A pretty uneven film, lurching from comedy to violence to sentiment, but it's best when it sticks in the realm of flat - out farce.
Not exact matches
As if that's not aggravating enough, on top of being
uneven, the style of the
film is already
pretty problematic by its own right, because beyond pacing and focal consistency, there are such questionable structuring moves as the awkward placement of a text prologue before each segment, or overly thematic imagery, or ostensibly somewhat disjointed characterization, whose experimental tastes distance one's investment almost as much as experimental direction which relies too heavily on artistry and atmosphere to dramatically thrive.
Though beautifully acted by Freeman, Kinnear and other veterans, the
film has
uneven work from newcomers such as Davalos, who defines her character with
pretty - girl preening.
The non-horror elements of the
film are
uneven in general: The score, so effective in the fright scenes, suddenly evokes eye rolls when things start to get sentimental, and there's one scene of unintentional comedy where the
film's retro»70s setting — another element downplayed in the first
film but foregrounded here — collides with its demonic imagery in an honestly
pretty silly way.
The
film's
uneven production history is
pretty much ignored in the featuretes.