A prequel set before the haunting of the Lambert family that reveals how gifted psychic Elise Rainier reluctantly agrees to use her ability to contact the dead in order to help a teenage girl who has been targeted by a dangerous supernatural entity.
From the Twitch Live Stage at New York Comic Con 2017, IMDb LIVE host Kevin Smith talks to Marvel Chief Creative Officer Joe Quesada about the development of the Marvel franchise, his history at Comic Con and more.
After trying to connect with her dead mother, teenager Quinn Brenner, asks psychic Elise Rainier to help her, she refuses due to negotiate events in her childhood. Quinn starts noticing paranormal events happen in her house. After a vicious attack from a demon her father goes back and begs Elise Rainier to use her abilities to contact the other side in hope to stop these attacks by this furious demon content for a body.
The booklet that Stefanie Scott's character's reads says, 'I'll never forget this...you'll go to the end of the world and you'll find me waiting there," has the co-producer's name, Bailey Conway, on the front as author. See more »
When he's first introduced, the amount of icing on Tucker's cupcake changes between shots. Additionally, he finishes eating it before it briefly re-appears in another shot, and he eats it again. See more »
Obscure story - girl gets haunted because ... her ghosts need to be dispelled?
The first hour is impressive. As always with this series, the sound is excellent (although the shrieking-witch violins are held back to the end credits), and there's an effective jump scare at 30 mins + at 50 mins a really well lamp-lit journey in the after-world. And it's good to see Lyn Shane carrying a film.
So the whole thing is nicely set up - maybe an allegory for a father's grief over his daughter's suicidal tendency - and then ... they introduce the ghost busters team and ruin the whole effect. Also the rest of the jump scares are lame. Pfff. And the father has no real character. And James Wan is part of the cast - the director in the theatre.
The tone changes so radically in the final act that you have to think the producers reduced the plot to a marketing vehicle so they could plan for the next sequel.
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