Paranormal Activity (2009)

A haunted house makes no secret of the fact it is not pleased with its new tenants in this independent tale of supernatural horror. Katie (Katie Featherson) and Micah (Micah Sloat) are a… A haunted house makes no secret of the fact it is not pleased with its new tenants in this independent tale of supernatural horror. Katie (Katie Featherson) and Micah (Micah Sloat) are a twentysomething couple who’ve just moved into a new home in San Diego, California. Katie has an interest in the paranormal and believes that malevolent spirits have been following her since childhood, though Micah is not so easily convinced. However, after several nights of loud noises and strange happenings, Micah starts to agree with Katie that some sort of ghost may have followed them to the new home. After a paranormal researcher tells the couple he can’t help them, Micah decides to take control of the situation and sets up a battery of video cameras so that if a spirit manifests itself, he can capture its behavior on tape. Once the surveillance cameras are in place, Katie and Micah bring in a Ouija board in an effort to talk to the spirits, a move that deeply offends the ghosts. PARANORMAL ACTIVITY was the first feature film from writer-director Oren Peli.

The Box (2009)

What if someone gave you a box containing a button that, if pushed, would bring you a million dollars…but simultaneously take the life of someone you don’t know? Would you do it? And what would be the consequences? The year is 1976. Norma Lewis is a teacher at a private high school and her husband, Arthur, is an engineer working at NASA. They are, by all accounts, an average couple living a normal life in the suburbs with their young son…until a mysterious man with a horribly disfigured face appears on their doorstep and presents Norma with a life-altering proposition: the box. With only 24 hours to make their choice, Norma and Arthur face an impossible moral dilemma. What they don’t realize is that no matter what they decide, terrifying consequences will have already been set in motion. They soon discover that the ramifications of this decision are beyond their control and extend far beyond their own fortune and fate.

Orphan (2009)

The tragic loss of their unborn child has devastated Kate and John, taking a toll on both their marriage and Kate’s fragile psyche as she is plagued by nightmares and haunted by demons from her… The tragic loss of their unborn child has devastated Kate and John, taking a toll on both their marriage and Kate’s fragile psyche as she is plagued by nightmares and haunted by demons from her past. Struggling to regain some semblance of normalcy in their lives, the couple decides to adopt another child. At the local orphanage, both John and Kate find themselves strangely drawn to a young girl named Esther. Almost as soon as they welcome Esther into their home, however, an alarming series of events begins to unfold, leading Kate to believe that there’s something wrong with Esther—this seemingly angelic little girl is not what she appears to be. Concerned for the safety of her family, Kate tries to get John and others to see past Esther’s sweet facade. But her warnings go unheeded until it may be too late…for everyone.

Obsessed (2009)

Hell hath no fury like an office temp scorned in director Stephen Shill’s domestic thriller OBSESSED. Executive-produced by entertainment megastar Beyonce Knowles, the film stars Knowles as Sharon,… Hell hath no fury like an office temp scorned in director Stephen Shill’s domestic thriller OBSESSED. Executive-produced by entertainment megastar Beyonce Knowles, the film stars Knowles as Sharon, a one-time temp who has become a dutiful wife to investment brokerage hot-shot Derek (Idris Elba of THE WIRE), as well as the mother to their son. Further temp-tation arrives in the form of Lisa (Ali Larter of HEROES), who sets her blonde ambitions on Derek from day one. Sharon is wary but Derek remains a model of marital fidelity in the face of Lisa’s repeated flirtations–inappropriate incidents that he avoids telling Sharon about. But when Derek rejects Lisa’s sexual advances at the company Christmas party, her downward spiral of romantic obsession leads her to pursue Derek on a corporate retreat and attempt suicide in his hotel room. Promptly sent into spousal exile, Derek must win back Sharon’s trust while the two attempt to put Lisa’s psychotic episode behind them. Lisa is one temp who’s not easily reassigned, though, and her increasingly brazen intrusions into Derek and Sharon’s life auger an inevitable reckoning between the would-be seducer and wife. First-time film director Shill gets a wonderfully wicked performance from Larter, while Knowles shows off her claws in the film’s climactic showdown. Taking its place alongside such films as FATAL ATTRACTION and DISCLOSURE, OBSESSED is a rollicking reminder that all’s fair in love and stalking.

The Last House on the Left (2009)

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Masters of horror Wes Craven and Sean Cunningham revisit their landmark film that launched Craven’s directing career and influenced decades of horror films to follow: The Last House on the Left. Bringing one of the most notorious thrillers of all time to a new generation, they produce the story that explores how far two ordinary people will go to exact revenge on the sociopaths who harmed their child.

The night she arrives at the remote Collingwood lakehouse, Mari (Sara Paxton) and her friend are kidnapped by a prison escapee and his crew. Terrified and left for dead, Mari’s only hope is to make it back to parents John and Emma (Tony Goldwyn and Monica Potter). Unfortunately, her attackers unknowingly seek shelter at the one place she could be safe. And when her family learns the horrifying story, they will make three strangers curse the day they came to The Last House on the Left.

The Unborn (2009)

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Sometimes the soul of a dead person has been so tainted with evil that it is denied entrance to heaven. It must endlessly wander the borderlands between worlds, desperately searching for a new body… Sometimes the soul of a dead person has been so tainted with evil that it is denied entrance to heaven. It must endlessly wander the borderlands between worlds, desperately searching for a new body to inhabit.

And sometimes it actually succeeds.

Writer/director David Goyer (Blade: Trinity, The Invisible, Batman Begins) gives a terrifying glimpse into the life of the undead in The Unborn, a supernatural thriller that follows a young woman pulled into a world of nightmares when a demonic spirit haunts her and threatens everyone she loves.

Casey Beldon (Odette Yustman) hated her mother for leaving her as a child. But when inexplicable things start to happen, Casey begins to understand why she left. Plagued by merciless dreams and a tortured ghost that haunts her waking hours, she must turn to the only spiritual advisor, Sendak (Gary Oldman), who can make it stop.

With Sendak’s help, Casey uncovers the source of a family curse dating back to Nazi Germany–a creature with the ability to inhabit anyone or anything that is getting stronger with each possession. With the curse unleashed, her only chance at survival is to shut a doorway from beyond our world that has been pried open by someone who was never born.

Taken (2008)

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Liam Neeson is an unstoppable force in this adrenaline-fueled thriller from director Pierre Morel. Bryan (Neeson) has taken early retirement from the CIA in order to live closer to his teenage… Liam Neeson is an unstoppable force in this adrenaline-fueled thriller from director Pierre Morel. Bryan (Neeson) has taken early retirement from the CIA in order to live closer to his teenage daughter, Kim (Maggie Grace). Bryan’s government work kept him away from Kim for much of her childhood, and he’s now trying to make up for lost time. When Kim announces that she’s taking a trip to Paris with her friend Amanda (Katie Cassidy), Bryan is apprehensive about her traveling on her own. His worst fear is soon realized, as Kim and Amanda are abducted upon their arrival in France. Bryan immediately springs into action, using his well-honed CIA skills to piece together clues from a single, frantic phone call he received from Kim. He hops a plane to Paris, determined to rescue his daughter before she falls off the grid completely. With some help from his old CIA buddies, he tracks down the kidnappers–an Albanian crime ring known for selling young girls into the sex trade. He quickly takes matters into his own hands, plowing his way through Paris’s underworld as the clock ticks down and the bullets fly. His search propels him into the upper echelons of a massive crime ring, putting him closer and closer to his beloved daughter. Neeson is known for tackling extremely cerebral roles, so it is interesting to see him in full-on action-hero mode. In TAKEN he is no less than a crime-fighting machine–a Bourne/Bond hybrid with a deathly serious baritone. And while he spends most of the film firing Uzis and snapping necks, he still manages to deliver a moving performance as an estranged father fighting for what he loves most in the world. The film undeniably owes a lot to Neeson’s acting chops. He manages to raise this rather thinly plotted, deeply violent film a bar above your typical action fare.

George A. Romero’s Diary of the Dead (2008)

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Director George A. Romero returns to the subject matter that made him famous with this postmodern take on the zombie genre. DIARY OF THE DEAD begins in innocuous fashion as a group of film students… Director George A. Romero returns to the subject matter that made him famous with this postmodern take on the zombie genre. DIARY OF THE DEAD begins in innocuous fashion as a group of film students head out into the woods to make a low-budget horror film. This film-within-a-film is directed by Jason Creed (Joshua Close), who draws on a group of friends, and his college professor, to get the job done. But the filming comes to an abrupt halt when news comes in that the dead are springing back to life, devouring people, and taking over the world. Film obsessive Creed doesn’t put his camera down for long, and he’s soon heading out on the road with his friends in a quest to document the real-life carnage as it unfolds. The film is shot entirely from the point of view of Creed and his camera-wielding friends, and in a neat nod to contemporary technology, Romero’s feature is full of references to websites such as MySpace and YouTube. This interesting sidestep from Romero’s long-running zombie saga is a 21st century take on the initial zombie outburst that occurred in the director’s 1968 classic NIGHT OF THE LIVING DEAD. Romero unleashes much of his trademark gore and violence as the film progresses, and there are some increasingly witty and inventive ways in which characters become zombiefied. The cast of young unknowns fit snugly into their roles, particularly Michelle Morgan, whose character is in charge of piecing together Creed’s film in the editing room. But what really sets DIARY OF THE DEAD apart from its horror-movie contemporaries is the hefty dose of social satire that Romero works into the film, making this a welcome return to the director’s trademark style following the more straightforward gore-fest of 2005’s LAND OF THE DEAD.