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Jessabelle
[Blu-ray]
Blu-ray A - America - Lionsgate Home Entertainment Review written by and copyright: Anthony Arrigo (28th January 2015). |
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The Film
 If 2014 cemented one key fact for horror fans, it’s that the big studios don’t have a clue how to craft engaging, unique and truly terrifying horror anymore. Not a single one of last year’s cinematic efforts was praised by a majority genre fans; not even the year’s top-grossing horror hit – “Annabelle” (2014) – was well liked. It’s hard to harp on the lack of originality because, let’s face it, very few films are actually all that novel – but in some cases it’s like the writers are using a template, changing only the character names and setting. The worst offender at the moment is anything involving hauntings. Nine out of ten times, what you end up watching is some afflicted person being jump-scared every ten minutes as people around them die while they play connect-the-dots to uncover some lame mystery that usually involves a sibling who died at birth, or some old family curse, or any other dead-horse trope. And the spirits doing the haunting always look like Sadako from “Ringu” (1998). Yawn. Don’t look for “Jessabelle” (2014) to be any better. For one thing, the title makes it sound like the sister of “Annabelle”, something I’m certain the producers were banking on boosting interest. It’s the same old yarn that’s been spun a thousand times, only this one features one mildly interesting addition: writer Robert Ben Garant. Does that name sound slightly familiar? Drop the “Robert” and you get Ben Garant, as in the same Ben Garant who was a featured player on MTV’s long-defunct “The State” (1993-1995) and went on to achieve some level of infamy on “Reno 911” (2003-2009). He’s exclusively written comedy for almost his entire career, only now taking a sharp detour into darker territory. Per his commentary track, he’s just a long-time horror fan who felt it was time to write something of his own when an enticing idea ran across his brain. The idea may have evolved into something seen a million and a half times, but at the onset I’ll admit to a twinge of excitement that maybe he’d written a sleeper hit. After all, plenty of comedians are dark, emotionally ruined people despite what their outward appearance suggests. After a car crash takes her fiancé, unborn child and (temporarily) her ability to walk, Jessie (Sarah Snook) goes on the mend at her estranged father’s home down in the Louisiana bayou. While there, she comes across a box of tapes featuring her long-dead mother speaking to her from beyond the grave. Mom made these tapes for her daughter before she died, figuring this would be the only way they could have any sort of relationship. Her mother was a medium, and on the tapes she tells Jessie her future. As expected, it’s all ominous and bleak, plus it has the unintended effect of turning Jessie’s dad into a crazed loon. In between viewings of her bad news video tapes, Jessie is plagued by visions of spirits that enjoy shrieking at a high pitch and catching her during moments of serenity, like when she’s taking a bath or trying to get some sleep. With the help of an old high school friend (who else?), she’s wheeled around town long enough to put together the conveniently-placed pieces of the puzzle, leading to an ending you’d have to be blind not to see coming. The biggest compliment I can give “Jessabelle” is that it was competently directed and it looks quite stunning in hi-def. Actually, that’s the only compliment I can give it. This here is what you call low-hanging fruit – a movie full of overused plot elements that doesn’t even attempt to employ a shred of originality. Maybe it deserves minor props for attempting a voodoo angle, although it’s such a minor part of the plot it could have been excised and not made one lick of difference. The only mystery here is why studios keep pumping money into these hackneyed tales.
Video
While the film may be riddled with faults, the video quality sure isn’t. “Jessabelle” features a stunning 1.78:1 1080p 24/fps AVC MPEG-4 encoded image that is virtually flawless. Digital shooting may get a bad rap from film purists, who find it lacks the vibrancy and life of celluloid – and that may be true – but it’s hard to argue with the results. Colors are faithfully reproduced, except in instances where post-production grading has been applied. The palette is intentionally dour, lacking vibrant hues and utilizing more rustic colors. Black levels look dark and stable, which is important as many scenes take place in darkness. Detail is exceptional, allowing minute details found in clothing, textures and faces to come through with perfect clarity.
Audio
Likewise, you’ll find no fault in the English DTS-HD Master Audio 5.1 surround sound track (48kHz/24-bit), which handles moments of quiet unease just as ably as boisterous, booming activity. The film’s opening crash comes, much like a real accident, out of nowhere, packing a serious audible wallop before moving to the eerie serenity of the bayou. The rear speakers are frequently engaged, providing a true sense of immersion as Jessie goes about her quest. Nothing about the score is remarkable; it simply conveys the appropriate mood for a generic horror film. A Spanish Dolby Digital 5.1 surround sound track is also included. Subtitles are available in English for the hearing impaired and Spanish.
Extras
It’s a shame the film wasn’t better, because there’s a nice smattering of varied bonus features to be found here. Included are an audio commentary, deleted scenes, featurette, outtakes, extended ending and bonus trailers. The three audio commentary participants – director Kevin Greutert, screenwriter Robert Ben Garant and executive producer Jerry Jacobs – deliver a lively, enthusiastic track that was done before the film had even been released. I suspect things may not have been as cheery were this done afterward. Regardless, Greutert focuses on the technical aspects of making the film, while Garant discusses his segue from comedy writing to horror. “Jessabelle: Deep in the Bayou” (1080p) is a featurette that runs for 9 minutes and 14 seconds. This is typical EPK territory, with cast & crew getting some time to speak about their respective roles on set, while footage of everyone working together is also included. A reel of deleted scenes (1080p) runs for 7 minutes and 48 seconds. Outtakes (1080p) are also included, running for 2 minutes and 39 seconds. There’s also an extended ending (1080p), which actually adds very little, that runs for 1 minute and 11 seconds. Finally, Lionsgate’s usual roster of bonus trailers (1080p) closes out the supplements: - “Sinister” runs for 1 minute and 47 seconds. - “The Haunting in Connecticut” runs for 2 minutes and 26 seconds. - “The Quiet Ones” runs for 1 minute and 14 seconds. - “Mas Negro Ou La Noche” runs for 1 minute and 12 seconds. - “EPIX promo” runs for 1 minute and 1 second. A digital HD copy is also included via a redemption code on the insert.
Packaging
The single disc comes housed in a standard Blu-ray eco-case, with a slip-cover adorning first pressings.
Overall
Zzzzzzzzzzz...
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