“Incredible” is apparently relative

By Hope Madden

The Incredible Burt Wonderstone squanders an interesting premise and a talented cast on an atonal, uninspired comedy. It’s the kind of film that generates a few grins with its general pleasantness, but never offers the kind of laugh out loud moments that let you overlook its larger flaws.

The ever-likeable Steve Carell plays Burt Wonderstone, the bewigged and bejeweled Vegas magician whose lost his love of magic just in time for his public to move on to the next big thing – Jim Carrey’s extreme magician Steve Grey (think David Blaine with self-mutilation tendencies).

It’s not a bad idea, but it is badly executed. Wonderstone can’t decide if it’s a spoof or a family film. In the end, it succeeds at neither aim.

Rather than mining for pop culture laughs, as its screenplay attempts to do in spurts, director Don Scardino wallows in sentiment. Will Burt recover his childlike wonder? Learn to appreciate what he has right in front of him? Wow back a crowd? These probing questions and others are emphasized at every turn with an overbearing score, in case you might miss the emotionally moving moments.

Part of the reason Scardino’s schmaltzy approach doesn’t work is that it’s at odds with the script itself. Gags about making foggy old ladies cry, bringing magic (rather than food) to starving children, and performing wildly inappropriate “tricks” at a birthday party – not to mention a nutty, drug-fueled finale – should have felt edgier, but they are so softened by Scardino’s family-friendly vibe that they barely leave an impression.

The cast gets credit for heroic efforts, though. Supporting players James Gandolfini, Alan Arkin, Steve Buscemi and Olivia Wilde make honest efforts to create interesting, memorable characters.

But if Carell’s egomaniac feels a little forced (it sure does!), then his change of heart feels a lot forced. Carell’s comic timing and sense of the absurd often carry him through lifeless scenes, but it’s not enough to overcome the lazily written dialogue no matter how much velvet and glitter he throws at it.

Carrey’s fun as the star of the internet program Brain Rapist (another funny bit that feels out of place), but he’s far too old to play an up-and-coming street performer. Rather than youthful competition, he looks like Carell’s white trash uncle.

Actually, both actors are 51 – also known as “old enough to be Olivia Wilde’s dad.” Or, in this case, love interest.

It’s not unbelievable, people. It’s magic.

2 stars (out of 5)

Teenage Wasteland

 

By George Wolf

 

By weaving adolescent disillusionment and dreamlike imagery into a well known history lesson rife with brutality, Lore is able to cast a gripping, often poetic spell.

Set in Germany at the close of World War II, the teenaged Hannalore becomes head of her household when her parents, due to their Nazi ties, are interred by Allied forces. With four siblings to take care of (including a new baby), “Lore” decides they must all set out on foot for the safety of their grandmother’s home in Hamburg.

Australian director/co-writer Cate Shortland skillfully crafts the cross-country trip as a story of awakenings. Lore is a proud member of the Hitler youth, and she begins the journey full of defiant pride in her homeland. When a mysterious stranger offers assistance, Lore is perplexed by mixed feelings of hate and burgeoning sexual desire.

In the title role, Saskia Rosendahl does not shrink from the responsibility of carrying the movie through her performance. We have to feel Lore’s evolution, as she begins to question everything about the life she has known and realizes the horrors hidden by her own family. Rosendahl, in her film debut, is wonderful, often able to convey Lore’s inner turmoil through little more than a glance.

Framing the story through Lore’s eyes, Shortland constructs a nimble juxtaposition between the usual ways that a teenager’s eyes are opened, and the terrible realizations the German people were forced to accept.

Shortland also makes the most of Adam Arkapaw’s sublime cinematography, filling Lore with impressionistic visuals that give the story a hypnotic, almost lyrical flow.

Before leaving the family to fend for themselves, Lore’s mother instructs her to “never forget who you are.” The journey, of course, is about learning just how deep that lesson runs.

Smart, well- acted and beautifully assembled, Lore is a compelling tale of innocence lost.

 

4 stars (out of 5)

For Your Queue: Dare we leave Rudy on the St. Pat’s movie bench?

Nothing so great releases to DVD this week (yes, Life of Pi does, but really, it was the glorious big screen 3D that made it worth seeing) so we thought, why not make some recommendations for the holiday? You can do more on St. Patrick’s Day than drink yourself into oblivion, like watch some fascinating Irish movies. Although, to be honest, there’s a fair amount of drinking going on here, too.

Let’s start with 2006’s Once, because, it addition to being a great film, it proves there’s more to Irish music then tales of death, dismemberment, and death by dismemberment. Glen Hansard and Marketta Irglova (known on real-life concert stages as “The Swell Season”) star as unnamed musicians who, during one eventful week in Dublin, document their feelings toward each other via song. Once is a graceful, life-affirming story that succeeds where so many other have failed. It explores the mysteries of love and the wonder of music, while never sacrificing an ounce of realism.

Knuckle (2011) is the fascinating if uneven documentary about “fairfights” held among Ireland’s Traveler community. (Don’t call them gypsies.) The closed community opens up to filmmaker Ian Palmer about these wager-dependent, bare knuckle bouts meant to resolve blood feuds among clans. They seem lumbering, unchoreographed, and brutish to viewers accustomed to Hollywood bouts, but fascinating nonetheless. Filming for more than a decade, Palmer uncovers something insightful about the Traveler culture, and perhaps about masculinity or warmongering at its most basic.

In The Guard (2011)–  a very Irish take on the buddy cop movie – a dream cast anchored by the ever-reliable Brendan Gleeson wryly articulates a tale of underestimation and police corruption. Gleeson is a joy to behold. His dry wit and take-me-as-I-am approach produce a world class curmudgeon, to which the also excellent (as always) Don Cheadle plays a perfect foil. Truth be told, the story is a bit of an afterthought. The Guard is a celebration of tart Irish humor and character; the actual plot merely provides the playground for the fun.

Leprechaun (1993) Almost forgot about death by Leprechaun! As trivia buffs know, this is Jennifer Aniston’s film debut.

Rudy (1993) Okay, fine, here’s Rudy. This is the film debut of Vince Vaughn, who co-starred with Aniston in..what movie?

The Break-Up, correct! Now do a shot of Jameson, smartypants!

So that happened…Chirpers 2: Electric Boogaloo

There’s been much hubbub around LinkedIn’s decision to blast an email congratulating “elite” members with notifications that their pages were among the site’s 1, 5 or 10% most viewed profiles. This notification coincided with LinkedIn’s celebration of breaking the 200 million member mark.

Many have pointed out that 10% of 200 million is a lot of people, which could make one feel less special, until they realize that the bottom 90% is even more people, so whatever. LinkedIn really just wanted to make you feel good about yourself so you’d subscribe to another of their services – one you pay for – but honestly, more people look at your profile than mine, so congratulations.

I bring this up, though, because of my office neighbors, the Chirpers.

These are the young telephone sales women who sit in a cluster of cubicles just outside my office door.

Chirper #1 (Alpha Chirper) announced loudly from her cubical, into the open workspace around her – teeming with people actually doing work – that she’d received such a notification from LinkedIn.

“Hey! LinkedIn just told me I have one of their top 5 most viewed profiles.”

It’s 5%, but you know, who’s picking nits here?

“Wow, that’s really great!” responds Chirper #2, with practiced awe.

“Yeah?” Chirper #1 retorts, full of indignation.

Again, let me point out that these humans do not stand up, visit the other’s cube, and converse. They shout over their mini-walls so loudly that I, in a neighboring office with my door closed, cannot help but hear them.

Especially when I am clearly eaves dropping.

“What?” Chirper #2 queries.

“Well, if that’s true, then why do I still have this job?!” answers  the miffed #1.

You are not in private, ladies.

Indeed, you are in a public space at the very job you apparently would like to use LinkedIn to escape.

Plus, has C#1 forgotten her important role as chief inspiration for our Department of Mockery?

Stay classy, Chirpers, and may your insatiable lust for attention forever draw eyes away from those countless hoards who do their slacking in secret.

Like, say, behind a closed door…on a keyboard…writing a blog.

But did you see what she’s wearing???

 

Alphabetizing Slaughter with Mixed Results

by Hope Madden

A project built from short horror films is nothing new in Columbus. Local groups routinely gather would-be filmmakers, provide a theme and set them loose.

Set such a thing on an international stage, draw on some of the best new (and new-ish) genre filmmakers, and you have The ABCs of Death, an uneven but fascinating smattering of horrific ideas, each tied to one letter of the alphabet.

Strap in, though. Twenty six films turn out to be quite a lot in one sitting, even if they clock in at around 4 minutes apiece. Some felt as swift as that running time suggests. Others seemed to go on for an unendurable length of time. (I’m looking at you, letter L.)

But any who’s who in horror, from semi-established international talent (Xavier Gens, Banjong Pisanthanakun, Ernesto Diaz Espinoza, Ben Wheatley, Nacho Vigalondo), to a mishmash of American filmmakers (Jason Eisener, Ti West, Adam Wingard), is bound to offer hit and miss results.

Take Noboru Igushi’s clip, example.  F is not for favorite.

Igushi is just one of several filmmakers (including two animators) distressingly preoccupied with toilet matters. Ti West – a study in the law of diminishing returns – likewise fixates his tale for the letter M. Of the many bathroom-related flicks, only Lee Hardcastle’s claymation vision “T is for Toilet” is worth watching.

Others segments pack a punch, though. Among the best are Marcel Sarmiento’s gritty but satisfying “D is for Dogfight”, Gens’s bodily horror “X is for XXL”, and Jake West’s fascinating reality check “S is for Speed”.

Timo Tjahjanto is one of several filmmakers linking horror and porn in a way that implicates viewers, and his effort, “L is for Libido”, is a mixed result. Perhaps with just 4 minutes, a sledgehammer approach to the point was needed. But I doubt I would have made it through the film had it been much longer, so that’s not really a complaint.

Yoshihiro Nishimura proves he knows how to make the most of his miniscule running time. No, size does not seem to matter in Z is for Zetsumetsu (Japanese for extinction), the film that packs more confetti exploding inflatable knife penises in four minutes than any film since Hannah and Her Sisters.

Good thing his flick was last. It’s hard to picture anyone following that batshit crazy piece of filmmaking.

3 stars (out of 5)

He’s the Wiz and Nobody Beats Him!

by Hope Madden

It takes balls to follow up Victor Fleming’s 1939 masterpiece The Wizard of Oz. A classic in so many ways – from its astonishing visual storytelling to its iconic characters to its oft-belted songbook – the film remains among the most beloved in American moviedom. More importantly, it introduced perhaps the greatest villain in cinematic history, the awe-inspiring Wicked Witch of the West.

Director Sam Raimi sets out to prove he has a pair with Oz: The Great and Powerful, a prequel to the classic that details the wizard’s earliest escapades in Oz.

Beginning and ending with its pop-up book inspired credits, Raimi’s film boasts a hokey visual charm appropriate for its vaudeville-esque hero.  Raimi employs state of the art technology to wow in the way inventive backdrops filmed with brand-spanking new Technicolor caused jaws to drop in ’39, forever imbuing his cutting edge visuals with an enjoyably retro quality.

Oz also mimics its predecessor’s format: opening in black and white Kansas, introducing characters that will feel oh-so-familiar once we’re in the topsy turvy land of Oz, before landing in the hyper-saturated color and 3D majesty of fantasy.

No songs, though.

Still, it’s not just the visual element that made the original a classic, and 2013 audiences are pretty used to being wowed visually. What else has Raimi got?

A pretty impressive cast, actually, though few feel right for their characters. Oscar winners and nominees mix with established character actors to populate the overripe landscape, but most of them are filling some pretty big shoes.

A likeable James Franco keeps you interested, but he lacks any real sense of showmanship or seediness as the morally conflicted Oz, carnival shyster turned powerful wizard.

The always wonderful Rachel Weisz comes off best as the intriguing enchantress Evanora. The also extravagantly talented Michelle Williams really struggles, however. She tries to keep Glinda’s spirit intact without becoming too restricted by Billie Burke’s originating (let’s be honest, annoyingly sugary) performance. I’m not sure she succeeds.

It’s Mila Kunis, though, who stumbles most – a crippling misstep in casting.

But Raimi gets points for the sheer joy in his storytelling and his effort’s obvious love for both its predecessor and the work of writer L. Frank Baum.

The vividly animated adventure offers enough energy and entertainment to shake off these snowy March weekend blahs. It will hardly stand the test of time the way the original has, but it’s a fun way to waste a couple hours right now.

3 stars (out of 5)

What happened to last year’s History teacher?

 

By George Wolf

 

After great films such as Lincoln, Argo and Zero Dark Thirty last year, 2013 has big shoes to fill in the historical drama department.

Emperor, despite the best of intentions, is not a good fit.

Based on the book His Majesty’s Salvation by Shiro Okamoto, the film is set at the end of World War II. Japan has surrendered, and U.S. Supreme Commander Douglas MacArthur has mere days to advise the President on the fate of Japanese Emperor Hirohito.

MacArthur assigns General Bonner Fellers (Matthew Fox) to conduct a quick investigation into whether or not Hirohito should be considered a war criminal, and then in all likelihood, executed.

The story is built around Fellers and his mission, relegating the iconic MacArthur to supporting status. Casting the legendary Jones as MacArthur makes sense, but it only adds to the pressure on the actor portraying Fellers. He must not overshadow the Supreme Commander, yet still craft his own character finely enough to hold your interest.

Neither Fox, nor the script he’s working with, get it done.

While we follow Fellers on his quest to decipher just who deserves blame for leading Japan to attack Pearl Harbor, we end up wondering what MacArthur is up to. It doesn’t help that screenwriters Vera Blasi and David Klass insert flashbacks to a romance between Fellers and a young Japanese woman he met during his college years.

The romance is meant to give you a deeper understanding of Fellers, but it’s so tepid and by-the –numbers it ends up feeling totally unnecessary, a point which is driven home by how quickly MacArthur brushes it off when he learns of Fellers’s possible conflict of interest.

Maybe the most curious aspect of Emperor is that it comes from director Peter Webber, who so artfully crafted 2003’s The Girl with the Pearl Earring. That film emerged as a beautiful period piece, but much of Emperor just doesn’t pass the eye test. From the sets to the clothes, it often looks cold and esoteric, further hampering any emotional connection.

The historical films of last year proved that even though endings may be well-known, great storytelling and inspired performances can result in renewed suspense and emotion.

Emperor just doesn’t have the horses.

2 stars (out of 5)

For Your Queue: It’s like when you had Pac Man Fever, but without the rash

An animated feature with incredibly broad appeal releases to DVD this week, and if you missed Wreck-It Ralph in theaters, now’s a chance to make amends. This video game fantasy has its roots in a tale of misfit friendship that promises to keep every audience member engaged. Vocal talent John C. Reilly, Sarah Silverman, Jane Lynch and Jack McBrayer are perfect in this vivid adventure. Meanwhile, director Rich Moore throws enough color and action at the screen to fascinate the very young, and more than enough video game odes to appeal to the newest generation of parents (and any thirtysomething not yet in that category). This is sly, engaging storytelling at its best.

For a more serious take on video games, don’t miss The King of Kong: A Fistful of Quarters , director Seth Gordon’s 2007 documentary on the quest to hold the world record high score in Donkey Kong. Gordon (Identity Thief, Horrible Bosses) lets the characters and events speak for themselves and, as the best docs often do, the film unveils a world you may not have known existed. In many ways, The King of Kong is a perfect microcosm of American culture. The fact it’s also funny and truly fascinating makes it nearly impossible to resist.

So that happened…A Dead Guy at Shake Shak

When my twin sister Joy and I were high school freshmen, our older sister Ellen – by then a teacher in another town – got us jobs at the ice cream stand where she’d worked throughout high school, the Shake Shak.

For a couple of high school freshmen, working at the Shake Shak was about as dreamy as dating Johnny Depp in his 21 Jump Street glory. We were almost entirely unsupervised and were, therefore, free to consume soft serve, hot dogs, and shredded chicken sandwiches until the preservatives leaked from our pores. And we did.

The gig also had its negatives. The criminally meager pay, for one, but the primary flaw was the odor. Walking inside the door of the building’s tiny metal back end doomed you to reeking of coney sauce until showering. Forget about picking up your check and then heading out for the night. One foot in, and the clothes had to be burned.

That back half of the building – concrete floors surrounding the giant freezer; metal tables supporting vats of the saucy meat product – stunk the worst. The front half benefited from a breeze via the sliding-window openings in the three walls of glass where patrons placed the orders – decisions they’d come to after pondering our wares from dozens of fading, grime-covered fliers taped to the window fronts.

Joy and I worked evenings and weekends, which, coincidentally, were the shifts owner Jon Drummer was too cheap to stock with a manager. No, sir, strictly teens being paid well, well below minimum wage.

Joy and I worked with scary Cara, the high school senior who sold drugs from the drive thru window and filled her pockets with every twenty dollar bill in the register before leaving work at shift’s end. I began smoking at 14 because of Cara Bloomville. She handed me a cigarette one day and I obeyed.

Cara loved Iron Maiden and, therefore, hated everything else the 80s vomited forth as metal. She used to sing a song to herself as she worked, one she’d written to the tune of Bon Jovi’s “Wanted Dead or Alive”:

I’m a faggot

and my name is Jon Bon Jovi

and I got AIDS

and I’m gonna die

 

Aside from hair metal, Cara hated Dawn, this cheery, pastel-wearing co-worker who beamed with an earnest sense of accomplishment and high self concept. She was easy to loathe.

I had the great joy of working the shift where Cara, apropos of nothing, called Dawn’s name in an unusually cheerful tenor. It was the chipper tone that caused me to put down my Star Hits magazine featuring a new Duran Duran foldout and take note.

Dawn spun about with her trademark effervescent zeal, only to face a double barrel onslaught of condiments. Cara wielded a catsup in one hand, a mustard in the other, and squeezed those bitches like their contents might put out a raging fire.

Or one super sparkle smile.

But Dawn simply skipped back home to change, her house sitting beyond the large yard out back where Jon kept a couple of rickety picnic tables and a rusted green dumpster. On lucky days, Jon – shirtless, sweaty, and unmistakably obese – would mow that patch of grass between Shake Shak and Dawn’s house. I would Brillo that image from my very eyeballs if only I could.

Filling out the cast of characters was another set of twins – hillbilly sisters. One sister was constantly scarred up with hickies. She was a redhead and for the life of me I can only remember her as Reba. This is not her name, but I somehow replaced her name in my head, and so, now and forever more, Reba it is.

Her sister was just an idiot. I don’t remember her name, either. Idiot will work. Reba I liked, but Idiot was intolerable. She pinched off chunks of shredded chicken sandwich and then put her sandwichy fingers in her mouth. She smiled with the seductive naivety of an adolescent with pubescent hormones and pre-school brain function. I found her repellant.

Her friends, though – the half dozen or so that loitered in front of the building eating ill-gotten treats whenever either sister worked – they were a riot!

Idiot’s boyfriend got into an argument about Monster Trucks (presumably), in front of our glass-encased building and eventually pulled out nun-chucks. Nun-chucks! How awesomely white trash is that?! He was even wearing tube socks and a wife beater. That part is probably inaccurate, but he totally had nun-chucks. And a mullet.

So he hit some guy and blood slapped across the window front like something from one of Cara Bloomville’s condiment guns. At which point the group out front scattered like cockroaches, but it was glorious while it lasted.

And so it was, a smattering of rubes congregating in front of the order windows, one day as I shared a shift with my sister and Reba. The lesser sister stood outside the open order window pilfering free food, when one of her buddies said, “Do you know there’s a dead guy out by the dumpster?”

I responded with the contemptuous grimace I’d been working on, which would eventually become my go-to response to all queries. He mistook it for a quizzical, perhaps ignorant, expression.

“Out back. By the dumpster. There’s a dead guy.”

I tried again to chill him with my withering glare of superiority and hate, but the others had heard, and so the situation suddenly required investigation.

Several more members of the Free Food Rabble moseyed to the back of the building to have a look while, indoors, Joy, Reba and I began to wish Cara Bloomville were working. Just in case. Surely it was a lame joke, or else there was a passed out drunky. No doubt he’d take off with the approach of the mob.

Still, Cara probably knew what to do with a dead body.

“Yep,” informed Jimmy Slackjaw. “He’s dead. I burped in his face and everything.”

OK, his name is not Jimmy Slackjaw, but I swear to God, that’s what he said.

Idiot concurred. “No, seriously, you guys…” she began, with her trailer park sultry overemphasized s sound. “He’s dead.”

The overfed, under-appreciative group looked to us to take charge of the situation. We chose not to respond. They eyeballed us with disdain. We closed the order windows and hid in the back end of the building with the meat vats.

The Hick Posse got bored and wandered off, but the three of us couldn’t quite enjoy the taste of our Oreo blizzards or butterscotch dip cones. What if we really were trapped inside a glass building while a corpse rotted in the summer sun out in our parking lot?

Surely it wasn’t so.

Joy, Reba, and I opened the back door and, clinging one to another, peered around it to see how much of the mysterious body we could glimpse.

None of him.

Nobody was there. We were sure of it.

How could we really be sure of it, instead of lying to ourselves as we clearly were doing at this point?

We called Dawn. Our strategy was to lure her over under the pretense of friendship. She’d have to walk right past the dumpster on the way.

Dawn wasn’t home. She was at synchronized swimming lessons.

Of course she was!

We’d have to do this ourselves. It would require leaving the building.

We stepped as one teal-wearing, coney-smelling body toward the dumpster. Reba saw a shoe.

We screamed, arms flailing, and stumbled over each other back inside.

Should we have phoned the authorities at this point? Undoubtedly, but this is why you don’t leave your business in the hands of three Tiffinite teens.

“We should call Cara,” Reba recommended.

“Go ahead,” I tentatively agreed.

“I’m not calling her. You call her,” she told me.

“Fuck that.”

“You should call her, Hope. She’s friends with you,” Joy counseled.

Really? Did Cara Bloomville like me?

“She’s lying,” Reba clarified. “Everybody likes Joy best.”

But Joy wasn’t calling. And at no point did it occur to any of us to call the shop owner.

Based on what amounted to my experience with similar situations, I explained to Joy and Reba what was bound to lie ahead.

“Dawn will stop by on her way home from synchronized swimming. She’ll see him and tiptoe in closer, hoping to help. He’ll reach out with the cold grip of someone returned from the dead, and he’ll kill her.

“We’ll hear the screaming and open the door, only to see his limping, tattered rage as he turns his attention to us.

“We’ll slam the door, but he’ll begin pounding relentlessly. He’ll circle the building. We won’t be able to go near the window. He’ll slap wildly at the glass out front, and then all will go silent.

“Terrified, we’ll lock ourselves in the freezer, but eventually we’ll hear Cara at the back door, wanting to get in for her check. She’ll curse and bitch about how slow we are. We’ll hear her voice trail beside the building, out around front, and then we’ll hear the wet thump of her mangled body against the window. We’ll scream and scream, utterly incapable of saving ourselves as he uses her lifeless corpse to bust through the glass.”

“Let’s go back out,” Reba whispered.

We gumptioned up and headed back out, this time with a small amount of air between each body. I took the lead, but would walk only so far ahead of Joy that I could still reach back and grab her. She kept a similar distance from Reba. We inched forward.

There was definitely a whole guy attached to those dirty Converses. He was on his side, wearing ratty athletic shorts and a green tee shirt. He was freakishly pale. Fishbelly white. Nasty white.

We threw a stone. Nothing.

We called to him. Nothing.

We called and threw more stones. We offered him ice cream. We asked him to please, please get up and go away. We huddled desperately together and decided one of us had to touch him.

We had to know for certain to intelligently determine our course of action.

It was the obvious next step.

I would be the one to go.

Why was it me? Why was it always me?!

I made my move toward the heap of dude. I crouched. I looked back at the clinging JoyandReba mass behind me in the parking lot, the door to the building behind them ajar and letting out waft after waft of coney stench. I looked back at the dead guy at Shake Shak.

His eyes were open.

“You didn’t call the cops, did you?”

 

White Trash Family Enlivens Dull Horror Flick

 

by Hope Madden

Three years ago, an indie flick took a few well-worn concepts – found footage, cults, backwoods spooks and Satan – and pieced together the surprisingly creepy The Last Exorcism. This weekend, its sequel, The Last Exorcism Part 2: This One’s Really the Last (they may have dropped that subtitle), shares what happened next to poor Nell Sweetzer and her demon lover.

Well, she (Ashley Bell, who was truly wonderful in the original) starts out by scaring the living shit out of a suburban couple – promising! From there, though, it’s a home for horny teenage girls and voodoo – which actually sounds a lot more interesting than it turns out to be.

The original benefited from performances far superior to the source material. Not only was Bell tender, vulnerable, brittle and oh-so-contorted-and-creepy, but her co-stars were magnificent. Patrick Fabian, in particular, as the charlatan exorcist finally coming clean, gave the film a heartbeat.

Unfortunately, those characters all died in the first movie, leaving Bell with little more than a new, uninteresting director; a new, uninspired set of writers; and a new, mostly bland cast to help her finish up Nell’s tale.

Unconvincingly playing a character ten years her junior, Bell struggles to create the believable center needed to anchor nutty horror shenanigans. She gives a solid performance – again fragile and yearning – but the contortions are gone.

What? Well then, why the hell even do this? What’s the point in making an exorcism film if we never get to see the possessed writhe around, snapping joints and freaking us all out?

That’s just one of the unexplained mysteries the film poses. Others include the age old: what possesses parents to taking their bottle-drinking tots to late night screenings of horror films? What is an audience member to do when the toddler screams in genuine terror throughout most of the film? How wrong is it to slap a mother in the face when she says, loudly, to her man, “I don’t know what the fuck’s wrong with him?” The baby. She’s talking about her terrified baby, (up way past his bedtime, no less).

Mother of the year, people. Womb of a future mass murderer.

The sad thing is that her negligence was more interesting than the film. So why fork over the cash to see this one in the theaters when you can be equally horrified by the behavior of some white trash family? Surely it’s cheaper to find one of those.

2 stars (out of 5)