Case 39 (2009)
★★ / ★★★★
Emily Jenkins (Renée Zellweger) was a kind-hearted social worker who juggled thirty-eight cases of children who might be victims of child abuse. A co-worker (Adrian Lester) handed her case number thirty-nine, in which a child named Lilith (Jodelle Ferland) claimed that she overheard her parents (Callum Keith Rennie and Kerry O’Malley) actually planning to send her to hell while they were in the basement. There was something about Lilith that Emily couldn’t help but empathize with so she took it upon herself to take custody of the child. Unbeknownst to her, Lilith might be the devil incarnate and soon Emily’s friends (Ian McShane and Bradley Cooper) started to die in what looked like suicides. Unfortunately, Lilith didn’t come with a return policy. “Case 39” had been delayed release for quite some time and for good reasons. With far superior movies like Richard Donner and John Moore’s “The Omen” and, more recently, Jaume Collet-Serra’s “Orphan,” this film downright failed to offer something new or exciting. While there were some spine-tingling scenes such as when Lilith’s parents decided to kill their child by putting her inside an oven, they were balanced by frighteningly uninspired scenes plagued with visual effects, particularly the swarm of hornets. Zellweger did the best she could with her role despite a weak writing. I think one of the picture’s missteps was in revealing the true nature of the child too early on. Moreover, I found myself waiting for our protagonist to evolve in a meaningful way because the ingredients were certainly there. There was a dark undertone about her past relationship with her deceased mother, her inability to take care of others other than her pet fish, and the almost obsessive manner in which she attempted to tackle her work. When the hallucinations started to appear, there was a lack of tension because we knew all too well the source of her suffering. The material would have been on another level if it had successfully found a way to balance the supernatural and Emily’s every day struggle to take away children from physically and emotionally abusive homes. That way, our protagonist would have been challenged in two fronts as we attempted to discern between the fantastic and a mental breakdown. But that wasn’t the case. “Case 39” lacked dimension and depth with far too few rewards between the important revelations aided by increasingly tired booming soundtrack designed to tell us when we should be scared. Written by Ray Wright and directed by Christian Alvart, “Case 39” lacked a sense of immediacy so it lagged half of its running time. Without Zellweger’s sense of timing of when and how to react, it probably would have been unwatchable.
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