Sinister 2 – Review

More often than not, horror filmmakers have a knack at finding a way to scare the viewer, to provoke a sense of anxiety and trepidation by creating a hauntingly immersive experience (or at the very least, a few cheap jumpy moments that nearly always work). However, the struggle is often in combining such terrors with a compelling, intelligent narrative. For Ciaran Foy’s Sinister 2 – a follow-up to Scott Derrickson’s initial offering three years ago – it’s the other way around, as while the story may be absorbing and resourceful, it’s the lack of horror which proves to be the biggest problem with this superfluous sequel.

James Ransone reprises his role as Deputy So & So, who, having been sacked following his involvement with the Oswalt family – who were all savagely murdered – has taken it upon himself to now investigate these strange happenings privately, hoping to prevent the chain, that young children go missing, and the remaining members of the family murdered. There’s an eerie connection made between the occurrences, and the next family seemingly marked for death, given the house they’ve moved into, are the Collins; consisting of Courtney (Shannyn Sossamon) and her two young sons Zach and Dylan – played by real-life twin brothers Dartanian and Robert Daniel Sloan, respectively. The former deputy is on hand to ensure their safety – though with supernatural, malevolent forces at play – their fate seems increasingly more inevitable with every passing day.

With Derrickson and C. Robert Cargill back on screenwriting duties, the pair have failed to present a film that will appeal to a newcomer of the franchise. Instead, there is an assumption that those indulging in this sequel are well-versed in this distinctive world, with a comprehensive understanding of the complex narrative. Though not being spoon-fed is generally a positive for filmgoers, when dealing with such a convoluted story, a little more assistance would certainly be appreciated. The lack of authentic horror, meanwhile, can be attributed to having the antagonist’s presence be physical, rather than merely felt. Sometimes what we concoct in our own minds is the scariest thing of all, yet Foy persists in showing us the feared Bhughuul (who looks like a heavy metal lead singer) and the several children he has captured and manipulated.

It’s a shame, because the film opens with a harrowing, regrettably indelible image of three bodies, tied up against crosses, only to then be burnt alive. It should set the precedence for what is to come, however it transpires that it’s the scariest moment in the entire movie – and the opening titles haven’t even rolled yet.