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The ungainly combination of two distinct stories results in the supernatural domestic abuse drama “Sinister 2.” Independent of one another, neither tale demonstrates a lot of originality or creativity. However, when viewed as extensions of one another, the film’s main narrative of demonic possession and ghost story and its tragic domestic drama subplot are both eccentric enough to make you wish they were much better. Director Ciaran Foy (“Citadel”), co-writers Scott Derrickson and C. Robert Cargill take on more than most horror films do, but they are unable to bring anything novel or thoughtful to a story about the inherited and repetitive nature of victim and bully roles. In this sense, the filmmakers behind the film have the right ideas, but they have no idea how to develop them, which makes the film’s formulaic characters and cheap jump scares that much more frustrating to watch. Because of how close it is to being a good movie, “Sinister 2” makes everything that is wrong with it seem ten times worse.
The confessional booth of a Catholic church serves as the opening scene of “Sinister 2,” which gets off to a rocky start. Haunted, unnamed former deputy sheriff (James Ransone from “Tangerine”) wants to share his burden with someone else. He must prevent Bughuul, the dorky-looking demon from the first “Sinister,” from kidnapping any more children. The Catholic priest who is on the receiving end of Ransone’s rant does the intelligent thing and shoos Ransone’s character away, inadvertently leading Ransone’s haunted ex-cop to try to save Bughuul’s latest prospective victims: single mother Courtney (Shannyn Sossamon) and her two nine year-old sons, Dylan (Robert Daniel Sloan) and Zach (Zachary Levi) (Dartanian Sloan).
The portion of “Sinister 2” that focuses on Courtney and her children is undeniably the more compelling because it most obviously follows human protagonists. While Ransone’s character gets closer and closer to Courtney, Dylan and Zach, who were once inseparable, grow apart after Dylan begins making late-night visits to the basement of their new home. Down there, he and a group of kiddy ghosts watch snuff films starring the kids’ families. This causes Dylan and Zach, who were once very close to one another, to drift apart. In her haste to get away from her violent ex-husband Clint (Lea Coco), Courtney has unwittingly relocated herself and her two sons to an abandoned farmhouse that is haunted by Bughuul’s victims. Courtney’s ex-husband was an abusive alcoholic. However, when Dylan isn’t reluctantly trying to rid himself of mysterious nightmares by watching his life-challenged friends die in home-made super 8mm documentaries, he’s playing a role that not many children get the opportunity to try out in horror films: the role of the pint-sized survivor. Here is the aspect of “Sinister 2” that the movie should focus on, but it doesn’t: the childhood anxieties of being abused by an uncaring father and unwittingly neglected by a smart but hardly omniscient mother. However, the film doesn’t focus on this aspect of the story.
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Derrickson and Cargill are taking a cautious approach to developing that final angle. Dylan even goes so far as to directly blame Courtney for her inaction regarding Clint’s actions. But Bughuul takes the lion’s share of the spotlight in “Sinister 2.” Which is unfortunate because Bughuul does not appear to be an extension of, or a thoughtful complement to, the struggles that Dylan, Zach, and Courtney are experiencing with their families. Bughuul, a demonic figure who wears a terrifying mask and tuxedo and is also known as “The Boogeyman,” manipulates children into murdering their own families and filming their bloody rampages. After that, he kidnaps the children whom he had just duped into becoming murderers.
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At first glance, that anti-familial impulse appears to be an intriguing commentary on the nature of actively creating violent art as opposed to merely consuming it: Dylan and Zach are not frightened by horror movies; however, if they make one of Bughuul’s snuff films, they are literally transported inside their film, thereby becoming one of Bughuul’s victims. This is referred to as a “aesthetic appreciation of violence,” which is one of the many ways that Bughuul’s victims ostensibly pay tribute to him, as explained to Ransone’s character by a scientist who is portrayed as a stereotypically nervous egghead.
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However, as time goes on, it becomes abundantly clear that there is no direct connection between voyeurism and snuff films, as well as post-divorce survivor’s guilt and domestic abuse. Because of this, everything about the movie that is unimaginative and routine feels like a direct attack on my creativity and sense of originality. Scenes in which Bughuul appears unexpectedly everywhere, including on the screen of a laptop. In a barnyard hallway! In a closet in the bedroom! In an old CB radio!—become old and tedious very quickly due to the fact that they are a superficial and repetitive method for jolting viewers out of their chairs. And gruesome, super-granulated scenes of violence, including images of families being burned alive on crucifixes and devoured by hungry rats, are graphic, but never really disturbing because they all suffer from Clive Barker-itis, which is characterized by a tense, effective build-up that culminates in a juvenile and unimaginative climax.
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There are also several scenes where Ransone’s character says something that is supposed to be funny, but the line he delivers feels more like a place-holder line that was never filled in with an actual joke. One example of this is when he rambles to the aforementioned priest about never knowingly taking confession or any other kind of sacrament from the church. In this scene, the line feels more like a place-holder line that was never filled in with an actual joke. In a similar vein, the multitude of facial tics that Ransone possesses, such as pursing his lips and furrowing his brow, appear to be even more grating than usual because they appear to be making up for the fact that his character lacks definition. On the other hand, Ransone’s performance isn’t actually that bad because the material he’s working with is a victimizing force on him in the same way that Clint was a victimizing force on his sons. “Sinister 2” may be ambitious, but the best ideas it presents are dull, unmoving, and repetitive in the way that they are conveyed.Also, you must try to play this Sinister 2 quiz.
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