The recent trend of rebooting / remaking / rehashing past
franchises shows no signs of slowing down. Despite the decrying of Hollywood’s
lack of originality, the fact remains that reboots are generally met with
success of varying degrees; especially given Hollywood’s belief that today’s
generation couldn’t be bothered with the films their parents grew up with.
Therefore, it comes as no surprise that Poltergeist
is added to the ranks. However, reboots carry new sensibilities and new spins
on familiar situations; some work, some don’t. Further, to remake a film, franchise, etc., will inevitably invite comparisons to the original. In the case of this 2015 retelling of
this classic film, the proverbial devil is in the details, but unfortunately a satisfying
experience they do not make.
The situation is the exactly the same.
A family moves into a house on a new development project. However, the
house is haunted by restless spirits known as “poltergeists” which kidnap the
family’s youngest daughter. Thus, the parents resort to extraordinary means to get
her back. The original film 1982 film directed by Tobe Hooper and executive
produced and primarily written by Steven Spielberg, considered one of the
seminal horror films of the 1980s, casts a long shadow. Director Gil Kenan and
screenwriter David Lindsay-Abaire seem painfully aware of that fact, as the specter
of the original casts a shroud over the entire production, right down to the
changing of the main characters’ names and, in some cases, genders (the house
is even devoid of a swimming pool). The thing about the original film was that,
despite the supernatural shenanigans that took place on the screen, the true
horror came from the film’s allegorical take on man’s greed and duplicitous
nature, which was the payoff in the film’s climax. Here, it is addressed
one-third into the film then discarded; a clear indication that things will be different
for those who have seen the original, but by the same token robs any power this
film might have had because it gives nothing equally potent to match it. But
when one considers that Sam Raimi of Evil
Dead and Darkman fame is one of
the producers, one can expect less outright scares and more humorous, tongue-in-cheek
spooks.
Given the technological special effects advances in the past
thirty years, a lot that went implied in the first film is given a more
in-your-face, literal interpretation which, while more potent visually,
incongruously minimizes the horror empirically; though Kenan is not above using
techniques that can be currently found in a “Halloween Horror Night” attraction.
There are a lot of modern touches and sensibilities that update the story. The
use of electronics and drones that pierce dimensional barriers, for example, that
renders the film more sci-fi than horror. What (scant) scares do come stem from
the modern “jump scare” style of filmmaking, making it seem more derivative
than it already is. Though the film is not a parody, there are moments that it
seems to veer towards it. The set ups engender more anticipatory giggles than
fearful foreboding (That being said, anyone afflicted with coulrophobia would
be wise to avoid this film).
With a runtime of 93 minutes, the film seems almost like the
Cliff Notes of a story. Instead of taking the time of building actual suspense,
Kenan’s direction moves at a quick pace, as if impatient to get to the next
scary moment or “isn’t this cool” shot. If there was ever a horror film of the
modern era that suffered from attention deficit syndrome, this one is it.
Unfortunately, another aspect as to why the scares are deficient stem from the fact that it's hard for a viewer to become invested in one-dimensional characters who are engaged in hinted-at character arcs that do not allow for any emotional payoff. As patriarch Eric Bowen, Sam Rockwell is
basically playing Sam Rockwell, and an annoying one at that. His performance is
so lackluster the viewer has no clear indication as to where he’s emotionally at.
As his wife Amy, Rosemarie DeWitt is appropriately distraught, fragile, and
fallible. The most charismatic performance comes from Kyle Catlett as the precocious
and endearing Griffin Bowen, who’s perhaps the most capable of the entire
family and has the closest thing to a character arc. Kennedi Clements as
Madison Bowen is cute and vulnerable, which seems to be the only requirement
for this character in either version of the story. The only other performance
that stands out is Jared Harris as the “exploitive-television personality-paranormal
investigator-John Edwards” analogue Carrigan Burke, who takes the place of
Zelda Rubinstein’s “Tangina” from the original. His character is earnestly entertaining;
however, what character arc he has and shares with fellow paranormal
investigator Dr. Brooke Powell (Jane Adams), is given lip-service only with a
relatively minor payoff.
Poltergeist is, in a word, perfunctory.
At best, it’s a superficial, gee-whiz yet lackluster summary of a story that unfortunately has
no meat to it. What is missing is any empathy for the characters or their situation,
or any subtext that the best horror films are infused with. Unfortunately, cheesy
though the effects may be to the modern eye, the specter of the original 1982 film hangs
over this one like a shroud, and not even an exorcism can salvage it.
