Devil’s Due **

The ‘found footage, handycam horror’ effect is fast becoming the norm in the horror flick stakes because it appears to suggest an ‘authenticity’ to forthcoming filmed events, like CCTV footage. Paranormal Activity paved the way for a new kind of cinematic style. Directors Matt Bettinelli-Olpin and Tyler Gillett’s Devil’s Due borrows from this, with nods to Rosemary’s Baby in terms of storyline. It does well in its cinematographic style but fails to inject enough ‘creepiness’ and oddity that the latter 1968 film achieved. Devil’s Due does chillingly reflect a couple’s fears of parenthood to come though, in a very realistic way.

Newlyweds Zack (Zach Gilford) and Sam (Allison Miller) hitch a ride with a cab driver and find themselves taken to an obscure club on the last day of their honeymoon in The Dominican Republic. After a few drinks, they wake up in their hotel room, confused as to what happened and how they got back. Back home in the States, they receive some unexpected news; Sam is pregnant, much to their families’ joy. But right from the start, Sam feels like something is wrong with the baby growing inside of her, complete with her experiencing blackouts. Zack starts seeing strangers watching their house.

The beginning of the film does well to establish the couple’s relationship; almost a little too much that it begins to drag. The camerawork suggests confusion and mystique at the crucial moment that sets things up nicely for events to develop. The key to the film is from this point, and although there are some great sequences – like Sam at the supermarket and another in a forest with some unsuspecting sightseers, the rest feels all too similar to other demonic horrors in narrative and special effects (such as night vision shots). There is less of a feeling of tension building, less impending doom than in the Paranormal Activity saga. The doom and gloom comes more from a couple not being able to cope with a change in their circumstances rather than anything supernaturally creepy. It all seems a little too gradual in reaction.

In addition, we know Zach is the enthusiastic videographer at the start, but like a lot of such films, confusion grows as to who the shooter is at times, with a few shots that don’t make total sense. We are also prompted to jump when the camera goes static, for example: One of the successes of Paranormal Activity is the camera just rolls and things happen in front of it. Visual prompts take the surprise out of things.

That said although the scenes of ‘those shady characters involved’ feel mysterious and generate curiosity, the ambiguity is too unsatisfactory overall – we don’t need all the answers but some would be helpful. In fact, the climax leaves you frustratingly shortchanged, with the penultimate end scene coming full-circle back to the beginning. The film does set itself up for a possible sequel, but it would be like watching yet another home movie of a pregnant woman’s ups and downs, unless the filmmakers come up with something clever. In short, we feel starved of genuine shocks.

Devil’s Due sets up an intriguing premise for a more sinister Rosemary’s Baby done in the Paranormal Activity Cinéma vérité style but fails to venture into the unknown and develop its own sense of authenticity.

2/5 stars

By @FilmGazer

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