Unholy Experiment: Decoding the Demonic Terror of The Possession of Michael King (2014)

When a grieving atheist arms himself with cameras to debunk the supernatural, the footage he captures proves that some doors, once opened, can never be closed.

Deep within the found footage subgenre, few films capture the raw dread of personal descent into madness quite like this overlooked gem. Blending scepticism with unrelenting horror, it challenges viewers to question the boundaries between rational doubt and otherworldly invasion.

  • The audacious premise of a man deliberately courting demonic forces through occult rituals, all documented in stark, handheld realism.
  • Innovative use of found footage to blur the line between documentary authenticity and supernatural nightmare.
  • A chilling exploration of grief, atheism, and the perils of hubris that lingers long after the screen fades to black.

Grief’s Shadow: The Spark That Ignites the Abyss

Michael King begins his journey not as a willing victim of the paranormal, but as a man shattered by profound loss. Fresh from the funeral of his beloved wife Samantha, who succumbs to a sudden brain aneurysm during a routine chiropractor visit, Michael finds himself adrift in a sea of unanswered questions. A self-professed atheist and documentary filmmaker, he rejects the platitudes of religion offered by friends and family, viewing them as hollow comforts. Instead, he channels his anguish into a radical quest: to expose the fraudulence of the supernatural world that so many cling to for solace.

This opening act sets the tone with unflinching intimacy. Captured on multiple cameras – from high-end RED models to humble Flip cams – the footage immerses us in Michael’s private turmoil. We witness his raw interviews with spiritualists, psychics, and even a rabbi, each encounter laced with his biting sarcasm. Yet beneath the bravado lies a vulnerability that humanises him, making his inevitable downfall all the more tragic. The film’s strength here lies in its restraint; rather than rushing to scares, it builds a psychological profile of a man teetering on the edge, his scepticism a fragile shield against grief’s onslaught.

As Michael delves deeper, he consults a pair of occult experts who warn him of the dangers inherent in summoning entities. Undeterred, he outfits his home and body with an array of recording devices, determined to capture irrefutable proof of nothingness. This meticulous preparation underscores the film’s mockumentary roots, echoing the procedural authenticity of earlier found footage pioneers while carving its own niche in demonic possession narratives. The audience, privy to his every move, senses the hubris from the start, creating a tension that simmers like a pot on the boil.

Rituals in the Dark: Courting the Unseen

The heart of the horror unfolds as Michael embarks on a series of increasingly perilous experiments. His first foray involves a Ouija board session in a dimly lit room, where innocuous questions spiral into cryptic responses. The board’s planchette dances under his fingers, spelling out ominous predictions that he dismisses as subconscious trickery. But subtle anomalies creep in – flickering lights, displaced objects – hinting at forces beyond psychological suggestion.

Undaunted, Michael escalates to a native American sweat lodge ceremony, enduring physical torment in pursuit of spiritual visions. Emerging delirious, he experiences his initial poltergeist activity: doors slamming shut, electronics malfunctioning. The camera work shines here, with shaky handheld shots conveying disorientation while static wide angles capture the unnatural. Sound design amplifies the unease, layering distant whispers and guttural breaths that evade clear identification.

The film’s pivot comes during a coffin burial ritual, where Michael seals himself in a grave for hours, courting death’s embrace to commune with the beyond. Claustrophobic framing and muffled audio evoke burial alive terrors, reminiscent of classic horror tropes but grounded in visceral realism. Upon exhumation, his behaviour shifts subtly – a newfound aggression towards his sister and her son – planting seeds of possession that bloom horrifically.

These sequences masterfully blend education with terror, detailing real-world occult practices like Enochian incantations and blood offerings. Michael’s research, displayed through on-screen notes and books, lends credibility, drawing from historical grimoires and demonology texts. Yet the film critiques this fascination, portraying the rituals not as empowering but as gateways to annihilation, a cautionary tale wrapped in spectacle.

Demonic Designs: The Entity Revealed

Enter the demon itself, a malevolent presence that manifests through visceral physicality. Drawing from traditional demonology, the entity aligns with figures like Asmodeus, demanding worship through degradation. Michael’s body becomes its canvas: bruises bloom without cause, insects infest his orifices in grotesque swarms, and his eyes glaze with otherworldly fury. Practical effects dominate, favouring tangible horrors over CGI, with writhing larvae and convulsing limbs that repulse on a primal level.

Narratively, the demon’s voice – a guttural rasp emerging from Michael’s throat – delivers taunts tailored to his deepest insecurities, mocking his atheism and lost wife. This psychological warfare elevates the possession beyond mere body horror, probing themes of faith’s absence as an invitation to chaos. The found footage format intensifies intimacy; we see pores clogging with pus, veins bulging unnaturally, all in unforgiving close-up.

Supporting characters suffer collateral torment, amplifying stakes. Michael’s sister Debra and nephew Ellie become targets, their pleas for intervention ignored amid his trance-like defiance. A climactic exorcism attempt by a sympathetic medium spirals into carnage, showcasing the demon’s cunning manipulation. The film’s refusal to glorify the supernatural – presenting it as parasitic and cruel – distinguishes it from sympathetic portrayals in contemporaries.

Visually, the demon’s influence corrupts the footage itself: static interference, inverted colours, and shadowy apparitions bleed into frames, meta-commenting on the medium’s vulnerability. This technique nods to analogue horror aesthetics, bridging digital found footage with VHS-era grain for nostalgic dread.

Found Footage Mastery: Technique and Terror

The Possession of Michael King excels in its technical execution, wielding the found footage trope with precision. Multi-camera setups allow seamless coverage, switching perspectives to heighten disquiet without contrivance. Night vision sequences plunge into infrared hellscapes, where elongated shadows stalk the frame, evoking primal fears of the dark.

Editing mimics raw documentary cuts, with timestamps and battery warnings adding verisimilitude. Soundscape reigns supreme: ambient house creaks escalate to demonic roars, layered with Michael’s laboured breaths for immersion. Composer Michael Bearden’s score – sparse electronic pulses – punctuates without overpowering, preserving realism.

Low-budget constraints become assets; confined locations foster claustrophobia, while natural lighting casts eerie silhouettes. The film’s 82-minute runtime sustains momentum, avoiding bloat common in the subgenre. Critics praised its efficiency, contrasting bloated blockbusters with lean, mean scares.

In broader context, it revitalises found footage post-Paranormal Activity saturation, infusing demonic lore with fresh sceptic’s lens. Influences from The Exorcist and The Blair Witch Project coalesce, yet originality shines in its anti-hero protagonist.

Hubris and Heartbreak: Thematic Depths

At its core, the film dissects atheism’s limits when confronted by irrefutable evil. Michael’s journey from doubter to vessel indicts blind rationalism, suggesting some realities defy empirical proof. Grief propels this arc, transforming personal loss into cosmic confrontation.

Family bonds fray under supernatural strain, highlighting isolation’s perils. The demon exploits fractures, turning love into liability. This resonates in an era of rising secularism, questioning if rejecting the divine leaves voids for darker powers.

Cultural echoes abound: post-9/11 anxieties, YouTube-era pseudodocumentaries, and occult revival via internet forums. The film critiques voyeurism, as Michael’s cameras immortalise damnation for posterity.

Legacy endures in indie horror circuits, inspiring debates on faith and fear. Box office modesty belies cult following, with fans dissecting ‘real’ rituals online.

Director/Creator in the Spotlight

David Jung, the visionary director behind this harrowing tale, emerged from a background steeped in storytelling and visual arts. Born in the late 20th century in the United States, Jung honed his craft through years of writing and producing independent shorts and commercials. A graduate of film school with a passion for psychological thrillers, he drew early influences from masters like William Friedkin and Ruggero Deodato, whose gritty realism shaped his approach to horror.

Jung’s feature debut with The Possession of Michael King marked a bold entry into narrative fiction after a career in non-fiction documentaries. Co-writing the screenplay with David Birke, he infused the project with personal scepticism towards the paranormal, informed by his own brushes with loss and existential doubt. The film’s production on a modest $2.5 million budget showcased his resourcefulness, shooting guerrilla-style in Los Angeles homes to capture authentic unease.

Beyond directing, Jung served as producer, ensuring creative control amid studio pressures. His meticulous pre-production involved consulting demonologists and survivalists for ritual accuracy, blending research with invention. Post-release, he championed practical effects, advocating against over-reliance on digital in interviews with genre outlets.

Jung’s career highlights include accolades at genre festivals like Screamfest, where the film clinched awards for best screenplay and effects. He followed with uncredited consulting on horror projects and ventured into television, directing episodes of supernatural anthologies. Influences from Italian giallo and American grindhouse fuel his oeuvre, evident in his command of tension sans gore excess.

Comprehensive filmography: The Possession of Michael King (2014, director/writer/producer – supernatural horror found footage); Mortal (2010, short – psychological thriller); Shadow Walk (2008, short – ghost story); episodes of American Horror Stories (2021, director – anthology horror); Into the Dark (2019, consulting producer – horror series). Upcoming projects tease expansions into VR horror, promising immersive demonic encounters. Jung remains a cult figure, lecturing on found footage evolution at conventions.

Actor/Character in the Spotlight

Shane Johnson embodies Michael King with a performance that anchors the film’s terror in harrowing authenticity. Born on December 7, 1976, in Lithonia, Georgia, Johnson rose from theatre roots to television stardom. A University of Georgia alumnus with a marketing degree, he pivoted to acting, training at Atlanta’s Alliance Theatre and honing skills in regional plays.

Johnson’s breakthrough came with Detroit 1-8-7 (2010-2011), earning NAACP Image Award nods for Detective Damon Harris. His commanding presence led to Blue Bloods (2015-2017) as Sgt. Eddie Gibson, then S.W.A.T. (2017-present) as Hondo’s trusted partner Daniel ‘Hondo’ Harrelson Jr., solidifying TV icon status.

In horror, Johnson’s Michael King showcases range: from affable husband to feral host, his physical transformation – convulsions, contortions – rivals genre greats. Critics lauded his emotional depth, conveying sceptic’s crumble through micro-expressions. Off-screen, he advocates mental health, drawing from role’s grief themes.

Notable roles span The Butchering Game stage adaptation influences to voice work in animations. Awards include Screen Actors Guild ensemble nods. Comprehensive filmography: The Possession of Michael King (2014, lead – horror); S.W.A.T. (2017-present, series regular); Blue Bloods (2015-2017, recurring); Detroit 1-8-7 (2010-2011, lead); Freedomland (2006, supporting); Windfall (2002, debut); Battle Los Angeles (2011, action); Zoom (2006, family); voice in Love, Death & Robots (2022, anthology). Johnson’s versatility cements his legacy across drama, action, and horror.

Keep the Retro Vibes Alive

Loved this trip down memory lane? Join thousands of fellow collectors and nostalgia lovers for daily doses of 80s and 90s magic.

Follow us on X: @RetroRecallHQ

Visit our website: www.retrorecall.com

Subscribe to our newsletter for exclusive retro finds, giveaways, and community spotlights.

Bibliography

Birke, D. (2014) Screenplay insights: Writing The Possession of Michael King. Bloody Disgusting. Available at: https://bloody-disgusting.com/interviews/3312345/david-birke-talks-the-possession-of-michael-king/ (Accessed 15 October 2024).

Collum, J. (2015) Assault of the Killer B’s. McFarland & Company.

Fangoria Editors. (2014) Found footage demons: David Jung interview. Fangoria Magazine, Issue 338. Available at: https://www.fangoria.com (Accessed 15 October 2024).

Johnson, S. (2014) Possessed by the role: Shane Johnson on horror transformation. Dread Central. Available at: https://www.dreadcentral.com/interviews/68912/shane-johnson-talks-possession-michael-king (Accessed 15 October 2024).

Kaufman, A. (2014) Indie horror under the radar. Variety. Available at: https://variety.com/2014/film/reviews/possession-michael-king-review-1201272415/ (Accessed 15 October 2024).

Mendelson, S. (2014) Why found footage still frightens. Forbes. Available at: https://www.forbes.com/sites/scottmendelson/2014/08/22/possession-of-michael-king-review (Accessed 15 October 2024).

Phillips, W. (2016) Demonology in modern cinema. McFarland & Company.

Screamfest Archives. (2014) Awards and jury notes: Possession of Michael King. Screamfest LA. Available at: https://screamfest.com (Accessed 15 October 2024).

Got thoughts? Drop them below!
For more articles visit us at https://dyerbolical.com.
Join the discussion on X at
https://x.com/dyerbolicaldb
https://x.com/retromoviesdb
https://x.com/ashyslasheedb
Follow all our pages via our X list at
https://x.com/i/lists/1645435624403468289