Superslick phony baloney psychic parapsychologist Frank Bannister (Michael J. Fox in excellent unapologetically parasitic sleazeball form) has one hell of a novel and effective scam going on. You see, Frank's in league with a motley trio of unrestful spirits -- hot-tempered 70's funky black guy Cyrus (a hilariously hip Chi McBride), sniveling bespectacled nerd Stuart (an amusingly dweeby Jum Fyfe), and cranky, weary, pistol-packin' cowboy old-timer the Judge (a marvelously cantankerous John Astin) -- who "haunt" various houses where rich folks reside; Frank arrives on the case and collects himself a bountiful fee for exorcising the unruly ghosts. But lately things are beginning to go awry for Frank: the locals in the sleepy town of Fairwater are starting to catch on to Frank's crafty con, a loony FBI agent (a fabulously frantic Jeffrey Combs) wants to nail Frank, lethal mass murderer Johnny Bartlet (a creepily on-target Jake Busey) and his fragile, sheltered, possibly innocent accomplice Patricia Bradley (beautifully played with touching vulnerability by Dee Wallace Stone) further complicate Frank's already strife-ridden life, and, most ominous of all, a powerfully nasty and malevolent long dormant murderous supernatural entity reawakens from its lengthy slumber to start killing anew. Only Frank knows about this evil thing's actual existence, so he has to go into action to thwart it before it racks up a hefty body count.
Director Peter Jackson (who previously gave us the gleefully over-the-top splatterific treats "Bad Taste" and "Dead Alive" before tackling the "Lord of the Rings" trilogy and the "King Kong" remake) and co-screenwriter Fran Walsh have concocted one wickedly twisted, complex and inventive fright film scenario, deftly blending pitch-black humor, starkly horrific scares, elaborate, but judiciously applied special effects, a breathlessly speedy'n'steady pace, madly careening and expansive cinematography, a typically lively, jaunty score by Danny Elfman, and an absorbingly tricky and winding surprise-laden narrative into a deliciously dark and unnerving cinematic brew. It's genuinely refreshing to see a horror feature from the mid-90's that isn't specifically targeted for a no-brainer teenage audience, that has the strength of its own grim convictions, that delivers laughs and jolts aplenty without one canceling the other out, that even doesn't punk out at the very end with some weak, pat, everything-gets-neatly-tied-up-with-a-bow wimpy conclusion. In short, this baby qualifies as a true praiseworthy rarity: a pretty recent full-blooded no-nonsense big budget major studio mainstream shockathon that's every bit as smart, spooky and unsettling as any really up to snuff horror movie ought to be.
Director Peter Jackson (who previously gave us the gleefully over-the-top splatterific treats "Bad Taste" and "Dead Alive" before tackling the "Lord of the Rings" trilogy and the "King Kong" remake) and co-screenwriter Fran Walsh have concocted one wickedly twisted, complex and inventive fright film scenario, deftly blending pitch-black humor, starkly horrific scares, elaborate, but judiciously applied special effects, a breathlessly speedy'n'steady pace, madly careening and expansive cinematography, a typically lively, jaunty score by Danny Elfman, and an absorbingly tricky and winding surprise-laden narrative into a deliciously dark and unnerving cinematic brew. It's genuinely refreshing to see a horror feature from the mid-90's that isn't specifically targeted for a no-brainer teenage audience, that has the strength of its own grim convictions, that delivers laughs and jolts aplenty without one canceling the other out, that even doesn't punk out at the very end with some weak, pat, everything-gets-neatly-tied-up-with-a-bow wimpy conclusion. In short, this baby qualifies as a true praiseworthy rarity: a pretty recent full-blooded no-nonsense big budget major studio mainstream shockathon that's every bit as smart, spooky and unsettling as any really up to snuff horror movie ought to be.