Editorials
“They’re Back!”: Celebrating 30 Years of ‘Poltergeist II’
Good sequels are a rare breed. Most attempts fail to capture the essence, charm, and magic of the first film, failing to live up to the expectations that audiences hold. And in those cases, it’s often a shame. There are great stories that have huge potential to be expanded upon, revealing backstories, parallel storylines, and who knows what else? And it’s a shame when the stars don’t align and we’re left wanting.
But then there are sequels that actually hold up in a lot of ways to what was originally produced. Some exceed expectations while others meet them, but no matter what, the audiences are left feeling like they’ve gotten a bigger piece of the greater story.
Such is the case with Poltergeist II: The Other Side, the 1986 sequel to the Steven Spielberg-produced, Tobe Hooper-directed smash hit of 1982. And while many don’t hold it in as high of an esteem, I personally really enjoy the movie, which goes into some rather twisted directions.
Directed by Brian Gibson, the movie continues the story of the Freeling Family after their terrifying supernatural ordeal in Cuesta Verde, CA. Unable to maintain his real estate license and forced to sell vacuum cleaners door-to-door, Steve takes the family to live with Diane’s mother in Arizona. Their constant struggles with the insurance company, who argue that their previous home wasn’t destroyed but is instead “missing”, has left them in a financial pickle.
As their insurance woes continue, Diane’s mother suddenly passes away one night, an event that Carol Anne seems to have known about before anyone else, especially when she talks to her grandmother’s spirit on a toy phone mere moments after giving her a farewell kiss.
This loss sets off a storm of events that bring the evil spirits from the first film back after the Freeling’s, even though they are hundreds of miles away from the origin. But “The Beast”, who takes the physical form of Reverend Henry Kane, isn’t done trying to get Carol Anne and will do anything it takes to take hold of her soul.
Something of interest with Poltergeist II is that it expands upon the Indian burial ground concept that the first film was thought to have. The reality is that Poltergeist never mentioned the graves being part of an Indian burial ground. This was simply a myth that gained widespread traction, so much so that the sequel embraced the idea, turning it into something nearly as eerie.
The expanded storyline is that Reverend Kane convinced a large group of people that the Judgment Day was fast approaching, so he took them all into an underground cavern, where they all perished a slow, lingering death due to dehydration, starvation, and exhaustion. His evilness was so great and persistent that it turned him into a monster after his death, one that was capable of hosting “The Beast”, a force that, “…comes in many forms.”
The only connection to Native Americans that the film offers is in the form of Taylor (Will Sampson), a shamanistic character who protects and aides the Freeling’s through these difficult times. But that’s really about it. Even a casually mentioned Native American massacre has nothing to do with the overall story. It’s just…there.
If you haven’t seen Poltergeist II, you’re missing out on Reverend Henry Kane, who is, in my opinion, one of the creepiest villains in horror history. His little jingle, “God is in his holy temple…” is turned into a horrifying chant used in the soundtrack itself, as though those poor souls who died for Kane’s misguided beliefs are still bound by his creed.
Then, when Kane appears in his “true form”, the stumpy demonic vomit creature that was designed by H.R. Giger, it’s both horrifying and, as a horror fan, truly exciting and eye-grabbing.
Both Craig T. Nelson and JoBeth Williams play their roles with enthusiasm and gusto while Heather O’Rourke (who tragically died after the release of Poltergeist III) is just as innocent and doe-eyed as she was in the original, making the assault against her all the more distressing. Alas, Domnique Dunne, who played Dana in the first film, wasn’t able to reprise her role as she was killed the same year the original came out.
Overall, Poltergeist II: The Other Side is a really solid sequel that delivers scares, great characters, and interesting ways to expand the story. You’ll just have to suffer through a quintessentially hokey 80’s ending. Floating through heavenly mist to defeat the evil because you have familial strength? Really?
New month, new horror recommendations from Deep Cuts Rising. This installment features one random pick as well as four selections reflecting the month of May 2024.
Regardless of how they came to be here, or what they’re about, these past movies can generally be considered overlooked, forgotten or unknown.
This month’s offerings include a self-loathing serial killer, a violinist’s murderous ghost, and a postmodern vamp flick.
Scream, Pretty Peggy (1973)
Pictured: Ted Bessell and Sian Barbara Allen in Scream, Pretty Peggy.
Directed by Gordon Hessler.
The TV-movie Scream, Pretty Peggy first aired as part of ABC Movie of the Week. Bette Davis plays the mother of a reclusive sculptor (Ted Bessell), and after the previous housekeeper goes missing, a local college student (Sian Barbara Allen) fills the position. Little does she know, though, the young employee’s predecessor was murdered — and the killer is still on the loose.
Admittedly, Scream, Pretty Peggy isn’t difficult to figure out; its inspiration is obvious. However, Bette Davis’ overstated performance and the son character’s macabre artwork are enough to stay tuned and learn who’s behind the killings.
Scream, Pretty Peggy is now available on physical media from Kino Lorber. Perhaps watch the movie with your own mother this Mother’s Day (May 12).
Paganini Horror (1989)
Pictured: The ghostly killer in Paganini Horror.
Directed by Luigi Cozzi.
For National Buy a Musical Instrument Day (May 22), check out this absurd Italian entry in the subgenre of cursed music horror. A rock band unleashes hell when they unknowingly use a satanic piece of music composed by Niccolò Paganini, the violinist who was rumored to have made a Faustian deal.
Even though Paganini Horror is hardly deemed a standout of Italian Horror, and the movie indeed drags itself toward the finish line, there are some bright spots worth focusing on. For instance: Donald Pleasence. If that’s not enough, the very ’80s aesthetic helps gloss over the flaws in Daria Nicolodi‘s uneven script.
Paganini Horror is now on physical media from Severin Films and is also streaming on SCREAMBOX.
Nadja (1994)
Pictured: Suzy Amis Cameron and Karl Geary in Nadja.
Directed by Michael Almereyda.
These vampires may or may not cast a reflection, but they sure do love to reflect. David Lynch executive-produced as well as briefly appeared in the film, which Roger Ebert succinctly described as “Deadpan Noir” in his review. This tale of revenge and philosophical pondering begins with the vampiric namesake (Suzy Amis Cameron) seducing the daughter (Galaxy Craze) of Van Helsing after he killed Nadja’s father, Dracula. From there a war erupts between the two sides, all while taking place in modern NYC.
Nadja is quite slow but also just strange, stylish and creative enough to keep your attention. In addition, the trip hop soundtrack is easy on the ears, and Peter Fonda plays a memorable Van Helsing. Overall, this is a unique and artsy approach to vampire horror.
Nadja is now streaming on Freevee.
The Bone Snatcher (2003)
Pictured: Scott Bairstow, Warrick Grier and Rachel Shelley in ‘The Bone Snatcher’.
Directed by Jason Wulfsohn.
For National Sunscreen Day (May 27), dig up the monster movie The Bone Snatcher. It will take more than a high SPF to protect the sunburned characters here; they are stuck in a South African desert with a bizarre monster called the Esikhulu.
The best things about The Bone Snatcher are its setting and the creature. This beast, which is brought to life on screen using a combination of practical and digital effects, sports a ghastly design to go with its unnerving ability to animate skeletons. Something else this movie has going for it is a refusal to show the monster too often; that way there is less chance of becoming desensitized to the Esikhulu. Ultimately, this has nothing on John Carpenter’s The Thing, however, those more forgiving fans of Syfy-ish creature-features should be satisfied.
The Bone Snatcher is currently streaming on Tubi.
#1 Serial Killer (2013)
Pictured: Jason Tobin in #1 Serial Killer.
Directed by Stanley Yung.
May is AAPIM, and the subversive #1 Serial Killer (originally titled Chink) is relevant when discussing the “Invisible Asian” notion. Acknowledging the irony, Stanley Yung’s movie has gone widely unnoticed despite its potent take on race and identity.
Jason Tobin (Warrior) delivers a compelling performance as the vile protagonist here. The self-hating, Ted Bundy-admiring character discriminates against other Asians after years of mistreatment and disregard, and that growing rage finally manifests as cathartic violence.
#1 Serial Killer is currently available at digital retailers like Apple.
No genre is as prolific as horror, so it’s understandable that movies fall through the cracks all the time. That is where this recurring column, Deep Cuts Rising, comes in. Each installment of this series will spotlight several unsung or obscure movies from the past — some from way back when, and others from not so long ago — that could use more attention.
‘Infested’ Review – One of the Best Spiders Attack Horror Movies in Years
‘The King Tide’: An Island Town Rots with Moral Decay in Canadian Folk Horror Fable [Review]
Limited Edition Morticia & Wednesday Addams ‘Monster High’ Dolls Releasing Next Week!
TWO New ‘Evil Dead’ Movies Now in the Works; Sébastien Vaniček & Francis Galluppi Directing
“AHS: Delicate” Review – ‘The Auteur’ Gives Birth to a Lackluster, Laughable Finale
You must be logged in to post a comment.