EVIL DEAD 2

EVIL DEAD 2 (1987/AKA Evil Dead II: Dead by Dawn). Director: Sam Raimi. 

Not so much a sequel as a revisioning (and parody) of Raimi's cult hit, The Evil Dead. Ash (Bruce Campbell) is back in a cabin, has to murder his possessed girlfriend again, and then not only has to deal with demons trying to take him over but with the possessed bodies of the cabin's occupants and visitors, including Annie (Sarah Berry), the daughter of a scientist (whose dead, devious wife is rotting and plotting in the cellar). Even more of a comic book than the original, the burlesque, black comedy tone of the film probably made it more influential on the alleged "horror" films (actually gory comedies) that came later. There's a naked, headless corpse dancing ballet in the woods, an eyeball that shoots out of another suppurating corpse and into Annie's mouth, and it becomes very clear that this is nothing that anyone, even the filmmakers, could possibly take seriously. Sporadically amusing and entertaining, but basically too ultimately schlocky to care about. There are some decent stop-motion monster effects near the end. The climax has Ash sucked through a warp into another dimension, setting up another sequel. Bruce Campbell manages to preserve his dignity no matter what shit the script puts him through, acquiting himself nicely in a performance that has to balance [ersatz] horror with humor, and definitely displays star charisma. But while the "Evil Dead" movies may have put him on the map, in the long run they probably didn't do him all that much good. 

Verdict: Some inventive stuff but overall the same old grind. **.

THE GIFT

Cate Blanchett

THE GIFT (2000). Director: Sam Raimi.

Annie Wilson (Cate Blachett) is a widow with three young sons who makes extra money doing readings for people. One of her clients is Valerie (Hilary Swank), whose husband, Donnie (Keanu Reeves), is a wife beater. Meanwhile her friend Wayne (Greg Kinnear) is dating a young woman named Jessica (Katie Holmes) who goes missing. Is Donnie responsible for her disappearance as everyone thinks, or does Annie's "gift" tell her that someone else is responsible? By the end of this mediocre film with its insufficient and sometimes obvious script I couldn't care less. This is one of those movies that purports to look into the lives of borderline Hillbilly types -- poor white trash, in other words -- but what we've really got are slick Hollywood types putting on phony Southern accents and hoping for the best. Lead Blanchett is one of the worst offenders, all actressy and unconvincing, and Hilary Swank [The Black Dahlia] isn't much better. Kinnear scores as Wayne, as do Reeves as the nasty Donnie and Gary Cole as the prosecutor on the case. I'm not certain what to make of Giovanni Ribisi [I Love Your Work] as a sad neighbor who may or may not have been molested by his father. There are moments in the movie that make no sense, and the ending is the shaggiest of shaggy dog stories. Co-written by Billy Bob Thorton, who must have dreamed this up over a sixpack. Blanchett deservedly won a Best Actress Oscar for Blue Jasmine six years later, but then she was working with Woody Allen and not Raimi of Evil Dead fame. [Raimi did knock one out of the ballpark with Spider-Man 2, however.]

Verdict: Hard to understand what anyone saw in this script. ** out of 4.

DRAG ME TO HELL

DRAG ME TO HELL (2009). Director [and co-writer]: Sam Raimi.

It seems inexplicable to me that a few prominent critics who should know better gave this crappy movie rave reviews. It's a typical 21st century horror film -- in that it's more laughable than scary, and is more of a morbid comedy than any kind of serious fright flick. Hoping to get a promotion, bank loan officer Christine (Alison Lohman) refuses to give an extension to an elderly woman (Lorna Raver) who's about to lose her home and be tossed out into the street. In retaliation, the woman [pictured] puts a curse on Christine: in three days a demon will come and drag her down to Hell unless she can come up with a way to stop it. The basic premise isn't bad, and there are some clever moments -- and the ending is good and uncompromising -- but the movie seems more interested in coming up with gross out moments than in developing character or creating true chills. There are a lot of tired old tricks and gags, and an essentially unlikable heroine. Fight scenes between Christine and the old woman border on elder-hatred. It's surprising how much of this is simply tedious. Raimi also directed the Evil Dead movies and the far-superior Spider-Man 2. The performances, including Justin Long's as Christine's boyfriend, Clay, are good.

Verdict: You can watch it in hell. **.

ARMY OF DARKNESS

ARMY OF DARKNESS (1992). Director: Sam Raimi.

A sequel to Evil Dead and Evil Dead 2 has hero Ash (the charismatic Bruce Campbell) falling through a time warp and winding up in the middle ages. There he learns that the only way he can get home is to find the Necronomicon (a mystical book that was actually invented by H. P. Lovecraft). Along the way he encounters more demons, tiny, giggling duplicates of himself, an evil doppelganger, witches, flying creatures, and living skeletons. The movie is busy but by no means should it be confused with a decent fantasy, sword and sorcery, or horror film; it's a travesty in every sense of the word -- and an effort to sit through for the most part due to its monumental silliness (as opposed to genuine humor). There's no real story and no real characters. Director Raimi, who co-scripted with his brother, seems to have been trying to turn star Campbell into some kind of slapstick comedian. Campbell can handle everything the script throws at him with aplomb, but he deserves better. And so do horror-fantasy fans. There's some acceptable stop-motion work, but none of it is of Ray Harryhausen quality, and there's nothing in this that compares to the climax of Jason and the Argonauts. Some effective, amusing moments, but much of this is just clumsy and foolish. Pretty much a moron movie.

Verdict: Full of sound and fury ... *1/2.

SPIDER-MAN 2

SPIDER-MAN 2 (2004). Director: Sam Raimi.

The sequel to Spider-Man is superior to the first film, being made of equal parts action and sentiment, and with – believe it or not -- a subtext of personal responsibility vs. freedom of choice. When Peter Parker realizes that his dual role as Spider-Man is playing havoc with his life (especially his love life) he gets rid of the uniform and vows never to play hero again. [This happened more than once in the comic books, usually at a time of great angst and disappointment, if not worse, for our hero.] His powers, especially his ability to create webs to swing around on [in the comics he uses a device to create webs; it is not an organic power], cuts out on him at inopportune moments due to his mixed emotions over being Spider-Man. Spider-Man recognizes that sometimes “you have to give up your dream” to do the right thing and sets out to fully regain his spider-like abilities. The climax is a thrilling all-out battle between Spider-Man and Doctor Octopus (an excellent Alfred Molina) that features an eye-popping, harrowing conflict on a runaway elevated subway train. The film even manages to be moving at times (the music doesn't hurt), although to many viewers it may only seem on a sappy, Hallmark greeting card level. The screenplay has its dopey and outrageously contrived moments. Determined not to be a hero, Peter walks by an alley where several toughs are beating up one man, and, while troubled, keeps on walking. Surely it's possible for him to come to someone's rescue without dressing up in an ostentatious outfit! Later, he confesses to his Aunt May that he didn't bother to stop the criminal who later murdered her husband. Surely his aunt, who is unaware of his Spider-Man powers, would have told him that if he'd tried to stop the man he would only have been shot just like his uncle was. Still, this is not quite as maddeningly juvenile or idiotic as many other super-hero films. In fact, it's quite entertaining, although certainly not for everyone. The FX are generally excellent and exciting, although there are times when Spider-Man just seems to be an unreal cartoon figure hurtling through the sky. Tobey Maguire (Peter/Spider-Man), Kirsten Dunst (Mary Jane Watson), and James Franco (Norm Osborne Jr.) are all quite good, as is the rest of the supporting cast.

Verdict: Web-swingin' fun. ***1/2.