The Woman in Black 2: Angel of Death

I wasn't overly impressed with the first WOMAN IN BLACK film, starring Daniel Radcliffe, which I thought was okay but a bit lacklustre in comparison to the excellent but little-known 1980s adaptation. However, the first film looks like a masterwork in comparison to this cheap sequel.

The first thing that becomes apparent about THE WOMAN IN BLACK 2: ANGEL OF DEATH is that it's so blooming dark. Every scene seemingly takes place in near pitch blackness, which makes 90% of what's going on really difficult to make out. I suspect that the poor lighting was due to hide deficiencies of budget and the like - poor sets for example - but it makes for a frustrating viewing experience.

Otherwise, the plot is a rehash of the first film's, except with different characters and a larger cast. The backdrop is WW2 but doesn't really play an important role in the proceedings, and the lead, Phoebe Fox, is saddled with a very dull character. Helen McCrory is a little better, but the 'horror' content is limited to repetitive jump scares and there's little to nothing in the way of genuine atmosphere or real plotting. Instead, this WOMAN IN BLACK feels like stumbling down a flight of stairs in the dark; there's the odd jolt or two, but you'll regret it afterwards.

It's 1941. Eve Parkins is escorting some children to the Eel Marsh House escaping from the blitz in London. She meets RAF pilot Harry Burnstow on the train who is stationed nearby. Jean Hogg is the mistress at the home for kids. Strange things occur and a child is found dead outside.

This is a horror without much scares or tension. It has the moodiness but there is too much dark in the scenes. The adults aren't that compelling. The reveal of Burnstow's job is interesting. This movie may be better off if the kids are the protagonists. This could be scary from the children's point of view.

I have not scanned all the reviews, but in the case that that none have praised the splendid set designs, I wish to do so here. It is evident that much thought went into the sets and the props for this movie, just like in the first; and I was completely convinced that I was seeing Eel Marsh house and Crythin Gifford forty years after Arthur Kipps. The dismal and melancholy atmosphere was much less in the sequel, but perhaps this was because of the size of the cast. If Hammer would undertake to produce remakes of the excellent BBC M.R. James stories, I would welcome such enthusiastically. And if Susan Hill were to pick up her pen again and weave another story involving remote and lonely British locales, ruined or dilapidated houses, and nineteenth century tragedies haunting the present day, I would be transported!

If I could have one wish for all horror movies. Please oh please stop with the unresponsive person (usually a woman or a child) with her back turned only to have her turn around to reveal a grotesque face for the cheap jump scare. I don't know who started that but it's become so cliché. It is this generation's cat-jumping-from-hidden-location. I don't think there is a scary movie today that can do without the back turned person. One of these days I want the approaching person to just turn around and leave.

As for the movie: it was alright. What could I expect? The premise was already known and established as well as the woman in black, so what much could they do with that besides give her more kids to kill. Insert new adults and new kids and there's your sequel.

The film has decent horror, although severely lacking in originality. It consists of almost entirely borrowed aspects, not only from the prequel, but many other horror movies from last few years. It's a parade of creepy unsettling woman, a troubled child from Omen who dutifully stares blankly and draws eerie picture, and an equally troubled woman who desperately needs redemption. Aside from a couple moments, it gets too predictable which reduces the tension from its great atmosphere.

Story follows a group of children in refuge from war led by two women, the circumstance forces them to spend their time in a decrypted mansion. In time of war and set in particularly unsettling village, the movie has good desolate ambiance. Cinematography brings a crisp grayish look, often dark and grim. In a few scenes such as the overlook of the bog or lingering fog on cemetery, the shot alone sets a good tone for scare.

However, the pace offers little in term of thrill. Sequences are heavily constructed in stiff motion, from flashback, founding of old trinkets and silent traumatic boy Edward, who inexplicably sees some unexplained thing. Characters have little range or depth, in exception of Harry Burnstow (Jeremy Irvine). The protagonist Eve Parkins (Phoebe Fox) is strictly one dimensional. She's too fixated on Edward, despite there are other children who also need her. Their relationship isn't relatable and quite honestly the kid isn't that interesting either.

Her hobbies include splitting from the group and investigating random area by herself. Practically half of the movie is her wandering off, this is not a recommended act when in war, worse if it's something related to unworldly presence. One character stands out amongst the rest, Harry the pilot. Jeremy Irvine does a fine job to portray the role, which isn't that surprising considering his work in War Horse.

The movie still has a few of genuine scary moments, the rest are instigated by poorly made jump scare and shock value from the blaring sound. This feels cheap as it could've utilized the visual more rather than using comfortable honking. The Woman in Black: Angel of Death is a movie cobbled with old elements in different dressing.