In the whole, the original “Poltergeist” film is about suburban chaos—an almost-palpable, truly American dread that has the film’s creators, Spielberg and Hooper, jump in on a cutesy little feud on who’s-who to stake claim on a nice minute of Joe Dante glory. (I’m on team Spielberg, just to set things straight!) The new film from director Gil Kenan is about chaos in general, and just about every steps-back modernity has offered, every leak it has sprung: economic meltdowns, torturous dinners with couple-friends, and the dismal Reality Television, which I feel furious about, for when it so blatantly thieves the original’s most famous line: “this house is clean.”
This remake’s jammin’ Zelda Rubinstein’s frequencies, God rest her soul.
But let’s give the director of “Monster House” (Kenan) and screenwriter of “The Rise of the Guardians” (David Lindsay-Abaire) some deserved credit. There is complete self-awareness in the script, fronting both the backstory and mechanics with which the later poltergeist intrusion works. However, the film also forms in such a half-hearted manner, somewhat uncertain of how to use the ginormous finances at hand—you know what, let’s bring in a drone…everyone is jizzing their pants for those little toys!—in order to ultimately justify(?) a most dreaded film title suffix they put next to the word ‘poltergeist.’ The makers of the new film are essentially moving the stone heads and leaving the corpses behind. Or, to put it short and blunt, the film is the quintessential cash-grab horror film.
The family subject to the spirits’ wrath is a typical white American family who, unlike in the first film where Craig T. Nelson’s quadra-phased village is thriving, lives in a village where foreclosures happens like wildfire. (Sidebar: there’s a brain fuck possibility that this was intended as a four-quel). Eric (Sam Rockwell) and Amy Bowen (Rosemarie DeWitt) move in with their three children in a still featurable, cut-out, two-storey home in a no-longer idyllic suburbia. Strange things begin to happen, some encounters already familiar to anyone who has watched any haunted house horror film of recent: technology going haywire, creepy clowns hustlin’ on their creeping business, and silent-silent-boo! tactics that have grown too tiresome in the couple of years.
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In all fairness, the film attempts to give proper ode, though somewhat doggedly, to the original 1983 film on which it is based. Maddy (Kennedi Clements) is the film’s stand-in for somehow recreating the perfect fusion of fear and wonder in Carol Anne’s singsong-y “they’re heeeeere” from the Hooper/Spielberg film. She has siblings too, like in the original, whose memory you hold only as Maddy’s bantering, whining brother (Kyle Catlett) and sister (Saxon Sharbino). Maddy gets devoured by a wall because she befriends the flat screen TV, and what force of irony is it that a paranormal expert (Jane Adams) reaches out for the help of a reality TV celebrity (Jared Harris)?
“Poltergeist” is so latched on its title despite the begrudging fact that without such iconic identifiers you wonder if it is a remake rightly of its name, something that James Wan’s “Insidious” and “The Conjuring” sort-of already did, or yet another rip of the sick brainchild of Hooper’s present nihilism and Spielberg’s elusive wonder. As both, the film does not entirely triumph.
Children, cross over back to the original. All are welcome.
https://www.youtube.com/watch?v=aTz4zg-DSxE
