Paranormal Activity 4 (2012)

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Title: Paranormal Activity 4 (2012)
Genre: Horror |
Directed By: Henry Joost | Ariel Schulman
Casts: Katie Featherston | Kathryn Newton and Matt Shively |
Release Date: October 19, 2012
Also Known As: Atividade Paranormal 4

Movie Summary:

It has been five years since the disappearance of Katie and Hunter, and a suburban family witness strange events in their neighborhood when a woman and a mysterious child move in.

The tale takes place in 2011, five years soon after Katie killed her boyfriend Micah, sister Kristi, her husband Daniel and took their baby, Hunter (now named Robbie). Story focuses on Alice and her mom, suffering from weird stuff since the new neighbors (Katie and Robbie) moved in the town. 

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Paranormal Activity 3 was a triumph after the severely disjointed second installment with newcomers Henry Joost and Ariel Schulman deviating from a standard setup with sight gags in favor of moving cameras, ghostly figures, and plenty of instances of creepy kids talking to someone off camera. Add in a clever back-story involving a mysterious cult, and you have a huge leap forward for a series that was never intended to go past one film. After taking the events back to the Eighties and focusing on the childhood of Katie and her sister, Kristi, in what direction can Joost and Schulman take the franchise?

Taking place five years after the events surrounding Katie (as an adult) and Micah, Paranormal Activity 4 sees the series uprooted and moved to Henderson, Nevada. A new family comprised of a two parents, their teenage daughter, Alex, and her younger brother, Wyatt, take in their young and seemingly weird next-door neighbor Robbie after his mother has an accident. Robbie is an odd kid with a tendency to appear at their house at random times and say sinister-sounding things. Slowly but surely the "activity" begins, and Robbie appears to be at the center of it.

Like its immediate predecessor, Paranormal Activity 4 seeks to distinguish itself from the first two films by employing a variety of different methods of showing the titular activity in ways that break the traditional found footage mold. Strategically placed webcams, Skype chats, and even Xbox Kinect infrared projection laser dots all factor into a number of incredibly clever, albeit erratically spaced, scares that utilize multiple perspectives to convey the activity. By this point in the series, however, found footage has become little more than a unique way of presenting the action unfold. It’s no longer “found” footage; it’s simply a narrative device. This allows Joost and Schulman to forget about logic and have fun with the scares, something that can, ostensibly, please both the die-hard fans and newcomers to the series.