ComplainerMan

I cannot for the life of me think up a clever play on words for this movie review’s title. Low budget must beget low budget. Monty Python and the Holy Grail was a borderline cult classic, because everyone remembers just how often the Knights of Ni jokes were being cracked after the movie came out. It was chaos. It was redundant. And, it was actually pretty funny. Unfortunately, I’ve seen the movie enough times to be totally bored with it, which is probably going to cast a shadow over the review, but what can be done? Onwards.

The best description that can be attached to Monty Python and the Holy Grail is “a collection of mostly related themed sketches punctuated by a breaking of the fourth wall.” The plot itself, though simplistic and unfulfilled, revolves around King Arthur gathering noble knights to search for the Holy Grail after being commanded by God himself. One could call it a Camelot movie with a severe case of attention deficit disorder.
Monty Python and the Holy Grail (Special Edition)

Normally I like to delve into the finer details of movies, but with this movie specifically, or any Monty Python movie, for that matter, I’m anticipating great difficulty. It would sound more like I was pointing out the funny parts for a laugh and some attention. On the flip side, I could describe the plot and omit the humor to make for a very bland review that would probably make Monty Python and the Holy Grail look rather dull. Both options look unfavorable.

So cards on the table, I’ll just throw out opinions. The scattered humor throughout keeps the watcher entertained while the highly appropriate setting and locations add to the medieval feel of the tale, all the while maintaining a Monty Python-esque tone with situational comedy, bizarre humor, cartoon gags, and so forth. For those who have not watched and appreciated more than a few episodes of Monty Python, or for those who do not appreciate the refined subtlety of British humor, this movie will fall flat. It’s a bit of an oxymoron, though, isn’t it? A classy comedy? If you don’t see the contrast, wait until you get to the part with the killer rabbit. Or the three-headed giant who can’t stop arguing with himself long enough to kill a knight. Or the intimidating black knight who is so deluded that he is invincible, he believes he can best King Arthur without the help of his limbs.

See? I did it just there. I said I wouldn’t, but I did. The humor in the sketches vary from slightly silly to absolutely ludicrous, another draw of Monty Python works. For the Monty Python veterans out there, this is a new look on an old story, and a hilarious one at that. For you newbies out there, try not to take the movie too seriously. It’ll only serve to confuse you further. Enjoy.

It’s like a parody of the song, “I Am Iron Man,” so you… get like the… nevermind. Let’s get reviewing.

Iron Man (Two-Disc Ultimate Edition + BD Live) [Blu-ray]

Somewhere, someone in the world said, “Hey, you know what would be a great idea? Making Robert Downey Jr. fly around in a robot suit blowing up bad guys.” Jimminy cripes did that person have the right idea. I mean, I’m a huge fan of sci-fi and robotics myself, but what actually drew me to the movie wasn’t the Iron Man suit. It was the character of Tony Start, played by our own Robert Downey Jr. Seriously, the guy is hilarious and badass at all the right times. He’s an exuberant lady-killing billionaire, and he maintains world peace all by himself. It takes a whole lot of cool to pull that off.

So how does this story begin? Does Tony Stark just sit in his garage one day and think, “Wow, I’d like to make a robot suit that can save the world from literally any global terror. Yup, let’s get started.” While that might be in-character for him to do, it isn’t what happens. The real course of events is much darker.

In the beginning of the movie, our hero is riding a military convoy back from giving a weapons presentation of his new-fangled Jericho missile. During the ride, he cracks some jokes, makes some friends, then is blown up by one of his own weapons and kidnapped by a militaristic organization known as the Ten Rings. Cut back several hours to explain how he got there in the first place. So how does this have anything to do with the Iron Man suit? Is it even an important part of the plot?

Yes. It’s extremely relevant. During his capture, he takes a load of shrapnel to the chest, and is saved by man named Yinsen, who attaches an electromagnet to his chest to keep the shrapnel from reaching his heart. The captors give them time to get acquainted, then get down to business. They demand one of the Jericho missiles Tony Stark recently presented, and they will then be released upon its completion (no they won’t). Rather than do what they say, Tony creates a mini-arc generator that he replaces his battery with, and following that, he builds a prototype robot suit out of scrap in order to escape. His plan succeeds, and upon his return, he makes some drastic changes to his company. What are these changes, you may wonder? What indeed…

Iron Man is one of the few movies based on comics that manages to blend realistic and science fiction so well. In Spiderman, the sketchy plot was true to the original comic, but as a result of the realistic twist, full of holes. And no one likes Superman, because he cheats and is boring. Iron Man’s apparent success followed through into the sequel, but I won’t get into that because this is a review of the first movie. Suffice it to say the sequel was just as successful, interesting, and entertaining.

In regards to shortcomings, there really isn’t a lot that was conspicuously wrong with Iron Man. The plot flowed well, the character development was consistent, the visual effects were aesthetically appealing, and overall, the movie’s feel was a positive one. And best of all, the ending to the movie was genius. I can’t say what it is, but I guarantee you’ll be pleased how Iron Man strays from the typical superhero movie.

It used to be that when I thought of Brad Pitt, I was reminded of the stoic, moralist creature from Interview With a Vampire. As for Edward Norton, he was always the magician from the Illusionist, calm, composed, ever in control. And then Fight Club came in and punched everything I knew and loved in the face. At that point, I came to know and love Fight Club. It’s the movie that has it all: Extremely developed characters, a solid plot, a mind-blowing twist, and Helen Bonham Carter, who I have yet to see play a role in a bad movie. Now that we’ve established the taste in talent, it’s review time.

Fight Club revolves around the life of a seemingly bland man who’s suffering from chronic insomnia. His desk job provides him with nothing but stress and frustration, and his boss does his best to do the same. A brief exchange with his physician leads to the conclusion that he A) will not be receiving any sleeping pills, and B) he should visit the testicular cancer group to see what pains are worse than insomnia. The transition between focusing on insomnia and focusing on the nemesis-girlfriend, Marla Singer, is flawless. When at first he begins to become a part of this group and others, and is able to cry with them, his insomnia vanishes. And then along comes a spider, a spider with a poor poker face that smokes. Her lie reflects his, and his insomnia returns.

In a separate yet simultaneous timeline, he meets the enigma Tyler Durden on a business flight, and they exchange cards. A small, seemingly meaningless encounter in which the main character (due to the lack of an official name, called “Narrator”) discovers that both he and Tyler have the same briefcase. What begins as a small coincidence rapidly spirals into chaos as the Narrator’s apartment is later on destroyed by an explosion. Though he has Marla’s number from their compromise on who gets what group when, he decides to stay with Tyler. They head to a bar, have a few drinks, throw a few punches, and decided to make a habit of it. Then they start to draw a crowd. Thus, Fight Club is unofficially founded.

That isn’t even half of the plot, or the quirks, or the draw, but when the Fight Club is turned in a completely different direction, when Tyler decides to step things up a bit too far for the Narrator to handle, shit gets real. Other Fight Clubs spring up across the country. The Feds get involved. Someone dies. His name is… Well, you’ll get to that. Out of sheer respect for the movie, and for the intricacy of the plot, there won’t be any spoilers. That might make for a shorter review, but perhaps a better buildup. Besides, the first rule of Fight Club is, you don’t talk about Fight Club. Not the spoilers, anyway.

So very close! That movie was half an hour away from being the best exorcism movie I’ve ever seen. It touched on so many potentially amazing topics, such as the spheres of demons, their real purpose in the world, their demeanor, even their names. The problem was that the movie only grazed on these possibilities, leaving so much to be desired. Additionally, the ending made me cry. Not because it was emotional, but because it was horrifically bad. It’s like they got bored. I’ll explain.

The movie revolves around the possession of Mara Rossi and the fact that she murdered three people during an exorcism being performed on her. Twenty years later her daughter, Isabella Rossi, travels to Rome to visit the mental hospital her mother is incarcerated in. On the way, she learns of the nature of demons and exorcism by visiting an esteemed college that teaches relevant material. She meets two jaded exorcists, Ben and David, who perform sacred rights in secret, behind the backs of he church and the Vatican.

After viewing a successful exorcism, Isabella has the priests perform one on her mother, this time without permission of the hospital she is held in. Results are unstable, resulting in David’s possession, and ultimately, death. Then Isabella gets possessed, and they all go to a hospital. Ben has gone a bit loopy after experiencing all this, so he panics and attempts to take her to a friend of his in the church in an attempt to exorcise her. They try to drive there, but Isabella’s demon hops over to the driver and they all die in a car crash. That’s the end of the movie. I forgot to mention that Michael, the camera guy and friend of Isabella. He plays little more than the role of the unbelieving friend.

That’s… basically the entire movie right there, plus or minus a few scare events. Now, what I think they should have done differently in regards to content is that they should have focused on making a technical exorcism documentary as opposed to restricting their movie to being a typical horror exorcism documentary. The fact that the movie spent so much time trying to be scary nullified the potential to cover other interesting material, like the hierarchy of demons and other such topics I mentioned initially.

I’ll assume that the reason the film industry prefers to stray from making movies with demons portrayed as anything but completely evil and sadistic is because the idea of anything less than hostile interaction with demons is considered taboo. Which, in retrospect, is a real shame, because the situational comedic value of demonic insight and demeanor would really make a movie great.

Tell you what, you want to know about the movie, and my opinion of what the movie was like, not what it could be like. Here it is: The movie, overall, was too short. The scares were predictable but still satisfying, the effects were good, the acting was consistently good for a shockumentary, and the overall demeanor is different enough from most exorcism movies to be enjoyable. It’s about an hour and a half long, so you can go out and see it without wasting a good chunk of your day.

Who said the English version of a foreign movie was always going to be bad? I guess that was me. Crap. The Girl with the Dragon Tattoo sure as hell proved me wrong. Contrary to my past principle, it is now one of my favorite pieces of cinematic art. It’s the movie of a book and it’s still magnificent! I’ve never had the chance to say that before, save for The Shining. A warning to those with more… let’s say squeamish minds. There is nudity, there is sodomy, and there is blood, all of which are entirely accurate to the story itself. If you can’t stomach that sort of thing, even though it’s part of the original tale and not some shock value fling meant to create controversy, get out.

So what makes the movie so great? Lisbeth Salander is a quirky girl who appears fragile and withdrawn, but when crossed, may prove just how strong her spirit is, and how well she knows how to get what she wants. Her connections and her high level of skill with technology and computers make her a choice harvester of any kind of information. Mikael Blomkvist is an investigative journalist who recently lost his savings in a failed lawsuit against a corporate giant. Despite his recent disgrace, he is called to investigate the murder of the wealthy Henrik Vanger’s neice, Harriet. The murder is linked to a long and ancient chain of events that occurred forty years ago, yet the perpetrator is still showing signs of his accomplishment to this day. Harriet used to send Henrik pressed flowers on his birthday, and now her killer is doing the same. Mikael is specifically requested to bring about a resolution.

Lisbeth’s story is a bit more depressing. She is a ward of the state for reasons that aren’t explored until near the very end of the movie, and after her guardian suffers a stroke, she is put in the hands of the corrupt lawyer, Nils Bjurman. His occupation isn’t the source of his corruption though. The fact that he only gives Lisbeth money in exchange for sexual favors accounts for that. Lisbeth, clever as she is, attempts to use this to her advantage by planting a hidden camera during one of their exchanges. Things don’t go as well as she would have hoped, as instead of the usual fellatio, she is knocked unconscious, bound, and then sodomized. Not a pleasant scene. For those of you who like revenge, their next encounter is just the thing for you. She returns to his home, shocks him with a taser, ties him up, and tattoos “I am a rapist pig” in massive letters across his chest and stomach. After seeing that, you tend to feel pretty good.

What makes the movie interesting is how the lives of Mikael and Lisbeth are strangers to one another throughout most of the first half, and how quickly they bond after Mikael ropes her into helping him with the Harriet case despite their staggering differences. Their collective investigative skills bring about one of the most satisfying conclusions I’ve ever seen done in a movie. But I’m not going to spoil anything further. To do so would ruin the experience of seeing this film. So go and see it.

You know how some movies are so bad at trying to play their genre that they turn into comedies? Case 39 is a special spin on that. You watch the movie, you reflect on it for a minute, then you start laughing your ass off. This movie was hilarious. You can thank Renee Zellweger for that. Jodelle Ferland is sort of the back-up dancer to Renee’s god-awful, though, since she provides the horror in the movie.

Fundamentals: Renee plays Emily something or other who is a social worker who deals with matters involving children, abusive parents, etc. She encounters the Sullivan family early on in the movie, establishing the bond between her and the “abused” child Lilith Sullivan. The parents wind up trying to kill Lilith, who then plucks Emily’s heartstrings until she petitions for custody. They spend a few days together- OH NO LILITH IS A DEMON oh ho, did I say that out loud? Yeah, it’s pretty obvious. Her transition into psychological predator is fast as can be, leading Emily to regret her decision of taking the evil girl in. But she petitioned for custody, so she’s got to keep her and deal with it.

Now, the thing that bothers/amuses me about this movie is how Emily responds to Lilith’s apparent demonic nature. She begins to behave exactly like the Sullivans did; she both ignores the girl and puts bolts and latches on her own door to keep the naughty lass out (which did nothing, as the viewer later discovers). To make things every more cookie-cutter, Emily starts regurgitating the “I’m not crazy, my adopted child is a demon with magic powers” line to her cop friend. Sadly enough, it works, and they team up against the evil that wears the face of “Lilith Sullivan.”

But not for long. He dies. So does everyone else Emily loves. With all that said and done, she is intimidated into obeying Lilith’s every wish. But since you can’t end a movie like that, Emily decides to drug Little Miss Murder with sleeping pills, despite the fact that her demonic powers extend to mind-reading. Uh, whoops? Then, instead of trying to stab her to death or smother her with a pillow, Emily burns her own house down with Lilith in it. Which doesn’t work. Apparently Lilith can teleport. UH, WHOOPS. So then as they’re driving to the police station, Emily decides to drive to the river, Lilith gives her one final psychological scare based off of her childhood trauma which she overcomes with ease (yawn), then… Wait, what? She drives her car into a river, which seems to actually kill Lilith. What the he- but wait, I thought Lilith could read minds? Couldn’t she teleport? What’s going on here? I’ll tell you what. Magic. Snort snort.

The movie ends with Emily surviving the crash. All of her friends, family, and other loved ones are dead, her house is burned down, and her car is on the bottom of a river because she’s stupid. Makes you feel like doing the jig and throwing confetti. Anyways, I recommend this movie to skeptics who like making fun of movies in hushed voices as they play, and to people who like writing sarcastic reviews.

This entire thing is me bashing the Spiderman trilogy, so if you really like Toby Maguire and Kirsten Dunst, then… go away. I have two- three- f- many main problems with these movies. Primary directive: making a very unrealistic comic as realistic as possible is not a good idea. Plot holes will (did) arise.

The first one was forgivable. A genetically modified spider escaped from its case and nobody noticed. That spider’s probably worth a whole lot of money. Following its escape, it lands on Peter Parker’s hand and bites him for no reason. No threat, no pressure. But hey, if that didn’t happen, there wouldn’t be Spiderman, so okay. Fine.

A little early for an interlude, but it seems like every time Peter is in some “deep quandary,” everyone around him starts vomiting up life-changing advice. It’s like he gives them their philosophical gag reflex after jamming his stupid problems down their throats. Is that a spider power? Who knew!

Moving on. I’ll note that the first Spiderman movie managed to hold the plot together well, and it was the corny acting that bothered me the most. When the second movie came around, things started to get bad. For example: Why did Otto Octavius need arms that had extremely advanced, self-aware A.I. if his only use for them was to push miniature solar flares back into place? And isn’t it kind of disappointing that they didn’t even do their job right? The freakin’ things were responsible for the death of his wife! Then they turned him into an evil psychopath! What?!

Second interlude. Peter Parker in this Spiderman trilogy reminds me of George W. Bush. An educated person, but completely mentally incompetent. No political commentary, just making a comparison. Think about it, though. He likes Mary Jane, but he keeps pushing her away because he’s afraid his enemies will find out about her and kill her. But wait, isn’t that what his “secret identity” gimmick is all about? Despite this, he dumps her again and again as if the prospect of actually dating her would be tantamount to stabbing her in the eye. When he does finally grow the balls to propose, he does it as her acting career is failing, and after he publicly made out with another woman (as Spiderman) using the specific upside-down kiss that Mary Jane associates with him. And then he freaks out when she says no! Spiderman… you’re dumb.

Okay, next plot hole. The third movie is the god-awful worst of the trilogy, harboring the two worst cases of Deus ex Durrrr that I’ve ever seen. So it turns out Sandman killed Peter Parker’s uncle, and as a result, Peter gets revenge-crazy and tries to kill Sandman. Later on, Sandman confesses that he did kill Ben Parker, but it was an accident. He only shot Ben because his buddy shouted at him. And you know what, he was only stealing the money to save his daughter, who is dying of some terrible disease. As a result, everyone forgives him completely, the sky turns blue, upbeat music plays, and a rainbow rockets out of my ass. Durrrr.

Final, ultimate count of plot hole shenanigans. Near the end of the third movie where Spiderman faces off against a king-size Sandman and a pissed off Venom, Harry Osborne is sitting home alone and not helping. Early on, a wrong-place-at-the-wrong-time incident leads him to believe that Spiderman killed his father. Norman Osborne, the Green Goblin, tried to impale Spiderman from behind with his hovercraft. That would have actually impaled the both of them, judging from the force it hit Norman after Spiderman dodged out of the way thanks to his spider-sense. So basically, Harry’s dad killed himself, and Harry thinks Peter did it. In the second movie, he finds out that Peter is Spiderman, so there you go.

As I was saying, in the third movie, when Spiderman is getting a can of whoop-ass opened up all over his face, Harry is drinking alone. His butler comes in and says randomly, “Hey, by the way. I cleaned your dad’s wound, and it was his hovercraft that killed him. He definitely killed himself. Yup. I only tell you now because my magic plot powers say that I must. So yeah, go help Peter who you’ve hated for years because I haven’t said anything.” That’s, more or less, exactly what he said. Is that really the only way they could think of to get Harry to save Peter? Really? It’s like a giant middle finger to the audience! Gah, I’m done. That’s all I can take of these movies.

Oh, yeah. And why doesn’t the performance enhancing serum that made Norman turn into Green Goblin make Harry go insane as well? They both used it, yet it seems as though Harry is immune to going crazy. Wow. Hey, why not. Ponder that. Oh, and even if you do watch these terrible movies after reading this, you won’t be able to keep these little hiccups out of mind. Happy trails! Don’t watch them.

This movie is so many kinds of bad. It’s got cultural stereotypes, torture scenes, surgery, poop eating, death, cough fetishism cough, and a demented German doctor who specializes in separating Siamese twins to tie things all together. It’s obviously a movie dedicated entirely to shock value, but that makes it a piece of modern cinematic art, am I right? I know why you watched Hostel, and why you laughed during the opening sequence of Scream. You’re a weirdo. The good news is, so are a lot of people.

Let’s get down to brass tacks. The protagonists are two ditzy American girls vacationing in Europe. They say “oh my god” and “like” a lot, and they don’t speak any German whatsoever. We’re off to a fantastic start! The antagonist is the previously mentioned enigmatic German doctor, now retired, who happens to have large amounts of GHB on his hands. Add a little flat-tire to the mix, and what do you have? Oh my god, our car broke. Like, what do we do? Oh my god, there’s a house! Let’s get some help! Like, this doctor is creepy. Let’s call the car company and go. But I guess we can accept drinks from a strange, creepy man while we wait. Two glasses of water, please. Thud, thump. Never has there been an easier introductory sequence! Now for the real plot.

It’s all downhill from there. They did add in a lovely failed escape sequence where one of the girls manages to escape his basement “emergency room,” but a blind and deaf hermit who lives in a cave on the bottom of the sea could tell you how that ended. The hermit could be dead and he’d still know. But I digress. After the escapee is re-captured, they are introduced to a third, Japanese speaking captive who is apparently going to be the “front.” And so the surgery begins. Teeth are pulled, lips are removed, and anuses are removed in order to create the three-part butt-to-mouth abomination that our own beloved doctor has apparently dreamed of for years. The failed-to-escape girl winds up in the middle. That’s what she gets for not wanting to eat poop.

That is all the plot I will reveal, because I really don’t feel like describing anything past that. If you watch this and then Hostel, you ask me which one is worse and I won’t have an answer. And now, an outwards perspective on the other aspects of the film. I’ll leave you with a list of what The Human Centipede did right:

• The blood looks realistic. I didn’t expect that from… this sort of movie.
• The effects are well-done. Wouldn’t be as gross if they weren’t.
• As far as acting goes, they did well without situational reference.
• It takes true creativity to come up with something this grotesque.
• If you don’t want to watch it, you don’t have to. That is a good point.

Excuse me if I gush, but this is my favorite movie. With an all-star cast, Samuel L. Jackson, John Travolta, Uma Thurman, and Bruce freakin’ Willis, Pulp Fiction is undoubtedly Quentin Tarantino’s masterpiece. In his usual fashion, he introduces the plot as a linear, disconnected yet well-developed web of events. Each segment feels like its own micro-movie, yet has all the character development and content of a feature length film. The plot itself focuses primarily on the characters Butch Coolidge, played by Bruce Willis, and Jules Winnfield, played by Samuel L. Jackson. Funny enough, their paths only barely cross once throughout the course of the entire movie.

Butch is a boxer who makes a deal with the crimelord Marsellus Wallace: He purposely loses a match, he gets a lot of money. Unfortunately, things don’t go according to plan, and Butch is forced to deal with Marsellus Wallace’s “discontentment” with his actions. Discontentment in this case means hitman Vincent Vega, and ultimately Marsellus himself, who stumbles upon the fleeing Butch after going out to buy donuts. To reveal a bit without spoiling anything, the next segment includes abduction by a strange shopkeeper and his friend, a chainsaw, and a katana, none of which seem out of place in the movie. A real Tarantino blend of epic and unusual, if you will.

The trials of Jules are of a much more philosophical nature. Whenever Jules speaks, there’s always a greater sense of reason, despite his status as one of Marsellus Wallace’s thugs. One particular incident, in which both he and Vince nearly face death by a revolver the size of a cannon, causes him to start to see things differently. So differently, in fact, that his entire view on life is dramatically altered. Vincent doesn’t take too kindly to the change, as his character is one of compulsory skepticism, but to a man of faith like Jules Winnfield, such opinions matter little.


All in all, the movie provides an astute delve into the criminal underworld while presenting complex and likeable characters whose clashing personalities blend perfectly in the orderly chaotic tone of this wonderful piece of cinematic art. That’s definitely me gushing, but I guarantee that by the end of the first segment with Jules and Vince, you’ll be hooked until the end, whether you’re a Tarantino fan or not.

I’ll begin this review of Paranormal Activity 3 (and some of the two before it) by stating that during the course of the movie, I was not given any opportunity to eat any of my Sour Patch Kids or drink any of my Sprite. I also got a whopping great cramp in my arm from being so tense. I’m a hardened veteran when it comes to scary movies, and anyone who knows me even in the slightest can confirm that. I’m desensitized, what can I say? Despite that, Paranormal Activity 3 scared the holy hell out of me. It was a perfect ending to an amazing trilogy.

I’ve heard three major complaints about the movie so far, none of which have to do with the quality of the trilogy itself. One, why are there always cameras everywhere? Well, you see, we wouldn’t be able to watch the movie if they didn’t put cameras everywhere because they couldn’t think of a satisfactory reason. I mean, come on. It’s like telling The Shining to leave out all ghosts because they don’t make sense. Two, most of the stuff in the Paranormal Activities are taken from The Exorcist, Blaire Witch, and/or Poltergeist. Not a terribly astute observation, seeing as poltergeist shockumentaries often have to do with poltergeists and cameras. But if it satisfies you, it’s not even a ghost that assails the protagonists. It’s a demon. How fascinating! Enough of that, though. Let’s get on to the good stuff.

This is drastically important. If you’re skeptical of this movie before you watch it, don’t watch it. If you’re going in there with a he-man “nothing can scare me” attitude, why the hell are you even watching scary movies? To prove something? In order to fully appreciate this movie and immerse yourself in its plot, you need to want to be terrified. Outlook is everything here, and this actually applies to most movies. Also, consider viewing the first two movies prior to viewing the third. If you view only one movie of the Paranormal Activity trilogy, it will cease to be part of the trilogy and become “just another horror movie.” That’s no fun.

The first movie is meant to be vague, mysterious. It makes you ask, why are these people being haunted? What caused it? Is there even any reason? After it’s over, it will likely leave you feeling a little let down. The second movie fills that gap, along with cranking up the scare level. It provides loose answers to the questions previously asked, and will personally see to it that you jump at least ten times before the end. I won’t spoil anything, but it really starts to pull the two movies together, and even has the timelines of both converge, resulting the conclusion of the second. Quentin Tarantino style, am I right? No? Then watch the third. That’s what this is all about.

Paranormal Activity 3 takes you back before the first two movies, answering every single question that they might have roused. It also serves to scare the living crap out of you, because, if you’ve watched the first two, you understand just how the scare factor works in the trilogy. It gets you looking over every detail present, making sure nothing has moved, nothing has changed. If you let it, Paranormal Activity 3 will have you glued to your seat all throughout, making you jump a foot with every startle, making you sweat with every buildup. Even the false scares will illicit a little shout. So get some friends together, wait until midnight, turn off all the lights, and get ready to freak out, because Paranormal Activity 3 will take you on one hell of a trip.