On a different note, let me take the opportunity to mention that several notable directors started off their careers with horror films and later on in their lifetime went on to become Peter Jackson or Jordan Peele. It is a genre that is relatively inexpensive to produce, often provides a level of entertainment, and often does not bear the weight of the commercial expectations that a big budget movie does. However, it is indeed strange to see such already established professionals succumbing to the nature of the story. The truth is that both Stanley Kubrick and Danny Boyle had done such mature work which was of great directors who later thought of a hand in the horror genre, and naturally, knowing the best of the best they had done earlier, they would be adept to market good horror movie. In the case of Lee Daniels, this is not the case since the majority of his films, in this case, were made with the premise that he would not be able to pull through with a horror based film. But this, we can consider as the essence of this kind of film. Strong beliefs and strong concepts such as styles and motives sort of go together in a film that can be a bit deceptive in the ending when the film was tagged a horror movie.
The deliverance could best be described as a Betty drama rather than a thriller. The exorcist for the Gary black woman, and her three children built an American flat in Gary Indiana. This however is intertwined with the Ammons Haunting case, the film itself does not reveal this until the end credits. However, the story garnered national attention after she possessed a case about a malevolent spirit. After casting the aforementioned case, she calls an exorcist and later abandons the house but not before the turmoil begins. Zak Bagans who claims to be a paranormal investigator acquired the house which was chronologically the same time he documented the phenomena that occurred. At first glance, Demon House (as he termed the documentary) looks like a low budget horror-based documentary, once I heard about filming in the edges of Gary Indiana I was a bit skeptical, but for Bagans such places were a dime a dozen. He in pure Bagans style winks at the camera and boasts that the corner of the room has an axe that is supposed to kill him.
In his film Demon House, Bagans alleged that an unnamed Hollywood producer had been pursuing the family since he held the film rights to the Ammons case, which explains their absence in this particular film. They manage to dominate The Deliverance, a film that opens pleasingly well please caution, but once again, it will not take long for it to poorly constructed screenplays with overly comical effects and everything else like that. The first half an hour or so alternatively feels as though Daniels tells a tale of a black family plagued with psychological issues such as the absence of a father figure, oppression, violence, and drugs. The story of a drunken father who causes problems to his children is also useful in the case of a heart setting. In the case of this film, however, the last part of it, which is essentially religious in nature but poorly narrated in regards to the plot of the film, simply does not fit.
The divorced mother of two teenage sons, Elizabeth, claimed that an Oscar nominee of Billy Holiday, Andra Day, who was her last husband, played the role of unfortunate Ebony Jackson with great success. Jaime describes how she met Glen Close playing comments on an uncustomary who has an unconventional attitude which leaves room for something more popular, at Cursed House Ebony stays together with three youngsters younger Andre and two teenagers. Before even getting used to the surroundings, Ebony isolates herself as she tells Andre that she is always on the page with some imaginary quite real character, she has never been the cause of concern of this nature because she had more pressing matters at hand. She has a break in rent, her mother is battling cancer, and the Child Protection Services are a constant headache.
Heroes are not defined by their darkest flaws, it is these shortcomings that tend to blind one’s vision, and even the dark moments portrayed tend to sharpen Ebony’s perception of things. He does not bear the best attitude when it comes to screen-play situations echoing various odd characters, although, he has long ceased being bothered about the roles he acts out. Perhaps that is the reason why Composure is such an entertaining film, most likely the segments in which the director sets out to find the answer to the question of who is Ebony and what is her problem, tend to steal the show. In the best case, Deliverance would have been a pleasant film had it been made clear from the beginning that the film intended to follow a stream of thought where a troubled teen, Ebony, acts out her various children’s Oedipus cycles. One of its theses is that all its characters have this kind of a problem, and their problem is that they are all with this demon.
Nate, Shante, and Andre now take turns fainting inside the school, making it such a hazard that Ebony has to expel them. Ebony is left with no option but to contact an exorcist, a course of action which she is not very eager to take. Aunjanue Ellis-Taylor fills the shoes of an exorcist who shatters the calm of the second half of the movie, primarily due to her role and who is poorly defined as an exorcist, which she finds utterly revolting. The close-ups of her barely redeem it when she turns into a demon with sharp teeth, rolls along the floor, hisses, and curses young Ebony. That was different, and yes, hilarious it is a completely different story.
The climax’s sad part has been, it appears, hastily schooled from stock situations in all the films touching on possession that have ever been made. There’s plenty of squirming and an exaggerated emphasis on salivation, with a woman called Ebony engaging in the odd pastime of twisting her torso and shouting at the devil in different languages. And equally dubious is Daniels’ unusual desire to steer this film away from the theme of redemption and to the quest for Jesus. Not only does it instantly dismiss all the pathetic drama of the three children and even cleans Ms. Elk of the past, but it pretty much cuts off the most memorable themes that up to then ‘The Deliverance’ had the intention of undertaking.
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