In praise/defense of The Haunting In Connecticut.

I have nothing but envy for those critics who got more out of Mama than I did.  But I do take issue with a certain thread that pops up in many of the more positive reviews, the idea that is somehow the first mainstream horror movie in forever to actually have three-dimensional human beings at its core.  To be frank, I think the prestige associated with producer Guillermo Del Toro and star Jessica Chastain has caused certain critics not so much to overpraise the film but to assign it undue credit in terms of presenting a humanistic horror film.  Just as each new 007 film sees cries of 'most feminist Bond girl ever!', I think at least some of the praise being heaped on Mama is perhaps selective amnesia in terms of the oft-derided horror genre.  For a prime example of a horror film that exists as a character drama first and a horror film second, one need only look at a film that's receiving a somewhat under-the-radar sequel this Friday, possibly tonight in certain theaters.  I'm talking of course about The Haunting In Connecticut.

Lionsgate's The Possession gets a poster aping a key image in the Haunting In Connecticut poster...

Prior to The Expendables ($34.8 million) and The Hunger Games ($152 million), The Haunting In Connecticut had the second-biggest opening in Lionsgate history outside of the Saw sequels and Tyler Perry films.  With $23 million, it lagged only behind Fahrenheit 9/11 ($23.9 million) up until just two years ago.  As of today, it's still Lionsgate's 14th biggest debut and their fourth-biggest debut outside of those two franchises.  And with a final domestic gross of $55.3 million, it ranks as Lionsgate's 12th biggest grosser, and the fifth-biggest earned for Lionsgate outside of the above-noted Saw sequels/Tyler Perry projects.  Only The Lincoln Lawyer ($58 million), The Expendables ($103 million), Fahrenheit 9/11 ($119 million) and The Hunger Games have topped it among Lionsgate 'originals' (the Perry films that earned more were Why Did I Get Married Too?, Madea's Family Reunion, and Madea Goes to Jail).  I bring this up because we now have a poster for The Possession, which brazenly mimics the core imagery of The Haunting In Connecticut (which, I should add, is a surprisingly good character-driven ghost story).  We may decry the obvious thievery and probable misdirection, but looking at the numbers, I can't really blame them..

Scott Mendelson