Writer: Michael Feifer
Stars: Alexandra Holden, Sid Haig, Bill Moseley and Leslie Easterbrook
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Our lead is Rachel Beckwith, a television journalist in New York City who reports with flair. ‘They want drama,’ she tells her guy in the news van. ‘They want a good story.’ Unfortunately she promptly becomes one of those good stories: later that night, a strange man breaks into her house and murders her fiancé, Brian. Why this happens, we’re never told, but it clearly isn’t burglary because he knows her and has followed her on television. This mysterious subplot is promptly forgotten, though we can join some dots and eventually figure out who the intruder was. What’s important for now is that she takes time off to go back to the sleepy small town of Fillmore to stay with mum and dad and recharge her batteries. Here’s where horror fans start paying attention because mum is Leslie Easterbrook and dad is Sid Haig. Only a year earlier, they had been a couple in The Devil’s Rejects, serial killer parents of Sheri Moon’s psychotic murderess, but here they’re just Marge and George, loving parents of a victim. Talk about anti-stereotyping!
Stephen Javitz, her new boss, is in a drama too, because he’s caring support as well, albeit with a mildly creepy vibe because he has followed her career since she’s left town. He’s prematurely grey and comes off rather like a low budget Richard Gere playing a low budget Anderson Cooper. Actor John Burke is a regular cast member for Michael Feifer, and he’s as typecast as Sid Haig used to be, just in different jobs. Of his twenty films, at least eight have him playing newscasters, reporters or anchormen. Add in the law, at the police station or in the courtroom, and we’re already over half, before we even try to translate the remaining names into their occupations. He’s fine enough in this role, but I wonder why he plays it like he does. He seems to be aiming for too good to be true, as if he wants us to suspect that he’s more than he says he is. Perhaps the goal was to keep us guessing until the reveals begin, but I was never really sold on his performance because he seemed more interested in being a red herring than a character.
With Haig, Moseley and Easterbrook on board, we ought to have some seriously good acting at least but it doesn’t feel that strong. Moseley is as good as ever, as a cop so on the ball that he almost becomes invisible. Haig doesn’t find his footing for a while, maybe struggling with the concept of smiling on film: he grins more in his first scene here than he does in the entirety of Little Big Top, in which he rarely left the screen. He gets a great scene late on, when George decides to get ready for action, but it takes him a while to get there. Easterbrook takes a while to find her stride too, her best moment coming late in the film with a monologue delivered to her screen daughter at a particularly crucial time. To be fair, both suffer from consistently awkward dialogue, but they’re also professionals who give it the old college try. Fortunately, Holden is decent as Rachel because the further down the cast list we go, the less able the actors become. There’s some embarrassing acting late in the picture when it’s most offputting.
And that means that there’s a lot of bad here too, especially as we explore the second half. All that neat ambiguity is thrown out of the window when the potential of the supernatural and psychological fades into the banal. The first of a couple of twists is about as unsurprising as it comes and it’s addressed clumsily to boot; the second is weak enough and arrives late enough for us to not really care. By this point, characters are either dead or unsympathetic. The best performances during the highly clichéd last act are from children playing ghosts and, while I salute them for their effort, it only highlights how weak the major actors had become (or how weak the dialogue and plot progression given to them had become; it would be difficult indeed to do some of this material justice). There are even odd bleeps littered around the soundtrack at this point that feel like interference on the sound equipment that the crew didn’t catch at the time; I paused my DVD a couple of times to see if it was outside but no, it was in the movie.