away and runs. The woman smiles at Kaylie and she follows Tim. Past: Kaylie and Tim run upstairs, locking themselves in their room. We then see their mother break a plate and begin eating one of the pieces. The door opens and Alan enters with the gun. Marie crawls towards him and tries to lunge at him. He puts the gun under her chin and she freezes. He unlocks the chain around her neck and she slowly stands. Present: Tim and Kaylie are in the bathroom, Kaylie on the floor. Kaylie asks if he's still there. Tim says he was never there, that he's upstairs. Kaylie asks how he can be sure. He tries to reassure her and opens the door but their mother is standing on the other side. Past: Kaylie and Tim hold the door shut. Kaylie says they have to get downstairs. Tim says she's not gone. Kaylie says they have to open the door and run downstairs. She opens the door and the two run down the hall. Marie lunges at them from the down the hall and Kaylie hits her with a golf club. Tim runs downstairs only to find Alan in front of the office, while Kaylie runs down the hall into the room their mother had been in. She opens the window and jumps out, hurting her leg on the landing. She gets up and limps to the front yard, where she sees two ghastly people standing in the window, smiling. Present: Tim watches Alan walk down the hall, telling himself it's not real. Alan fires the gun. Past: Kaylie goes back into the house. Present: Kaylie walks into the room with the mirror where she sees her fiancée's corpse standing in front of it with a smile. She walks down the hall, calling for Tim. Past: Kaylie walks down the hall. Tim gestures to her but she doesn't understand. Suddenly Marie lunges at her and knocks her to the ground, where she begins strangling her. After a few moments, she loosens her grip, seeming to return to normal. She is then shot from behind by Alan. Kaylie grabs Tim and runs while Alan, surrounded by the corpses of the past victims of the mirror, kills her. Kaylie and Tim hide behind a door, watching until their father is gone. They then run, grabbing golf clubs and head into the office where they begin to strike the mirror, only to find that they are only hitting the wall. Alan enters the room, gun in hand, and points it at Kaylie. Tim strikes his arm with the golf club, knocking the gun down. Alan starts to strangle Kaylie, but lets go when Tim picks up the gun and yells at him. Alan turns around and kneels in front of Tim. He points the gun at himself, wraps his finger around the trigger and nods. The gun goes off and Alan falls, dead. The corpses of the past victims approach them from behind, cornering them against the wall. They open their mouths and the sounds of the alarms are heard. Present: Tim is in the room with the mirror on the floor, covering his ears to block out the alarms. He yells for Kaylie. We cut to young Kaylie in the office. She sees her mother in the mirror. She walks towards her, her mother holding her arms out to hug her. They embrace. Tim walks to the kill switch and sets it off, only seeing afterwards that Kaylie was in front of it and has been killed by the kill switch. The mirror appears unharmed. Past: Kaylie makes Tim promise they will destroy the mirror and make things right. Present: Tim is arrested. As he is driving away, he sees the corpses of his entire family in the window of the house.

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Movie Review: Oculus (2013)

• Dan Franzen
• Movie Reviews
• 5 responses
• --> April 10, 2014

A loving mother.

Oculus is a sloppy horror movie about a possessed mirror and the vengeance that a grown woman, whose family was destroyed by the mirror when she was a girl, attempts to wreak upon it. There are a couple of shock moments — not shocking, just shock — but for the most part the plot dreamed up by Jeff Howard and Mike Flanagan (who also directed) is weak, overly murky, and aimless.

It’s also much more of a comedy than a horror movie, if the screening audience was any indication. Boy, you never heard such laughter. True, there are some gasps from time to time, but truth be told, those scenes were predicated on the audience’s not knowing that something might happen when a camera pans slowly around a room or focuses tightly on our heroine’s face.

For the story, it seems that 11 years ago something dreadful happened to the Russell family. Our first encounter is with the grown Tim (Brenton Thwaites), who’s being released from a mental hospital. Tim, we learn, was blamed for whatever happened so long ago and has been institutionalized ever since. He’s met outside the hospital by his older sister, Kaylie (Karen Gillan). Kaylie wants to help her brother adjust to life on the outside, but first she has a favor to ask, and it involves helping her (or them) overcome their demons once and for all.

The movie jumps back and forth in time, sometimes a little too seamlessly. As things unfold, we’re able to piece together what happened — or at least how Kaylie and Tim remember how things happened. It all has to do with an old, old mirror that their father had purchased for their new home. In the present, Kaylie has gone to the trouble of finding a buyer for it at auction and then offers to fix a crack in the mirror (this makes sense in the movie). Instead, she hauls it to the old family house, where she plans to prove — to herself, to the world — that the mirror is evil and that it’s to blame for the deaths of Tim and Kaylie’s parents.

Kaylie appears unhinged right from the start. Instead of helping Tim to adjust, she focuses all her energy on the mirror instead. She sets up an elaborate system involving the use of multiple cameras, the presentation of historical evidence of the mirror’s effect on (some of) its previous owners, the monitoring of the temperature in the house, the health of the plants in the house, and so on. She also employs several egg timers to indicate when she needs to hydrate and eat, when she needs to change the videotapes, and when she needs to reset the kill switch. The kill switch here is a large descending weight that launches a swinging blade directly at the mirror. Kaylie has put some thought into this, is what I’m getting at.

Not looking at the mirror.

But the movie spends far too much time with this and trying to persuade the audience that Kaylie’s right, rather than just presenting her evidence and then moving on. Hell, it’s practically a third over by the time anything remotely scary starts to happen. And because there’s so much flitting between time frames (often in the same scene), perception itself becomes more and more muddled, making it tough to discern if what appears to be happening to the characters is actually happening. There were far too many times when I just wasn’t sure if the whole mess was all in Kaylie’s head, and that kind of uncertainty made Oculus hard to enjoy on that or any level.

It would have also been better served if the glacial pace at the beginning moved quickly into creative, fast-paced horror action; instead, there was a lot of talking (mostly between Kaylie and a disbelieving Tim) punctuated by intermittent pieces of propelled plot. On the more positive note, both Gillan and Thwaites are good, as is Rory Cochrane as their father, Alan.

The denouement, however, kind of fizzles. It’s the kind that’s supposed to come out of nowhere and startle you something fierce, but all I felt was sweet relief that the end was nigh. The ending just feels like a cheat, or maybe something akin to a cheap toupee slapped over a shaved weasel with digestive problems. And although that may not be a particularly coherent analogy, it still seems quite appropriate for Oculus .

Tagged: ghost , mirror , murder

For more reviews, visit Frothy Ruminations , the oldest review site you've never, ever heard of. Now in color! Remember - there's no need not to be critical. Kittens are critical of you; we should learn from them. And who doesn't love kittens? Ergo, cogit sum! QED! Whatever. I'm going to go have a kitten sandwich. Don't wait up.

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'Movie Review: Oculus (2013)' have 5 comments

April 10, 2014 @ 6:48 pm IntegrityResources

Sorry to hear that. It looked to have all the needed elements to make a good horror flick.

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April 10, 2014 @ 7:23 pm Vulcan

Part of the enjoyment for me was trying to ascertain what was real and what was an illusion. It was an effective way to keep me guessing what was going to happen next.

April 10, 2014 @ 9:18 pm CGDelco

I haven’t seen a decent horror movie in years.

April 11, 2014 @ 4:13 pm Kegstand

I found it suspenseful throughout but would have liked a more pronounced ending.

April 13, 2014 @ 6:16 pm LisaPas

Such a convoluted mess — it’s been a while since I’ve seen a horror movie with ZERO explanation of what’s going on. Absolutely nothing has any weight here. Too bad.

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Reviews provided by RottenTomatoes

Wesley Morris, Grantland : As far as competence goes, Oculus doesn't have so little as to be accidentally entertaining or enough to come close to working. Read more

Lou Lumenick, New York Post : "Oculus'' eschews the buckets of gore common to R-rated horror movies and takes a relatively subtle, psychological approach - even if the somewhat disappointing ending leaves the door open for a sequel (or three). Read more

Moira MacDonald, Seattle Times : I found myself bothered by its repeated scenes of violence against young children, which are depicted with a disturbing realness; it's hard to be deliciously scared when you just don't want to watch. Read more

Dennis Harvey, Variety : Ocular succeeds in keeping the viewer's bearings unsettled as the helmer's effective building of dread curdles into a series of narrative twists as dislocating as an Escher-drawn staircase. Read more

A.A. Dowd, AV Club : Oculus doesn't exactly shatter the cliches of the genre, but it does distort them in a couple of interesting ways, beginning with a creative reversal of the usual vengeful-spirit plot ... Read more

Peter Keough, Boston Globe : Originally a 30-minute short, director Mike Flanagan and his co-writer Jeff Howard's thin scenario does not improve when expanded to feature length. Read more

Ben Sachs, Chicago Reader : Oculus, a cleverer-than-average haunted-house movie... speaks to a couple of widespread anxieties-one topical, the other sadly timeless. Read more

Michael Phillips, Chicago Tribune : Flanagan's a skillful director and editor, and simply by placing the camera in logical but unusual places ... the tension increases moment by moment, ghost by ghost, frightening reflection by reflection. Read more

Tom Long, Detroit News : "Oculus" is haunting because it messes with your head. That's where the ghosts are. Read more

James Rocchi, Film.com : Praised on the festival circuit, it's got what it takes to succeed outside of that rarefied atmosphere. Read more

John DeFore, Hollywood Reporter : Enjoyable ghost story makes good use of clashing perspectives. Read more

Robert Abele, Los Angeles Times : Less concerned with fake shocks and show-me violence than the grimly calibrated rotting of personalities, "Oculus" is one of the more intelligently nasty horror films in recent memory. Read more

Rene Rodriguez, Miami Herald : As Oculus builds toward its gruesome (but not unexpected) finale, the characters get lost in a series of hallucinations and flashbacks that don't amount to much other than eat up screen time. Read more

Stephen Whitty, Newark Star-Ledger : It's just a little vague, a little familiar, a little fake. Read more

Joe Neumaier, New York Daily News : A dangerously cracked creep flick. Read more

Ben Kenigsberg, New York Times : The elegant use of wide screen can't totally obscure stiff acting, and the rug pulling finally seems arbitrary. When nothing can be trusted, the mirage of suspense disappears. Read more

Michael Sragow, Orange County Register : It's far more intelligent and haunting than most chillers these days, but near the end I kept wishing it would lighten up and be entertaining. Read more

Tirdad Derakhshani, Philadelphia Inquirer : What makes Oculus ingenious is how Flanagan and co-writer Jeff Howard take this hackneyed storyline and twist it - round 'n' round - ad infinitum into a dizzying corkscrew of a narrative. Read more

James Berardinelli, ReelViews : For a horror movie, Oculus is surprisingly lean on the scares. It's more interested in playing tricks with perception and bending reality. Read more

Richard Roeper, Richard Roeper.com : "Reaches right through you and chills you to the bone." Read more

Mick LaSalle, San Francisco Chronicle : Oculus is about one adjustment away from being a superior thriller. Read more

Colin Covert, Minneapolis Star Tribune : "Oculus" is not just a howling good horror film. It's a terrific film by any standard - a smart, character-driven, original hair-raiser that creeped the socks off me with no cheap scares. Read more

Kevin C. Johnson, St. Louis Post-Dispatch : It's never actually scary. Read more

Adam Nayman, Globe and Mail : A deeply silly and mildly effective horror movie about two young-adult siblings coping with the mysterious deaths of their parents. Read more

Todd Gilchrist, TheWrap : Flanagan finds both humanity and horror in the story of two siblings who reunite to exorcise a possessed mirror, but the film's uneven metaphorical core and a decidedly incomplete mythology prevents "Oculus" from reflecting anything truly haunting. Read more

Keith Uhlich, Time Out : For all its genre delights, Oculus is little more than a well-tooled creepshow. Read more

Claudia Puig, USA Today : Logic aside, a mounting sense of dread permeates the film. Thankfully, suspense trumps blood and guts. Read more

Nick Schager, Village Voice : A cleverly executed mind game that generates scares via structural ingenuity, Oculus suggests a world coming terrifyingly unmoored from its bearings. Read more

David Edelstein, New York Magazine/Vulture : What's missing? A sense of the ineffable. Read more

Michael O'Sullivan, Washington Post : "Oculus" director Mike Flanagan has crafted a satisfyingly old-fashioned ghost story that, in its evocation of shivery dread, is the most unnerving poltergeist picture since "The Conjuring." Read more

46 Facts About The Movie Oculus

Written by Brinn Kimmel

Modified & Updated: 05 Mar 2024

Reviewed by Jessica Corbett

Welcome to the fascinating world of horror cinema! In this article, we are going to delve into the chilling and mind-bending movie “Oculus.” Released in 2013, “Oculus” is a psychological horror film directed by Mike Flanagan. The movie takes a unique approach to the genre, weaving together elements of supernatural horror and psychological thriller to create a truly unsettling experience.

As we explore the immersive world of “Oculus,” we will uncover 46 fascinating facts about the film that will not only deepen your understanding of its plot, characters, and production but also showcase the incredible talent that went into bringing this spine-tingling story to life.

Key Takeaways:

• “Oculus” is a chilling horror movie with a unique time loop narrative, haunting mirror, and intense sibling dynamic, making it a must-watch for horror enthusiasts and fans of psychological thrillers.
• “Oculus” explores the power of perception, family trauma, and the metaphysical nature of evil, leaving a lasting impact on the horror genre and gaining a dedicated cult following.

The Origins of Oculus

The movie Oculus was released in 2013 and directed by Mike Flanagan. It is actually based on a short film with the same title that Flanagan had previously made in 2006.

The Haunting Storyline

The movie follows the story of a brother and sister, Tim and Kaylie Russell, who are determined to prove that a supernatural force was responsible for the tragic events that occurred in their childhood home.

The Mysterious Mirror

The central focus of the movie is a haunted antique mirror that the Russell family had in their possession. This mirror is believed to have the ability to manipulate reality and drive anyone who comes into contact with it to madness.

The Terrifying Time Loop

Oculus employs a unique storytelling technique by using flashbacks and a time loop narrative, blurring the lines between past and present. The characters find themselves reliving traumatic events, adding to the suspense and horror.

The Chilling Performances

The movie features outstanding performances from Karen Gillan as Kaylie Russell and Brenton Thwaites as Tim Russell. Their portrayal of siblings haunted by their past adds depth and intensity to the film.

The Psychological Thriller Element

Oculus is not just a typical horror film. It delves into the psychological aspects of fear and the power of perception. The characters’ struggle to distinguish reality from illusion adds an extra layer of complexity.

The Influence of Classic Horror

Oculus pays homage to classic horror films by incorporating references and nods to iconic movies such as The Shining and Poltergeist. This adds a sense of nostalgia for horror enthusiasts.

The Collaborative Effort

Mike Flanagan co-wrote the screenplay with Jeff Howard, showcasing their successful collaboration in creating a gripping and suspenseful story that keeps viewers on the edge of their seats.

The Production Design

The movie’s production design plays a crucial role in creating an eerie and unsettling atmosphere. The use of dim lighting, distorted reflections, and claustrophobic settings heightens the sense of dread.

The Critical Acclaim

Oculus received positive reviews from critics, with praise for its innovative storytelling, strong performances, and effective blend of psychological horror and supernatural elements.

The Box Office Success

Despite being made on a modest budget of $5 million, Oculus managed to gross over $44 million worldwide, solidifying its success and popularity among horror film fans.

The International Recognition

The movie garnered attention not only in the United States but also internationally, with screenings and releases in various countries, further solidifying its global appeal.

The Sequel Possibility

Oculus left room for potential sequels or spin-offs, as the mirror’s malevolent presence and its effect on those who encounter it could be explored further in future films.

The Dark and Atmospheric Cinematography

The cinematography in Oculus effectively captures the eerie essence of the story. The skillful use of lighting, angles, and shadows adds to the overall sense of unease and suspense.

The Real-Life Inspiration

Mike Flanagan drew inspiration from a personal experience with a haunted mirror when crafting the concept for Oculus. This real-life encounter added an extra layer of authenticity to the movie.

The Themes of Family and Loss

Oculus explores the profound impact of family dynamics and loss on individuals. The characters’ quest for closure and redemption resonates with audiences who have experienced similar tragedies.

The Symbolism of Reflections

The use of mirrors and reflections throughout the movie serves as a metaphor for self-reflection and facing one’s inner demons. It represents the characters’ confrontation with their haunted past.

The Sound Design

The movie’s sound design expertly enhances the terror with chilling sounds and eerie whispers. It adds another layer of suspense that intensifies the viewers’ sense of unease.

The Influence of Psychological Studies

Oculus incorporates elements of psychological studies on perception and memory, exploring how the mind can be manipulated and tricked by external forces, in this case, the haunted mirror.

The Disturbing Hallucinations

Throughout the film, the characters experience unsettling hallucinations and disturbing visions as a result of their encounters with the haunted mirror. These moments blur the line between reality and madness.

The Supernatural Entities

Oculus introduces supernatural entities that are connected to the mirror’s malevolent power. These entities are as terrifying as they are mysterious, heightening the overall sense of dread.

The Psychological Manipulation

The mirror in Oculus is portrayed as being inherently evil, with the ability to manipulate the characters’ thoughts, memories, and perceptions. This manipulation adds another layer of psychological horror.

The Complex Sibling Dynamic

Oculus delves into the complex and strained relationship between siblings. The characters’ shared trauma and differing beliefs create tension and conflict throughout the movie.

The Non-linear Narrative

The movie employs a non-linear narrative structure, jumping between past and present events. This storytelling technique keeps the audience engaged and eager to uncover the truth behind the mirror’s power.

The Element of Surprise

Oculus is known for its unexpected twists and turns, keeping viewers guessing and on the edge of their seats. It subverts horror movie stereotypes and conventions, adding to its appeal.

The Importance of Research

Before embarking on their mission to expose the mirror’s evil, the characters in Oculus dedicate significant time to researching its history and the experiences of those who have encountered it. This highlights the importance of knowledge in confronting supernatural forces.

The Impact of Trauma

Oculus addresses the long-lasting effects of trauma on individuals, showing how it can shape and distort their perception of reality. The characters’ struggle with their traumatic past adds depth and realism to the story.

The Subversion of Expectations

Oculus challenges typical horror movie tropes by subverting audience expectations. It takes familiar horror elements and presents them in a fresh and unexpected way.

The Intense Psychological Battles

The characters in Oculus engage in intense psychological battles with the mirror, fighting not only for their own sanity but also for the truth. These battles drive the suspense and horror of the film.

The Unique Blend of Genres

Oculus seamlessly blends elements of psychological horror, supernatural thriller, and family drama, creating a unique and captivating viewing experience.

The Exploration of Memory

The movie delves into the intricate nature of memory and how it can be distorted by external forces. It raises questions about the reliability of our own recollections.

The Atmospheric Score

Oculus features an atmospheric and haunting score composed by The Newton Brothers. The music enhances the overall tension and unease experienced by the characters and the audience.

The Slow-Building Suspense

The movie gradually builds suspense, allowing the viewer to become fully immersed in the story. The sense of anticipation and unease steadily escalates throughout the film.

The Examination of Belief Systems

Oculus explores the power of belief and how it can shape one’s reality. The characters’ different beliefs regarding the mirror’s malevolence create conflicts and drive the narrative.

The Exploration of Perception

The movie raises questions about the fragility of perception and how easily it can be manipulated. It challenges the notion of what is real and what is a product of the characters’ imagination.

The Role of Trust

Oculus examines the importance of trust, particularly within family relationships. The characters must navigate their shared traumas while reconciling their different beliefs and perceptions.

The Metaphysical Nature of Evil

Oculus delves into the metaphysical aspects of evil, exploring how it can be both an external force and a manifestation of one’s own fears and vulnerabilities.

The Disturbing Imagery

Oculus features disturbing and unsettling imagery that lingers in the minds of viewers long after the movie ends. It leaves a lasting impact and contributes to its status as a memorable horror film.

The Exploration of Control

The movie examines the concept of control and how it can be an illusion. The characters’ struggle to regain control over their lives and their destiny is a central theme of the film.

The Role of Manipulation

Oculus exposes the destructive power of manipulation, both by external forces and by one’s own psychological vulnerabilities. The characters must navigate the truth amidst a web of manipulation and deceit.

The Melancholic Atmosphere

Oculus creates a melancholic atmosphere that permeates the entire film. It captures a sense of dread and hopelessness, adding to the overall sense of unease.

The Commentary on Horror Tropes

The movie subtly comments on horror movie tropes and conventions, presenting them in a self-aware and reflective manner. It adds a layer of depth and complexity to the storytelling.

The Dark and Ambiguous Ending

Oculus concludes with a dark and ambiguous ending, leaving viewers to interpret the outcome for themselves. It adds to the lingering sense of unease and uncertainty.

The Impact on the Horror Genre

Oculus has had a lasting impact on the horror genre, with its innovative storytelling and blending of psychological and supernatural elements. It has influenced subsequent horror films and filmmakers.

The Cult Following

Oculus has gained a dedicated cult following since its release, with fans appreciating its unique approach to horror and its ability to both terrify and provoke thought.

The Legacy of Oculus

Oculus will be remembered as a standout horror film that pushed the boundaries of the genre. Its intelligent storytelling and powerful performances ensure its place in horror movie history.

In conclusion, “Oculus” is a thrilling and mind-bending horror movie that keeps viewers on the edge of their seats. With its unique blend of psychological suspense, supernatural elements, and intense performances, it has become a cult favorite among horror enthusiasts. The film’s intricate storyline, cleverly woven together with flashbacks and unreliable narration, provides a haunting and thought-provoking experience. Whether you’re a fan of horror movies or simply enjoy a well-crafted thriller, “Oculus” is definitely worth a watch.

Q: Is “Oculus” based on a true story?

A: No, “Oculus” is not based on a true story. It is a work of fiction created by the filmmakers.

Q: What is the rating of the movie “Oculus”?

A: “Oculus” is rated R for intense scenes of horror, violence, and language.

Q: Who are the main actors in “Oculus”?

A: The main actors in “Oculus” are Karen Gillan, Brenton Thwaites, and Rory Cochrane .

Q: Who directed “Oculus”?

A: “Oculus” was directed by Mike Flanagan.

Q: When was “Oculus” released?

A: “Oculus” was released in 2013.

Q: Can you provide a brief plot summary of “Oculus”?

A: “Oculus” follows the story of two siblings, Kaylie and Tim, who are haunted by a supernatural entity residing in an antique mirror. They decide to destroy the mirror and uncover its dark history, but the mirror has other plans, as it tricks and manipulates their perception of reality.

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Chris Pine 's first film as a director, "Poolman," is a character comedy about oddball Los Angelenos that doubles as a spoof of 1940s detective movies. Pine also cowrote (with Ian Gotler ), co-produced, and plays the title character, Darren Barrenman. Darren is a big-bearded, long-haired, talkative, thoroughly goofy pool cleaner who lives in a tiny trailer right next to the pool that he tends, which is in the courtyard of an old Tiki-style motel that's been converted into apartments. I think it's set in the present, but maybe not. Nobody uses a cell phone, and there's a heavy pre-1950s influence in the production design and costuming. One of the presumed bad guys drives a huge roadster like you'd see in the 1930s. The score is retro-hipster jazz with a violin and a zither. A mysterious woman named June Del Rey ( DeWanda Wise ) who appears out of nowhere and draws the hero into a mystery has a silhouette like a film noir dame and the wardrobe to match.

The mystery involves real estate and the corruption of a local city councilman named Stephen Toronkowsky, whom Darren sees each week at community meetings where he rants about historic preservation and the improvement of bus schedules. (The councilman is played by  Stephen Tobolowsky , whose name is so similar to the character's that you have to wonder if the part was written specifically for him.) Other films about corruption in Los Angeles are mentioned within the plot, including " Chinatown ," which gets multiple references plus actual clips, and "Who Framed Roger Rabbit," which Darren yells about at one of the council meetings. 

There's not a whole lot of plot to describe or even allude to, and I don't think "Poolman" is all that interested in what little there is. This is a vibes movie. Darren is a handsome, lovable, hairy man-child. His girlfriend Susan ( Jennifer Jason Leigh ), who manages the complex where Darren works, wants him to commit to her, but he's so lost in his own racing thoughts that he doesn't realize how much she adores him until it seems as if she's about to give up. Darren goes to therapy twice a week with a New Age-y lady named Diane ( Annette Bening ) and is apparently the star of a documentary by Diane's partner Jack (Danny DeVito), who's betting his entire career on the project even though it's hard to tell what it's actually going to be about. 

"Poolman" is a deeply weird movie. Not deeply weird in the sense of "alienating" or "hard to take." On the contrary, it's so gentle that it could probably be considered an example of  Nicecore , a type of film described by critic David Ehrlich that mostly avoids conflict and resolution and instead showcases people being nice to others. There are arguments and some treachery and one murder, but the killing so formal, in an old-movie way, that it barely registers as being violent. Most of the movie is laid-back or mildly farcical. 

No, the film is weird in the sense of "Can anyone but Chris Pine truly appreciate this?" I'm not asking that question because I disliked "Poolman." I thought it was sweet and fun, and once I settled into it and latched into its wavelength, I laughed a lot, even though it does start to wear out its welcome towards the end because so much of it is dependent upon exploring the emotional interior of the kind of guy you'd be happy to chat with at a bus stop but wouldn't want to sit next to. You don't throw yourself into a project like "Poolman" unless you have a burning urge to do it, but that urge doesn't always communicate itself.   

The movie has been repeatedly compared to " The Big Lebowski " and other films in that spoof-of-LA-noir vein; I suppose there are superficial similarities. But it reminded me more of an unpolished answer to something like Jim Jarmusch's Nicecore classic " Paterson ," which is about a New Jersey bus driver who writes poetry and loves his girlfriend. In its choice of hero and its hermetically sealed Something Old/Something New style, it is also (bizarrely at times) a kind-hearted mirror of " Taxi Driver " (instead of writing in a journal, Darren writes old fashioned letters on a typewriter to Erin Brockovich--the real crusading legal investigator, not Julia Roberts , who played Brockovich in the Oscar-winning movie). 

This is the kind of film where the hero makes origami figurines and gives them to others to convey messages or feelings, and where one of the baddies tells the hero, "Never be afraid to trust an unknown future to a known god." It's the kind of movie where, during a confrontation, one antagonist suddenly slumps with his head down and says, "I've had a hard week" and the other replies "Me, too" and they end up hugging. It's the kind of movie where a stakeout consists of five people hiding in plain sight from the people that they are surveilling, who make direct eye contact with them, and one of the stakeout participants is reading Karl Ove Knausgård's "My Struggle" and suddenly begins to recite a passage from it and looks right into the camera as she does it. There's also a dream sequence with a lizard whose voice is provided by Pine's dad Robert Pine , who became a star on the American TV cop show "CHiPs." 

That's all just another way of saying that this is the kind of film I think cinema could use more of, even though it's far from perfect. Robert Altman and Hal Ashby and Alan Rudolph all used to make movies like this, especially when they were working small, as in projects like " Brewster McCloud " and " Harold and Maude " and " Trouble in Mind ," which, like "Poolman," were all so wispily assembled that you could imagining them coming apart in a soft gust of wind, like a dandelion. There were also times when the movie reminded me of melancholy comedies starring Bening's husband Warren Beatty, who often played hunky man-children who were so lost in their heads that they were their own worst enemies.

"Poolman" was unveiled last year at the Toronto Film Festival and got slaughtered by reviewers. That seems puzzling to me in retrospect because the film is so upfront about its own kookiness and near-weightlessness and relentlessly sunny-side-up attitude that it's as hard to hate as a muffin basket or a big old fluffy dog. Some people won't be able to tolerate five minutes of it, but I think others will love it, and they won't be wrong to. I hope Pine makes more movies and refines whatever he was trying to do in this one. There are moments where it wanders into the sublime.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Lassie: A New Adventure review – like Crufts with a bit of plot tacked on

The animals out-act the humans in this badly dubbed German addition to the series, which finds Lassie tackling a dognapping ring

N ormally, the rudimentary dubbing of this German production into English would be a major stumbling block. However the performances are already so abysmal that the fact that no effort has been made to match voices to lip movements has little overall impact on the lamentable quality of the movie. In this latest outing for the resourceful collie (in this case dealing with a spate of thefts of pedigree woofers), the four-legged cast act circles around the humans. Even so, the appeal of the film, which feels like the Crufts canine agility competition with a bit of plot tacked on, will probably be limited to very young kids and fans of synthetically pretty alpine scenery.

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‘Kingdom of the Planet of the Apes’ Review: The Franchise Essentially Reboots with a Tale of Survival Set — At Last — in the Ape-Ruled Future

With Owen Teague as a young ape trapped in a cult kingdom, it may be the first film in the series to connect with the spirit of 'Planet of the Apes.'

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“ Kingdom of the Planet of the Apes ” opens with Caesar lying in state, surrounding by a horde of mourning chimps, as his dead body is covered in flowers and ritually set on fire. The movie then cuts to the jungle, where a title informs us that it’s “many generations later.” In other words, the tale we’ve been watching in the last three “Apes” films — “Rise of the Planet of the Apes” (2011), “Dawn of the Planet of the Apes” (2014), and “War for the Planet of the Apes” (2017) — is now ancient franchise history. I’m in the minority of viewers who would greet that news by saying, “Thank God.”

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“Kingdom of the Planet of the Apes” is, in effect, a reboot of its own franchise. I’m not sure that the film is going to be any more successful than the previous three installments (or even as successful). It’s essentially a two-and-a-half-hour chimp-in-the-wilderness adventure movie, directed by Wes Ball (the “Maze Runner” films) in the deliberately paced “classical” style of an episodic Hollywood saga from 50 years ago. It doesn’t have a cast of big-name stars. Yet the actors are abetted by the astonishingly organic facial expressions made possible by cutting-edge motion capture, and though the film is too long, I was more than gratified to sink into its relatively old-fashioned dramatic restraint.

Cut loose from his village, Noa meets a wise old orangutan named Raka (Peter Macon), with impish small eyes and a funny way of pursing his lips; he’s a relic who still believes in the teachings of Caesar. Noa also meets a human wild child (Freya Allan) who’s less innocent than she looks. As Noa, the gifted actor Owen Teague makes his presence felt. He displays not just cleverness and nobility but raw fear, an exciting quality to see in a hero.

The three characters team up, but Noa is eventually dragged to the ape kingdom, presided over by a fearsome cult leader named Proximus Caesar (Kevin Durand), who has stolen the authority — but not the morality — of his namesake. Proximus takes a special interest in Noa, who is essentially a prison-camp inmate, reunited with his mother and friends, who must defeat the empire from within. Here and there, we’re shown signs of the human civilization that’s been destroyed: the carcasses of buildings, escalators, and elevated train tracks, overgrown with shrubbery. Yet human technology is still the holy grail. The ape kingdom is built around a silo, with a closed vault of a door, that contains many wonders within (like weapons). That vault is Pandora’s Box, and Proximus wants to unlock it so desperately that he’ll sacrifice a handful of his apes every day to electroshock the door open.

Kevin Durand’s performance as Proximus, the leering bonobo monarch, is a piece of insinuating theater — he’s a leader who’s made the mistake of thinking everything is about him. And the rest of the cast makes its mark, from Sarah Wiseman as Noa’s heartstrong mother to Peter Macon as the whimsical seen-it-all Raka to William H. Macy as a scavenger who has carved out a place for himself in the ape kingdom like Dennis Hopper’s photographer in “Apocalypse Now.” “Kingdom of the Planet of the Apes” invites us to embrace the drama of apes fighting apes. By the end, though, in what is in effect a teaser for the next sequel, it looks as if the franchise’s blowhard version of the human race will be back after all. That could be enough to make you want to escape from the planet of the apes.

Reviewed at AMC 34th St., New York, May 7, 2024. MPAA Rating: PG-13. Running time: 145 MIN.

• Production: A 20th Century Studios release of a Jason T. Reed Productions, Oddball Entertainment production. Producers: Wes Ball, Joe Hartwick, Rick Jaffa, Amanda Silver, Jason Reed. Executive producers: Peter Chernin, Jenno Topping.
• Crew: Director: Wes Ball. Screenplay: Josh Friedman, Rick Jaffa, Amanda Silver, Patrick Aison. Camera: Gyula Pados. Editor: Dan Zimmerman. Music: John Paesano.
• With: Owen Teague, Freya Allan, Kevin Durand, Peter Macon, William H. Macy, Travis Jeffery, Lydia Peckham, Neil Sandilands.

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