Paranormal activity 2 how is katie alive

It was a lucky thing that happened for us. The horror elements start from next to nothing — a creepily turning mobile above the baby's crib — until they build to jump-out-of-your-seat moments.

Some viewers have argued that the scares simply don't come quickly enough, but Williams has an entirely different philosophy when it comes to frightening an audience that fell in love with the original film.

We knew that if we went and tried to scare the pants off you in the first minute, your guard is up. We've got to get you past the point where you think you're prepared and just when you forget it's coming, that's when we come.

Knowing that these movies are all about doing a lot with a little, we had to do everything very, very subtly. In the final scenes, a now demonically possessed Katie returns to Kristi's house and kills her sister and brother-in-law.

Frightening and unexpected, to say the least. Exactly how Katie committed those murders, however, changed during production. That night, when Dan tries to use the cross on Kristi, she attacks him and the house lights all go out.

Using the handheld camera's night vision, he finds Kristi and Hunter have disappeared. Furniture begins toppling over, and the chandeliers shake. Dan chases Kristi into the basement, where she attacks him. He touches her with the cross, causing her to collapse. The ground rumbles and Dan hears demonic growls and roars, until finally the shaking stops.

Dan puts Kristi to bed and burns a photo of a young Katie the same photo Micah later finds in the attic of his and Katie's house, as depicted in the first film. Three weeks later, Katie visits and explains that strange things have begun happening at her house.

Kristi tells her to not discuss it just as Katie had told her before. She returns home, where she finds Micah has purchased a new video camera; the rest of the scene consists of approximately the first two minutes of the previous film.

On October 9th, a night after Micah is killed, Katie, possessed and bloodstained, breaks into Dan and Kristi's home and kills Dan by breaking his neck. She then climbs the stairs and attacks and kills Kristi in Hunter's room, hurling her against the camera with superhuman strength and taking the baby.

Katie leaves the room, cradling Hunter. The screen fades to black as Hunter's crying dies down and turns into laughter. After a troubled childhood that is only partially remembered, Katie is distraught to find herself once again the target of a series of increasingly hostile paranormal activities.

Her live-in boyfriend, Micah Micah Sloat , is dismissive of the idea, inadvertently egging Toby on by a series of mocking gestures such as a farcical Ouija board session and a whole torrent of negative energy, which the demon only feeds off of. After only three weeks, Toby successfully takes total control of Katie, invoking the same strategy as the Marked Ones — including the nasty-looking bite marks on her body — to possess her. With her newfound superhuman strength, Katie is able to effortlessly go on a killing rampage, dropping Micah, her brother-in-law, Daniel, and her sister, Kristi, over the span of 24 hours.

Authorities never see either one of them again. The only survivor of the attack is Ali Rey, who is out of town on a school trip. She is the one to return home to the scene of carnage in her home. But appearances, of course, are deceiving. She quickly takes ill, however, leaving Robbie to stay with teenager Alex Nelson Kathryn Newton , her six-year-old brother, Wyatt Aiden Lovekamp , and their parents.

The Nelson family is killed one by one, and the demonic Katie is once again triumphant… although the reasoning behind why she gave up the prodigal son in the first place is never revealed.

Before either Hector or the audience can start to fathom what has just transpired, Jesse follows through the doorway and kills him. It may be that Paranormal Activity: The Ghost Dimension is the last installment in the extremely profitable horror series for now , but the business strategy behind the film's release may actually point to an alternate cinematic future.

Paramount says the move is a necessary one, in an era when viewers have thousands of titles available at home via streaming , film companies need to shorten the amount of time it takes to make money from a title in the home market. There is power in facing and overcoming these fears and finding comfort in that.

The solace found in the familiar is good for us, but it also ceases to hold the same kind of power when we are lulled rather than disturbed. Horror is a call to examination and to action. Comfort rarely stirs us to either. Wes Craven was particularly articulate on these points. He believed that the first thing the audience should be afraid of is the filmmaker.

In other words, we should be uncertain of where they will take us and what dangers they will confront us with. It is a lesson he learned from Alfred Hitchcock in Psycho , who caught the audience off guard by killing off a star less than halfway through the film. Craven recognized the power that the genre had to tell stories in an entertaining way that could tap into the conscience for social change.

It has never bothered me that non-horror fans are critical of the genre. It is perfectly understandable to be repelled by violence and monsters. I find it funny when they are surprised by how well-adjusted, compassionate, and empathetic horror fans tend to be.

The value of horror is an age-old argument dating back to debates between Plato and Aristotle. Plato felt that the violence and horror on display in the amphitheaters of Athens were bad for society, while Aristotle argued for the value of catharsis.

My concern now, however, is that all too often the Platonic argument is rising not only from outside the so-called horror community, but from within it. This is my main reason for writing this article. In it, the Blind Man, the extreme villain from the first film, appeared to be presented as the hero of the sequel. The discourse was savage on both sides.

It was instructive, however, in bringing to light an important question: is there a line to be crossed? A huge objection to The Last House on the Left is a scene in which Krug and company are humanized as they stare at themselves in disgust, picking grass from their bloody hands after a particularly brutal and inhuman act. This is also the sequence that raises the film above others of its kind. When it comes to this tactic, it all depends on how the material is handled.

Is it satire? Is it cultural examination?