Hollywood Gothique

Is it PARANORMAL ACTIVITY IV or LAST EXORCISM II? I have trouble keeping those roman numerals straight.

Sitting down to write a review of THE LAST EXORCISM PART II, I find myself somewhat in the position of the modern satirist, who finds the real world has become so ridiculous that there is little room to push the envelope even further for comic effect, rendering the concept of satire almost redundant. In my case, reviewing THE LAST EXORCISM PART II is virtually redundant because you, dear reader, have already viewed it. Oh, you may not have paid for a ticket yet, but believe me, you have seen it all – in other, earlier – though not necessarily better – movies. But then, this is hardly surprising. After all, if the previous film offered the exorcism – the end of the line, done, finished, all over and used up – then we have only ourselves to blame for expecting anything new in PART II.

Ashley Bell as Nell, a fragile soul seeking to escape her traumatic past.

What is mildly interesting is that what we have seen before is not necessarily from THE LAST EXORCISM. In fact, PART II makes a laudable attempt to distance itself from its predecessor, using those that film’s plot only as a back story and abandoning the pseudo-documentary stylings in favor of a more conventional approach that focuses on the soul survivor of the confusing conflagration that consumed the characters at the conclusion of Part 1.

This time out, Nell (Ashley Bell) is the focus of our attention, as she tries to recover from her traumatic past while evading evil forces that may be pursuing her or may exist only in her mind. (One guess: which turns out to be correct?)  Bell provides an award-worth performance as a lost and fragile soul, struggling to come to grips with unpleasant memories and to find a place for herself in a modern world that makes her feel like a stranger in a strange land (after years couped up in the creepy cabin of the first film).

Nell's past shows up in the form of a masked man, who seems to have wandered in from the set of EYES WIDE SHUT.

The inevitable problem with this scenario is that generic demands trump satisfying drama. No matter how much the opening scenes engage our sympathy, it is all for naught – simply a set up for the sturm and drang to come, during which THE LAST EXORCISM PART II jettisons everything that worked in order to parade a few well-worn shocks across the screen like has-beens on a decrepit vaudeville stage, before proceeding to the sadly predictable finale.

I say “predictable,” because (as I indicated above) you have seen it before, along with almost everything else in the film. Seriously, if you have watched more than a few horror movies this year, you have seen THE LAST EXORCISM PART II, almost from beginning to end. Don’t believe me? Well, read on…

WARNING: Major spoilers abound.

• We start with a reasonably well-staged set-piece of a couple alarmed by an unexpected intrusion, which turns out to be a feral-looking child, hunched on all fours atop a shelf (MAMA).
• The child – well, young woman – turns out to be orphaned, or at least abandoned, with a supernatural force pursuing her and protecting her (also MAMA).
• There is a spooky cult, seen at the end of the previous film, that wants to drag her back into the fold (essentially PARANORMAL ACTIVITY 4 – which was last year, but still…).
• We know our girl is being targeted by evil forces because she levitates above her bed (also PARANORMAL ACTIVITY 4).
• Also, a flock of birds go kamikaze on the windows of a building she is in (apparently having flapped over from DARK SKIES).
• The dilemma, it turns out, is that the young woman must decide whether to renounce the darkness or join forces with it (BEAUTIFUL CREATURES).
• Helping her in this effort is a sympathetic black female supporting character, who can offer a little non-Christian spiritual support because this is the South, where they have all the voodoo stuff (also BEAUTIFUL CREATURES and come to think of it, kinda sort THE HAUNTING IN CONNECTICUT 2: GHOSTS OF GEORGIA).
• In the end, the exorcism proves ineffective (THE LAST EXORCISM), and the invading entity gains purchase within the body of an innocent victim (INSIDIOUS).

Nell listens to erotic moans emanating through the walls of a motel room she is cleaning. Needless to say, sexy stuff is the devil's gateway into your soul.

If you don’t mind re-watching a virtual montage of other horror movies, THE LAST EXORCISM PART II is interesting for a while, although its slow build-up is more “slow” than “build-up.” The spook scenes more or less sustain themselves in the first half, when the filmmakers keep to relatively believable phenomena that could be explained away as dreams, hallucinations, or coincidence. But the urge to supply a fright-filled finale pushes the film beyond its ability to sustain credibility (a roomful of levitating knifes seems lifted from an Italian EXORCIST rip-off, circa 1979.)

It is almost an article of faith among contemporary horror films that Evil is all powerful and unstoppable, so much so that resistance is futile; the characters might as well give up and resign themselves to their fate before the film even starts, saving us the trouble of wasting our time to see them reach their inevitable end. Back in the 1970s, this sort of cynicism made some kind of sense in the context of the disillusionment engendered by Watergate, the Vietnam War, and the threat of mutually assured nuclear annihilation; today, it merely seems arbitrary.

I suppose that, if one were in a sympathetic frame of mind, one could find an argument to justify THE LAST EXORCISM PART II’s final turn of events, which offer just a hint of the rebellious joyful anarchy – bordering on self-righteous glee – that results from overthrowing one’s oppressors. Somewhat miraculously, Ashley Bell engages our sympathy almost strongly enough to make us vicariously endorse this conclusion (somewhat in the manner that we root for Carrie White’s prom-night revenge).

In THE LAST EXORCISM PART II, even the church seems in on the conspiracy.

Unfortunately, the scenario is too contrived to support this reading credibly. Everyone is suspect – possibly part of the evil conspiracy, as evidenced by an unnerving trip to a church, where a chaplain offers not so soothing spiritual comfort in dialogue carefully calibrated to obscure whether he is talking about God or Abalam. Furthermore, the alleged representatives of the Power of Good (called the “right-hand path”) are too closely akin to the incompetent Jedi from STAR WARS, EPISODE III: THE REVENGE OF THE SITH, who seem to almost deliberately drive Anakin to join the Dark Side of the Force. Poor double-crossed Nell – we are led to believe – has no choice but to accept the demonic Abalam, because everyone else is so afraid of what will happen if she accepts Abalam.

Except, you know, her sympathetic therapist. And her would-be boyfriend, whom Abalam forces to commit suicide (nice, effective way to earn your potential victim’s sympathy and convince her to submit willingly!). There’s also the nagging problem that Abalam, we are told, is weak without Nell as a vessel for his power – until the script needs him to be so powerful that he cannot be exorcised,* scaring the Right-Hand Path into attempting to kill Nell in order to prevent Abalam from entering her and fulfilling an apocalyptic prophecy.

On her fingers, Ashley Bell optimistically counts future LAST EXORCISM sequels.

Is it any wonder the poor girl goes a little bit off the rails at the end? I mean, who wouldn’t – the script (if not the devil) made her do it. Too bad the switch from victim to victimizer feels like a half-hearted afterthought, targeting a handful of (mostly off-screen) victims. Instead of a cathartic explosion of apocalypstic proportions, we get a joy ride, a few computer-generated flames, and some rock-and-roll on the soundtrack.

This, it seems, is how the world ends – not with a bang but with a music video.

THE LAST EXORCISM PART II (March 1, 2013). CBS Films, 88 minutes, rated R. Written by Damien Chazell and Ed Gass-Donelley. Directed by Ed Gass-Donnelly. Cast: Ashley Bell, Julia Garner, Spencer Treat Clark, David Jensen, Tarra Riggs, Louis Herthum, Muse Watson, Erica Michelle, Sharice A. Williams, Boyana Balta, Joe Chrest.

FOOTNOTE:

• Yes, there is an exorcism in THE LAST EXORCISM PART II. Which means that THE LAST EXORCISM did not, in fact, feature the “last exorcism.”

Keri Russell is menaced by an alien in "Dark Skies."

DARK SKIES proves once again (as if any proof were necessary) that Blumhouse Productions has codified its horror template to the point that their films are the cinematic equivalent of blues music: the lyrics may change, but the subject matter or tone; and regardless of the writers and performers, you will hear the same 12-bar chord progression, hitting the same beats, with approximately the same musical arrangements. In this case, the innovation lies in the switch from unseen supernatural forces to unseen alien invaders; otherwise, the song remains the same.

In case you did not know it, the nuclear family is disintegrating. Mom and Dad cannot support their family’s suburban lifestyle. They argue – maybe not about money, but they argue because of money – or, more precisely, the lack of it. In fact, they are so busy arguing that they do not realize the greater threat lurking in the shadows of their home. Their children try to tell them, but hey – they’re just kids, and what do they know anyway? So the parents don’t listen; they just focus on financial problems, not realizing that even if Mom sells the property she is trying to unload, or if Dad gets the new job for which he has applied, that’s not going to solve the real problem.

I am of course talking about DARK SKIES here, but with a few changes the above paragraph could apply equally well to SINISTER or PARANORMAL ACTIVITY 4, both of which revolved around monsters attempting – successfully, as it turned out – to snatch children right out from under Mom and Dad’s nose.

Fortunately, the parents in DARK SKIES are not quite as absurdly oblivious as the clueless couple in PARANORMAL ACTIVITY 4. They actually figure out something is wrong and consult a self-styled expert (J.K. Simmons, filling in for Vincent D’Onofrio, who performed similar service in SINISTER). Based on what they learn, they even try to do something about the problem, which generates a third act that almost resembles a legitimate piece of storytelling.

It’s nice to see DARK SKIES abandon the “Ignorant Plot” that fueled its immediate predecessors (in which ignorant characters wandered around for 90 minutes, seldom if ever getting a read on what was after them), but it is all for naught, since the conclusion is predetermined. (If that sounds like a spoiler, don’t blame me: DARK SKIES’ poster spells it out: “Once you’ve been chose, you belong to them.”)

As if sensing that predictability is a problem, writer-director Scott Stewart tosses in a last-minute – well, “surprise” would be too strong a word, as would “twist,” so let’s say “shift” – regarding the identity of the victim being targeted. This does not change the outcome in any meaningful way, nor does it lend any kind of dramatic frisson; it merely provides an illusion of the unexpected, a pretense toward actual plotting – as opposed to simply filling in the same old template.

I get the impression that Stewart intended a little bit more. Early scenes of the children’s pet lizard hints at some kind of foreshadowing – the aliens look down on us as we look down on animals – but nothing comes of the idea. The attempt to weave the alien scenario into the family drama suggests an attempt to provide a darker alternative to M. Night Shyamalan’s SIGNS (which is echoed and quoted in several ways), but we never truly identify with the storytelling as anything more than an excuse to stitch together the scares, and any attempt at a dramatic resolution is short-circuited by the de rigueur denouement.

An alien makes a shadowy appearance behind Keri Russell.
If you are a fan of previous horror films from Blumhouse Productions, you will probably enjoy the same old song one more time. The cast of non-stars do a decent job of portraying everyday people. As usual, the slow build-up of suspense is carefully calculated, and the creepy set pieces are effectively handled. If only the scenario could weave a more convincing plot thread, there might be a real movie here. (In one of the scripts more amusing moments of lip-service, the inexplicable – and frankly pointless – scare tactics of the aliens are rationalized by the claim that the invaders are exploiting our fears, for reasons unknown – presumably, it’s some kind of psychological behavioral experiment?)

I feel a bit treacherous for shedding so much negative light on DARK SKIES. After all, Blumhouse Productions strives to craft horror films that rely on subtlety rather than shocks, on atmosphere rather than action. Their commodity is rare in today’s cinematic marketplace, so they deserve recognition for proving that this approach can sell tickets, but as the lackluster debut of DARK SKIES shows ($8.9-million for a sixth-place opening weekend) Blumhouse needs to infuse its formula with a little more variety and creativity.

DARK SKIES (February 22, 2013). Written and directed by Scott Stewart. PG-13. In widescreen and Dolby Digital. Produced by Blumhouse Productions. Distributed by Paramount Pictures. Cast: Keri Russell, Josh Hamilton, Dakota Goyo, Kadan Rockett, J.K. Simmons, L. J. Benet.

Location: The Aero Theatre, 1328 Montana Avenue Santa Monica, CA 90403 (323) 634-4878

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Description: The American Cinematheque double-bills David Lynch’s bizarre and horriffic film noir with ALL THAT HEAVEN ALLOWS, as part of their “MOTION PICTURESQUE: CINEMA AT ITS MOST BEAUTIFUL” series.

Date: January 18 at 7:30pm

Location: nationwide

Description: CBS Films releases sequel to the interesting but ultimately muddled 2010 film. Ed Gass Donnelly takes over the director’s chair from Daniel Stamm, working from a script he re-wrote from a draft by Damien Chazell, based on characters created by Huck Botko & Andrew Gurland. Ashley Bell returns as Nell Sweetzer, the phony possessed girl who turned out to be really possessed. Also in the cast are Spencer Treat Clark, Andrew Sensenig, Judd Lormand, Julia Garner, and Muse Watson. Eli Roth, of course, is back on as producer.

We imagine there is a pretty funny quip to be made out the title (if the 2010 film was the “last” exorcism, how could there be a sequel?), but it’s a bit too obvious to be more than a bad joke. Hopefully, THE LAST EXORCISM PART II can fix or at least clear up some of the bad residue from its predecessor.

U.S Theatrical Release: March 1, 2013

Location: nationwide

Description: Warner Brothers releases this fantasy film from Alcon Entertainment.Richard LaGravenese wrote and directed, based on the novel by Kami Garcia and Margaret Stohl. The cast includes Emmy Rossum, Jeremy Irons, Emma Thompson, Alice Englert, and Alden Ehrenreich. The story follows Lena (Englert), a high school girl whose family is believed by the local small-town populace to be satanists. It turns out that “witches” would be a more accurate description, and Lena has reached the age at which she will decide whether or not to go to the dark side. LaGravenese is a talented writer and sometimes director whose previous work has flirted around the borderline of the fantasy genre (THE FISHER KING, A LITTLE PRINCESS, BELOVED); it will be interesting to see what he can do with a project that is clearly intended to launch another TWILIGHT-like young-adult fantasy-romance franchise.

The film’s second theatrical trailer (embedded here) shows off the supporting cast more prominently, especially Jeremy Irons, adding a sense of dramatic gravitas that the TWILIGHT films sorely lacked.

Release Date: 2013-02-13

Location: Nuart Theatre, 11272 Santa Monica Boulevard, West Los Angeles, 90025 (310) 473-8530, CA
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Description: Stanley Kubrick’s 1968 science fiction masterpiece screens at midnight.
Date: February 1, 2013

Location: Nuart Theatre, 11272 Santa Monica Boulevard, West Los Angeles, 90025 (310) 473-8530, CA
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Description: David Lynch’s brain-bendingly surreal film noir screens at midnight.
Start Time: 23:59
Date: 2013-03-15

Location: Nuart Theatre, 11272 Santa Monica Boulevard, West Los Angeles, 90025 (310) 473-8530, CA
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Description: John Carpenter’s 1982 film adaptation of John W. Campbell’s story “Who Goes There?” (previously filmed by producer Howard Hawks in 1941 as THE THING FROM ANOTHER WORLD) screens at midnight.
Start Time: 23:59
Date: 2013-03-08

Location: Nuart Theatre, 11272 Santa Monica Boulevard, West Los Angeles, 90025 (310) 473-8530, CA
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Description: The comic book adaptation about a young man who must battle his girlfriend’s evil ex’s, screens at midnight.
Start Time: 23:59
Date: 2013-02-15

Location: Nuart Theatre, 11272 Santa Monica Boulevard, West Los Angeles, 90025 (310) 473-8530, CA
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Description: Disappointing film version of Pink Floyd’s concept album screens at midnight
Start Time: 23:59
Date: 2013-02-22

Location: Nuart Theatre, 11272 Santa Monica Boulevard, West Los Angeles, 90025 (310) 473-8530, CA
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Description: Director Leox Carax’s surreal film screens at midnight (the crazy red-bearded “monster” from his episode of TOKYO re-appears).
Start Time: 23:59
Date: 2013-02-08

Location: Nuart Theatre, 11272 Santa Monica Boulevard, West Los Angeles, 90025 (310) 473-8530, CA
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Description: Don Coscarelli’s tongue-in-cheek horror film in which Elvis meets the undead, screens at midnight
Start Time: 23:59
Date: 2013-01-18

Location: nationwide

Description: Paramount Pictures offers up this R-rated, action-oriented spin on the Brothers Grimm fairy tale. Tommy Wirkola (DEAD SNOW) directed from a script he co-wrote with Dante Harper. Jeremy Renner and Gemma Arterton star as the title characters, here portrayed as adult witch-hunters. Famke Janssen co-stars as the witch Muriel. Peter Stormare, Thomas Mann, Ingrid Bolso Berdal, and Derek Mears are also in the cast.

Release Date: January 25, 2013 (includes engagements in 3D and IMAX 3D)