Micah behaves, shall I say, just like a man. You know, the kind who will never stop and ask directions. Katie has been bothered by some sort of paranormal presence since she was a child, and now she's seriously disturbed, and Micah's response isn't sympathy but a determination to get it all down on film. They do call in a "psychic expert" Mark Fredrichs but he's no help. He specializes in ghosts, he explains, and he knows by walking in the door that what's haunting them isn't a ghost but some sort of demonic presence.
He recommends a demonologist, but alas this man is "away for a few days. Having spent some time in my credulous days hanging about the Bodhi Tree bookstore in L.
But like " The Blair Witch Project ," with which it's routinely compared, it goes to great lengths to seem like a film found after the event. It works. For extended periods here, nothing at all is happening, and believe me, you won't be bored. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism. Katie Featherston as Herself. Micah Sloat as Himself.
Mark Fredrichs as The Psychic. Reviews A demon in the house. There seem to be at least two added "shadow" effects - another on the bedroom door, and a silhouette in the hallway - in the Director's Cut, whereas the Theatrical Cut only has one shadow used.
The night when the demon plays the door games with Katie and Micah opening and slamming it shut, knocking furiously has been re-dubbed, as well. The knocking is much faster and louder in the Theatrical Cut. There's some added dialogue between Katie and Micah where they discuss how the stress is negatively affecting their lives. She says she's failing her university course and won't pass unless she "does something drastic" on her midterm.
He says he lost a large sum of money playing the stock market earlier, and that he'll be taking a break for awhile. The demon's daytime attack is completely absent. The only time we get a good look at the picture that is smashed and clawed is when the two run up and down the hallway during the night to get away from the demon. There's an extra video attached to the "Goodbye Dianne" explanation at the computer. There is at least two minutes of added footage of the woman's ordeal, which has been heavily used in the TV commercials.
Micah shows Katie footage of Dianne's demonic possession and subsequent exorcism as she is tied to a bed. Her appearance transforms from healthy to disheveled and dark, with large cuts on her face and body. Eventually, the footage shows that the exorcism was unsuccessful, and the possessed Dianne becomes so destructive that she chews her own arm off to the elbow.
The double-layered voice Katie projects in bed when she says, "Everything will be fine from now on" and later screaming downstairs uses a different effect to achieve this. Unlike the Theatrical Cut, the two voices are very distinct. The ending is completely changed.
Katie awakes shortly after midnight on the final night, gets out of bed and stares at Micah for roughly three hours. Unlike the Theatrical Cut, she does not move to his side of the bed to continue watching him, and the sheets do not fly off of his body. Instead, she goes straight downstairs. After Micah is awakened by the scream, he runs downstairs and we hear the ensuing scuffle. Like before, Katie slowly climbs the stairs, except the footstep effect is slightly altered and when she enters the room, she is holding a knife and covered in blood.
Micah's body is not thrown at the camera; he remains downstairs. Katie sits down on the floor against the bed and proceeds to rock back and forth, knife in hand, for several days. We hear her ignore phone calls and the door bell. Eventually, one of her friends comes in to check on her and finds Micah's body, which momentarily interrupts Katie's rocking.
The friend lets out a scream and runs out of the house. Twenty minutes later, we hear the police knock and enter, warning anyone in the house to "make themselves known" because they have their weapons drawn. As they search the first floor, it appears as if the demon has left Katie's body: we see the light to the attic turn on, then off, as if the demon went back into hiding.
The police come upstairs, find Katie and warn her to drop the weapon. She's dazed, running toward them yelling, "Where's Micah!? Where's Micah?! The door to the attic slams shut, startling the police so much that one accidentally shoots Katie dead. The final sixty seconds of the film shows the confused policemen, asking "Where did that [noise] come from?
The film fades to black, and a text appears that dedicates the film to Katie and Micah. User reviews 1. Top review. Did the hype kill this movie? Did the hype kill the movie? I watch a lot of horror movies and normally I would really have liked this one.
In the endless stream of b-movies and even expensive crap, this movie really stands out. Paranormal Acivity is a scary and straightforward movie and it isn't boring. But of course there is the hype. Micah tells Katie that he intends to film their daily lives as much as possible, and more importantly, he is going to set up the camera in a corner of their bedroom, with high-quality recording equipment, in an attempt to get evidence of the nightly paranormal activity that Katie has begun to suspect.
Like film of a badger's sett in some natural-history programme, we watch night-time footage of the sleeping couple with the timecode ticking over in the bottom right-hand corner. And then … very creepy things happen, subtly at first, and then not so subtly. Most disquietingly, we watch Katie one night get up, turn, and stand by the bed, facing the sleeping Micah — asleep. It creates something uncanny, a kind of spiritual shivering or trembling, imprinted on the video.
As their lives unravel in this nightmare, we learn that Katie experienced visions as a child, and that whatever is happening has nothing to do with the house and everything to do with her personally. Of course, filming does not put Micah in control: rather the reverse. A matter-of-fact psychic expert, played with downbeat conviction by Mark Fredrichs, like a doctor making a housecall, calms their nerves for a while.
But when this same man is called back in the film's final sequence, and backs nervously out of the apartment, horrified at what he can sense in the air — and that he personally is in danger — the effect is brilliantly upsetting, like a sort of nausea.
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