Review of Poltergeist (2015) by Arthur P — 17 Apr 2016

Being a big fan of the original yet not one to be fond of remakes, I had to see just what treatment would be given to a new rendition of a film like Poltergeist (1982).

There is nothing transcendent about Poltergeist simply because there was never going to be from the start. For one thing the budget is too small for it to become a breakthrough visual spectacle, even though it has enough natural visual grace to boost credibility. The fault lies predominantly in the story as anyone can tell that Poltergeist is not a film which needs to be remade. The original was one which used breakthrough visual effects and powerful music to drive its thrills while the plot was one that relied strictly on formula. However, it is one of the original films which established the formula and paved the way for the future of paranormal horror films while the remake is one which embodies it with too many stereotypes that essentially every viewer should be familiar with by this point. There is no originality to seek out in any major aspects of the film since it relies on the archetypes of its story and characters, as well as limited visual appeal to sustain it, establishing a meandering experience. It isn't a film which overstays its welcome, it just wasn't one that viewers would care to welcome in the first place. One of the smartest things about the original Poltergeist was the underlying mystery as to why the house was haunted before the big twist is revealed in a horrific climax. Given that such a twist is one of global recognition, there is no room for a surprise in it with a remake. It's like when Gus Van Sant remade Psycho (1960) in the year 2000 when everyone had grown to know the iconic plot twist of the story which removed the element of surprise for the remake, and Poltergeist displays Gil Kenan proceeding to do the exact same.

David Lindsay-Abaire's adaptation of the Steven Spielberg story attempts to play on the expectations of viewers familiar with the origina. Rather than following the story directly, Poltergeist moves certain horror dynamics around in an attempt to surprise viewers. Alas, it proves to be a simplistic gimmick which carries no consistent dramatic strength for the film. It's respectable that Gil Kenan's film chooses to follow its own path while remaining faithful to the original story, it's just not entertaining. This "revisionist" remake is simply not innovative enough to substantiate its reliance on formula and familiarity. Even if this film came out in 3D, watching it from a 2D perspective makes it all too obvious how unnecessary the entire gimmick is.

Poltergeist is certainly a well-made film, but due to relying on a plot made predictable by both its reliance on formula and a pre-established narrative, the feature is way too much of a formulaic piece in the end. Were it not a film which carried the title of Poltergeist then it would have earned better ratings for tackling an older style of horror film, but is simply an example of a film with unnecessary existence.

Poltergeist is an odd film to experience because everything about the production from its style to its performances proves to be very competent with the limited setting making use of atmospheric cinematography, a tense musical score and strong visual effects. Yet even with this much credibility on a small budget, it's just the wrong film to be spending it on. The entire experience is a formulaic and predictable experience without the clever twists of the original, great musical score or Academy Award nominated visual effects. Lacking even so much as any major technological innovation, Poltergeist is really just hard to recommend for anything. And given that the entire film feels like it is heavily influenced by the recent release of the critically acclaimed The Conjuring (2013), it relies too heavily on the success of other films to carry any major standalone meits.

One other issue is the fact that the role or originated by the late Heather O'Rourke is now reduced to playing second fiddle to the whiny male child of the story. It's clear that actor Kyle Catlett has the best intentions and is simply following directorial orders with his role, but the script condemns him to being a thin childish archetype who lets out repetitive screams but no intelligent dialogue. It's a waste of the young actor's talents as he proved his capabilities in the titular role of The Young and Prodigious T.S. Spivet (2013), and though he comes off as being a genuinely terrified child it becomes hard to sympathise with him when he is just that annoying. Still, the remainder of the cast do not create all that much to complain about.

Sam Rockwell makes a solid lead. Portraying the stereotypical nuclear father with enough of a light heart to play to the comic edge of the archetype while carrying a dramatic determination as well, Sam Rockwell manages to establish an ideal balance for his characterization of Eric Bowen. His naturally likable charm gives a friendly appeal to the protagonist of the story while his ability to convey true fear in the face of the supernatural situations of the story ties into the horror themes of the film well. Sam Rockwell instinctively manages to capture every intended theme of the film with his natural charisma, and it serves as a reminder of just how talented a performer he is.

Rosemarie DeWitt may be forced to deliver a lot of melodrama to the screen in Poltergeist, but it is something she does without problem. Jared Harris also carries his own charms, and Kennedi Clements maintains the appropriate innocent charms of the obligatory little girl.

Poltergeist may pay enough respect to the original film with a legitimate treatment of the original narrative while using enough alterations and stylish value to ensure that it stands on its own two feet, but it is yet another unnecessary remake which relies too heavily on formula in a time where it has been overused.