Amityville: The Awakening (2017)
★ / ★★★★
Here is yet another horror film with a standard premise of a family moving into a murder house, a standard execution of hauntings occurring at night, and a standard resolution in which nothing new is discovered or resolved. One gets the impression that writer-director Franck Khalfoun has never helmed a project in which horror, suspense, and thrills must be juggled in order to create a semblance of entertainment. Considering that he has “P2” and “Maniac” under his belt prior to this film, it is apparent he has learned nothing from them. The stench of mediocrity can be swallowed in every square inch of this lame horror outing.
The Amityville murder is a fascinating case because what had occurred in 112 Ocean Avenue was so horrific, the paranormal was employed to try to make sense of what had happened there. But the picture is not interested, not even slightly curious, in putting a new spin on a familiar territory. While it is somewhat fresh that the characters are aware that horror movies have been inspired by the house they now live in, the self-awareness is not matched by an intelligent or clever script. Due to boredom, I wondered how someone like Wes Craven might have carved the screenplay like a pumpkin so that the viewer can taste a distinct flavor on three fronts: the real-life murder, the current story being told in connection to the previous pictures, and as an exercise of the horror genre.
One of its many awful mistakes is treating the heroine, Belle (Bella Thorne), like an object to be desired rather than one to empathize with. Although Thorne is not the most versatile performer, it is not her fault that the person in charge behind the camera is adamant on making her look beautiful, always sporting cosmetics, unblemished, even when the character is supposed to be having the harshest days of living in an extremely stressful environment. Paranormal occurrences is one thing. Her mother (Jennifer Jason Leigh) becoming increasingly obsessed with her twin brother (Cameron Monaghan) waking up from his two-year vegetative state is another beast entirely. There is even room for genuine human drama here but Khalfoun could not be bothered to strive a little more.
Another critical misstep is the lack of genuine horror. The rising action is mainly composed of nightmares and hallucinations which carry minimal consequences. Even putting this miscalculation aside, when one takes a closer look at the approach, experienced viewers are likely to see the jolts from a mile away. For instance, a scene almost always begins in a dark room and Belle feels compelled to investigate a noise in another darker room. Of course there is going to be a punchline—which is almost always an overused jump scare. The writer-director’s lack of creativity and inspiration gets exhausting after a while. What is his goal of making a pointless movie like this?
“Amityville: The Awakening” is dead on arrival, an iteration to be completely forgotten after several days—a well-earned sentence for being so ordinary that it dissolves in the mind the moment its images are processed in the brain. I would say that at least it is only approximately eighty-five minutes long but, thinking more about it, it is eighty-five minutes too long.