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Don’t miss this gem of the American stage

Thomas Wolfe famously said, “You can’t go home again.” A decade before coining that phrase, he showed us why in his 1929 debut novel Look Homeward Angel. This thinly veiled memoir of a tumultuous youth in his mother’s Dixieland Boardinghouse made him a pariah in his hometown of Asheville, North Carolina, and a literary star to the rest of the nation. The 1958 stage adaptation by Ketti Frings won every major prize for American drama that year, and it still rings true and relevant.
    Compass Rose Theater’s beautiful production stars a talented University of Maryland grad, Shane O’Loughlin, in the lead role of Eugene Gant. A bookish young man, he yearns for education and escape from his overbearing mother, Eliza (artistic director Lucinda Merry-Browne), and his romantic but alcoholic father, W.O. Gant (Gary Goodson) Bret Jaspers costars as elder brother Ben, the cynical voice of experience who urges Eugene to flee. Who can blame them? Life with Eliza, the self-proclaimed “sharpest trader in town,” is no tea party. In a perpetual quest for cash, she puts the comfort of strangers above the needs of her own family, whom she manipulates into doing her bidding.
    Dapper Ben isn’t healthy enough to escape to World War I, as did his brother Luke (Chris Creane). So he helps in Father’s monument shop and passes the evenings at dingy Dixieland with a sympathetic older boarder  named Fatty (Janise Whelan). Big sister Helen (Kathryn Zoerb) and her husband Hugh (Dan Reno) are likewise caught in Eliza’s clutches as near servants. The other boarders are Uncle Will (Ed Klein); old Mrs. Clatt (Nancy Long); her son Jake (Eli Pendry); and a charming new arrival, Laura James (Lindsay Clemmons), who brings Eugene his first happiness and heartache. Dr. McGuire (Richard Fiske) is a frequent visitor to the home as well. Only the notorious Madame Elizabeth (Maura Claire Harford) never crosses the threshold, though she is on good terms with Father.
    From the melee, Eugene’s transformation from guileless gopher to mutineer is remarkable, culminating in a confrontation that will shake you to your weepy bones. Drawing equally on the strength of all the leads, this production gets four stars for credibility: from the sharp period fashions to the missing newels on the faded front porch to the manner of the family’s explosion with love and disdain. The only unbelievable part is Eliza and Father’s tantrum, which is too gentle on the set. I hope they go wild on closing night.

Director: Patrick Walsh. Set: Mary Goodson. Costumes: Linda Swann. Lights: Cecilia Durbin. 2.5 hours including one 15-minute intermission.
Playing thru Feb. 9. Th (except Jan. 30) FSa 8pm Sa Feb. 1 & 8 and Su 2pm at 49 Spa Rd., Annapolis. $35 w/discounts: 410-980-6662; www.compassrosetheater.org.

Come to feel, think and applaud

Many theater companies are neither willing nor able to move from a bubbly musical directly into a disturbing death-row drama based on real life. Colonial Players is the exception, following November’s Annie with Coyote on a Fence.
    Coyote on a Fence is what Colonial calls an “arc” show, more challenging than usual and typically appealing to a smaller arc of patrons. Opening night proved that this production is deserving of larger, not smaller, audiences.
    Bruce Graham’s play focuses on long-time death row inmate John Brennan, the middle-aged editor of the prison newspaper who writes obituaries of each inmate put to death. Brennan is a fervent but deluded believer in his own innocence. Most on death row say they, too, are innocent.
    Except Bobby Reyburn. A late-20s, anti-Semite racist who gets the cell next to Brennan after burning down an African American church and killing 37 people, Reyburn says he was called to his work by God and was spoon-fed hate by a trusted uncle.
    The interplay between Bobby, who welcomes his execution, and John, who has exhausted every legal avenue on the way to his, demands two actors who not only commit to their characters but are consistent in their interpretations even as their characters hit sharply emotional highs and lows. Thom Sinn as John and Eddie Hall as Bobby meet that demand. A lesser actor might have allowed the histrionic Bobby to become a caricature, but Hall, under the capable direction of Colonial veteran Edd Miller, never does so. He and Sinn together take the audience on a journey that makes us care about them despite their violent pasts.
    Prison guard Shawna (an earthy Kecia Campbell) keeps a close eye on things. But outside the prison, she meets an unseen reporter in a series of monologues. Among her topics are how she feels safer on the inside among convicted killers than in the real world. Shawna’s final monologue is a heartbreaker.
    Another reporter works his way into Brennan’s confidence. Nicely underplayed by Jeff Sprague, Sam Fried’s condescension and conflict over the death penalty are no match for Brennan’s passion.
    Miller is one of the few directors who successfully uses Colonial’s in-the-round space. His set design puts all the action on the floor in front of us, avoiding the annoying neck craning too often required to watch scenes in the theater’s corners. The two cells abut, with an outside recreation area marked by a stark wire fence and a small area representing Shawna’s bar.
    Adding to the stark aura is Carl Andreasen’s and Theresa Riffle’s haunting sound design, a near-constant drone of background voices occasionally interrupted by the scream of an inmate or the physical shock and loud finality of a metal prison door trapping us all.
    Frank Florentine’s tight lighting evokes the sterility of the place, from harsh lights dimming upon an execution to the eerie green illuminating the empty cell of the newly executed.
    Coyote is the 14th show Miller has directed at Colonial. His Going to St. Ives was awarded best play and best director in the coveted Washington Area Theater Community Awards in 2012. Coyote on a Fence is likely to attract the same consideration.
    Warning: Save the pre-show cocktails for post. The play runs one hour and 45 minutes without an intermission.

Playing thru Jan. 25 ThFSa 8pm & Su Jan. 19, 2 & 7:30pm at 108 East St., Annapolis. $20 w/discounts: 410-268-7373; www.thecolonialplayers.org.

Four SEALs fight for their lives in this gripping action film

Navy SEALs Marcus Luttrell (Mark Wahlberg: 2 Guns), Michael Murphy (Taylor Kitsch: Savages), Danny Dietz (Emile Hirsch: Bonnie and Clyde) and Matt Axelson (Ben Foster: Ain’t Them Bodies Saints) are proud frogmen. They run long distances at great speeds, push their bodies to their limit for fun and take deadly assignments as part of the job.
    The latest mission should be an easy one. Their task is to scout a village in the woods of Afghanistan, positively identify a terrorist cell leader (code named Rick James) and report back to headquarters. Next, they’ll either get permission to eliminate the target, or fade into the shadows.
    The mission goes haywire because of three men and their goats. Herding their flock up a mountain, two boys and their father literally stumble on the frogmen. The SEALs have a choice: Kill the goatherds, or let them go possibly to return with an army of angry terrorists.
    Can the four team make it out of Afghanistan alive?
    Lone Survivor isn’t coy about what happens; it’s spelled out in the title. Though you know early that only one SEAL leaves the mountain, the film is a thrilling, gut-wrenching portrayal of a real incident. Stay through the credits to see a tribute to the brave men who lost their lives. 
    Director Peter Berg (Battleship) doesn’t bother with artistic shots or subtle imagery. His straightforward storytelling style doesn’t leave much room for nuance or character development. What he does well is convey the actuality of life for men stationed overseas. The opening credits show footage of actual SEAL training and how extreme it can be. Other effective sequences invoke the shadows of the people back home, whether the men are chatting with wives or wondering what to buy their fiancée.
    Berg also delivers on action, making the SEALs’ fight for survival brutal and terrifying. Gunfights in real life probably don’t come with visual metaphors and a soaring soundtrack, so Berg’s pared-down approach seems realistic. Berg views these SEALs as nearly superhuman, and his admiration shows in every shot.
    Keeping the SEALs from becoming action heroes are the actors entrusted with their story. Wahlberg, Foster, Kitsch and Hirsch keep their characters grounded in reality, showing their flaws as well as their dedication and drive. Together, the cast creates a tangible sense of brother­hood.

Good Action • R • 121 mins.

Sometimes, you shouldn’t go home again

The only thing that could bring together the Weston women is tragedy. When the family patriarch — poet ­Beverly (Sam Shepard: Out of the Furnace) — goes missing, the three sisters converge at their ancestral home, steeling themselves to deal with old hurts, family secrets and, worst of all, their mother.
    Violet Weston (Meryl Streep: Hope Springs) has been terrorizing her family since anyone can remember. Rude, cruel and high most of the time, Violet loves only her pills and her booze, both stashed around the house in case of emergencies. Two daughters have fled the state, but one has stayed in hopes of earning a kind word.
    Did Violet drive her husband away? Or has he, too, gone on a bender?
    The family emergency comes at the perfect time for all three of the Weston daughters, who are going through tumultuous changes. Ivy, the youngest (Julianne Nicholson: Masters of Sex), lives down the road and resents the sisters who left her to deal with mommy dearest. Ivy has a secret: She’s planning a big escape.
    Middle child Karen (Juliette Lewis: Open Road) devotes her life to finding a replacement for her mother’s love. She’s found a string of terrible men and awful relationships. She’s brought along her latest fiancé — no less a disaster — in hopes of impressing mother.
    Eldest Barbara (Julia Roberts: Mirror Mirror) is also in crisis. Her husband has left and her teenager hates her. Still, she guilts both husband and daughter into joining her, hoping Violet won’t notice the rift.
    Will the Weston women find healing? Or will they join together to kill Violet?
    Based on the play by Tracy Letts, August: Osage County is the film to see if you’ve spent the holidays arguing with family. The comedic drama examines how Violet’s poisonous relationships have infected every aspect of their lives.
    Director John Wells (Shameless) makes Violet’s home cramped and dark if theatrical. The film doesn’t flow easily. Each scene seems more a set piece than a natural progression of storytelling. The only thing missing is a curtain drop.
    Excellent performances save August: Osage County the movie. As the matriarch, Streep is a collection of vices and vicious words overlying a deep sadness that adds pathos to her villainy.
    In a performance that’s both confident and commanding, Roberts stands out. Struggling to suppress her inherited cruelty, her Barbara is a wonder to watch, whether trying to show her daughter love or wrestling her mother to the ground.
    August: Osage County isn’t a film for everyone. There’s enough blue language and abusive behavior to send most holiday audiences running for the exits. But it’s a fantastic showcase for a troupe of powerful actresses.

Good Drama • R • 121 mins.

Wild Orchid chef takes over Sam’s kitchen

It’s a new year. With the flip of a calendar comes a chance to renew, refresh and remodel.
    In Annapolis, the new year offers opportunity for two local restaurateurs to help each other.
    Andrew Parks, owner of Sam’s on the Waterfront, has announced his new executive chef, Jim Wilder. Chef Wilder recently closed his Westgate Circle restaurant Wild Orchid after a difficult three-year tenure.
    Timing is everything, so hopes Parks, who has struggled to consistently employ an executive chef in the eight years he has owned the waterfront restaurant built in 1986 by his grandfather, the original Sam.
    Each man endeavors to bring the best of his farm-to-table vision in this new marriage of culinary talents. Each restaurant has — or has had — the green restaurant certification.
    At Sam’s, Parks takes the front-of-house role with Wilder running the kitchen.
    In the past, Wilder has worked both ends of the operation, with 13 years at the helm of his highly regarded Eastport Wild Orchid his pinnacle, to the head-scratching move to the behemoth at the Severn Bank Building — a move that would be his undoing.
    Few understood Wilder’s decision to sell the warm and comfortable 40-seat Eastport café in 2010 and move to the 250-seat former Greystone Grill on the other side of town.
    That decision “was not based on sound business models. I had to keep my mind occupied,” Wilder said, after the untimely death of his and wife Karen’s son, Andrew Wall, from brain cancer in 2009. “It was the bottom. And I deal with depression by keeping busy. Depression drove me.”
    Building a dream kitchen provided a needed distraction from grief. It also afforded access and opportunity to expand Wilder’s Company’s Coming catering business, along with a large floor plan that offered him ideal accessibility for his wheelchair.
    The dream was not meant to be. The restaurant closed in July 2013.
    Parks has his own challenges keeping Sam’s profitable and relevant. Hidden within the gated Chesapeake Harbour Marina community, the restaurant is difficult to find. Warm weather brings boaters out and swells the population of Chesapeake Harbour, where many residents are summer only. Still, Parks estimates that 80 percent of his business comes from outside the community. Getting diners in the door is an ongoing pursuit. Parks hopes hiring a well-known chef will do the trick.
    Chef Wilder brings his most popular dishes to the menu. Butternut squash soup with crab, scallops Napoleon and pork tenderloin wrapped in bacon join Sam’s favorites: lobster mac ’n’ cheese, rockfish and Kobe burgers (half-price on Tuesday).
    The transition has been subtle thus far, though Parks is enthusiastic about a new winter menu and many collaborative surprises to come.

Got a tasty tip for a future’s Dish? Email Lisa Knoll at thedish@bayweekly.com.

Grunge, hip-hop and Gen Y angst color this whimsical romance where mortals meet magic

The Annapolis Shakespeare Company has shaken up the Bard to magical effect with a 1990s’ setting of A Midsummer Night’s Dream that is da bomb! Grunge, hip hop and Gen Y angst color this whimsical story of romance, mischief and enchantment in Fairyland, where mortals meet magic and are none the wiser for it.
    Guest director Kristin Clippard, formerly of the San Francisco Shakespeare Festival, has created a magical forest cloaked in fog and sparkling with frost under a pregnant moon. The walls are like birch bark strewn with carnations under a canopy of red, white and orange umbrellas backlit with twinkling lights. As the umbrella covers us in all types of weather, she explains, love can cover all our woes. And there is plenty of woe to go around.
    It should be a happy time; Duke Theseus (Stephen Horst) is marrying Hippolyta, Queen of the Amazons (Laurent Turchin). Guests have come from far and wide for the nuptials. There is Egeus (Nick Pinto) and his daughter Hermia (Amanda Forstrom), her friend Helena (Ashlyn Thompson) and Hermia’s two suitors: her beloved Lysander (Joel DeCandio) and preppy nerd Demetrius (Ben Lauer), who spurned Helena to pursue Hermia — this at her father’s behest.
    Lysander and Hermia are emo soul mates destined for turbulence in the parallel universe of Fairyland. Queen Titania (Turchin) has turned frosty toward King Oberon (Horst). Thus the king dispatches his meddling assistant Puck (DePinto) to enchant Titania with a love-at-first-sight potion. Embarrassment is the point, as the queen is expected to fall in love with a creature of the forest. She does: Bottom (France Vince) is a mortal endowed by Puck with a donkey’s head and tail. Watching this odd love unfold are the queen’s attendants: First Fairy (Valeka Holt), Peaseblossom (Gray West), Mustardseed (Samantha Nelson), Cobweb (Nicole Mullins-Teasley) and Moth (Miranda Savage).
    Meanwhile, the same potion causes both Lysander and Demetrius to pursue Helena, leaving Hermia in forlorn confusion.  
    Bottom is a member of an amateur theatrical troupe of tradesmen come to perform the tragedy of Pyramus and Thisbe for the royal wedding. This childish play-within-a-play features Piper Quince (Holt), Francis Flute (West), Tina Snout (Nelson), Snug (Mullins-Teasley) and Robin Starvling (Savage). With West in drag as Thisbe, it makes a hilarious finale to madcap shenanigans in the forest.
    This show is rife with potential for confusion both of Shakespeare’s making and this production’s double and triple casting. Yet it’s easy to follow, swinging with ease from extremes of tenderness to slapstick. Diction and gestures, so important to a modern understanding of Shakespeare, are crisp and clear. It’s energetic and creative with dancers of all shapes and ages doing cartwheels and back flips, and Puck literally climbing the walls.
    Music figures large with ’90s hits such as “Kiss Me” and the theme from Titanic alongside the traditional “Holly and the Ivy.” Fairy costumes are mostly neon and shredded denim, a grunge look that is vivid, if not magical, with odd makeup that is likewise jarring. Is that the Mario Brothers I see among the tradesmen’s denims and flannels? Whatever. It’s a hoot.
    There are no weak performers among this cast.
    DePinto shines for his remarkable versatility not only acting but also singing and playing guitar in a delightful duet with Holt, a fine dancer and singer. Horst brings a welcome vulnerability to both his royal roles, and Turchin her trademark frostiness. Forstrom and DeCandio exude a passionate infatuation that contrasts well to Thompson and Lauer’s more comic roles. Vince’s donkey is a perfectly lovable ass. And Nelson as a brick wall that raps Shakespearean couplets milks a gallon of laughs from a pint of dialogue.
    This Dream is two and a half hours of escapist frivolity that will win converts to Shakespeare. Alas, the senior set is likely to miss the cultural references that make this production unique.

Direction and Set: Kristin Clippard. Choreography and Lights: Sally Boyett. Costumes: Kristin Clippard and Maggie Cason. With Audrey Bertaux as Standby.
Playing thru Dec. 22, Th-F 8pm; Sa 2 and 8pm; Su 3pm at the Bowie Playhouse, White Marh Park. $24 w/discounts; rsvp: 410-415-3513; www.annapolisshakespeare.org.

Everybody gets into the spirit

Mayhem meets knee-slapping ­comedy when the Herdmans collide head-on with the Christmas story.
    Barbara Robinson’s Christmas alternative — it’s no Christmas Carol — is a good choice for Twin Beach Players: Both have to do with a small town where everybody has a part to play in making Christmas.
    The fictional small town’s kids have grown weary of wearing bed sheets to play the same role and speak the same lines year after year in the annual church pageant. Boredom yields to horror when the Herdmans come to town.
    The dirty half-dozen Herdman kids bully their way into the cast and hijack the pageant. With no idea what’s going on — they don’t even know the Christmas story — they make up a script as they go along.
    As we watch, the pageant turns into a huge, hysterical mess.
    Forty-six of the town of North Beach’s real-life children, from preschoolers to teens, are inspired, whether as angels, shepherds or Herdmans — who’ve stolen the key parts of Mary, Joseph, Herod and the Wise Men.
    In this community of theater, parents leave the audience to take the stage alongside their kids. Ten adults stay on-stage, enjoying their roles as avidly as the kids do.
    The audience is enchanted, moved from tears to side-splitting laughter in no longer than it takes to blink.
    The theater — normally a Boys and Girls Club gym — is decorated for the holidays. The young cast’s singing of classic carols — including “O Little Town of Bethlehem,” “Away in a Manger,” “We Three Kings” and “Silent Night” — open our hearts. Recorded Christmas music continues during the short intermission.

Playing F & Sa 7pm, Su 3pm thru Dec. 15 at the North Beach Boys and Girls Club. $12 w/discounts: 410-286-1890; www.twinbeachplayers.com.

A princess movie for people sick of princess movies

Princess Elsa (Idina Menzel: Glee) was born with a silver spoon in her mouth and a chill in her will. Creating ice and snow is a great power for a young girl, and she gleefully turns the palace into a winter wonderland for her little sister Anna (Kristen Bell: The Lifeguard). They skate in the grand ballroom, build snowmen by the suits of armor and frolic in snowdrifts under priceless paintings.
    But a careless slip of hand has a painful consequence for Anna. Worried for their youngest daughter and terrified by their eldest, the king and queen isolate them from the world. The gates are closed, staff reduced to a skeleton crew and Elsa locked in her room. Anna roams empty halls alone.
    Someone call child protective services for these poor kids.
    Sailing on a diplomatic voyage, king, queen and ship are sunk by a storm. Promoted from frost demon to queen, Elsa is nervous while Anna is delighted that her sister’s coronation will mean a party and a party means people.
    The sisters prepare for their big day with different goals. Elsa hopes to conceal her frost-curse long enough to take the crown and seal up the palace. Anna is praying to find a husband at the ball, before the palace doors again close her in.
    In a state of nerves, Elsa causes an icy surprise at the coronation ball. As she flees to the mountains, her distress sends the kingdom into a blustery winter. Can Anna find her sister and love in a thawed kingdom? Will Elsa ever learn to control her powers?
    For years, Disney has been at the forefront of Princess-Culture, an insidious movement that’s convinced young girls that finding a true love and a matching ball gown are the most important things in life. While princes and pretty dresses are both lovely in theory, the marketing team that promotes them is creating increasingly vapid entertainment to steal the minds of impressionable little girls.
    Frozen is a great remedy for Princess Culture. Yes, there are princesses, and even a love story, but the focus is the sisters’ relationship. One learns to embrace her power instead of fear it; the other learns that she can be the hero of her own story. It’s a heartening message from the company that taught legions of women that one day their prince will come.
    As the sisters, Menzel and Bell prove that they have a knack for voice work. Menzel’s Tony-winning voice soars in the soundtrack, which features several great tracks.
    Bell infuses her Anna with enough pluck to make her endearing even when she’s making poor decisions. Anna isn’t a fool, just an optimist, and she has no problem trying to fix her mistakes or right wrongs. Bell also has a delightful singing voice that complements Menzel’s belt.
    This cartoon about women has plenty of entertainment for both sexes of all ages, with hilarious moments of slapstick sure to enthrall even non-princesses. If you have a young one, get to the theater this weekend; if you don’t — go anyway. Elsa’s journey from fearful child to powerful woman is a great story for all ages.

Great Animation • PG • 108 mins.

A moving Veterans Day tribute to World War II wives

Mid-20th century, the weekly magazine was the premier delivery of news, culture, values, information and all things current. Photo-laden Life Magazine was one of the stalwarts. The Cover of LIFE — written by Louisiana native R. T. Robinson in 1992 — recalls that era.
    In 1943, three newly married brothers from rural Louisiana enlist in the war effort on the same day. In a not uncommon tradition of the time, all three wives move in with the brothers’ family. LIFE Magazine assigns a female overseas correspondent to cover the story as a fluffy woman’s piece. The allure of a cover story is too irresistible, so offended hard-boiled New Yorker Kate Miller travels to Louisiana.
    She finds a story more nuanced and complicated than she expected.
    Robinson’s play is not perfect, but it is often funny, with well-written dialogue and a surprisingly strong after effect.
    Caity Brown as Tood, wife of the youngest brother, and Diane Sams as journalist Kate Miller carry the emotional intensity. The best scene features these two at a picnic, discussing their hopes and ambitions. Different as their values are, each displays touching empathy for the other.
    Sams plays her reporter all Rosalind Russell: quick, sharp and to the point, but with a touching vulnerability. Brown plays Tood as a family peacemaker who longs for grander vistas.
    As Aunt Ola, the mother of the three sons, Kathryn Huston is utterly believable, in both routine and crisis. One wants to see another play about Aunt Ola and her life.
    The other two wives are Weetsie (Rinn Delaney) and Sybil (Terra Vigil). Weetsie has funny lines, but her religious nature and capitalist tendencies could be better defined. Sybil is depicted as a happy party-girl. She should, but does not, change at the end of the second act.
    Whisper Washington’s performance as local reporter Addie Mae would be enhanced by more vocal projection.
    The southern accents are well done. Speech rhythms are not quite slow enough to be accurate, but the inflections are correct and appropriate.
    Director Bob Sams also collaborated on stage design, which is sparse and effective. On the other hand, quick, two-person scenes are not so successfully staged, and scene changes slow the pacing.
    It was a nice directorial touch to give a curtain call to the unheralded theater workers who place props and move furniture.
    At intermission a British World War II bride introduced herself. The banter, easy laughter and obvious fondness she shared with the five friends who brought her to the show made a life mirror to The Cover of LIFE. On opening night, real life imitated theatrical LIFE.

Playing FSa 8pm Su 2pm thru Nov. 23 at Bowie Community Theatre. $20 w/discounts; rsvp: 301-805-0219; www.bctheatre.com.
Director: Bob Sams. Set designers: Sams and Gerard Williams. Producer, Joanne Bauer. Stage manager: Jeff Eckert. Sound designer: Dan Caughran. Lighting designer: Costume designer: Brigid Lally. Hair and makeup designer: Maureen Roult. Props: Faith Leahy-Thielke. Garrett Hyde. Theatre techs: Walter Kleinfelder, Peter Dursin and Al Chopey.

The scariest part is knowing you paid to see this ludicrous sequel

Picking up where the last film ended, Insidious: Chapter 2 begins with the return of the Lamberts’ son Dalton (Ty Simpkins: Insidious) from The Further, a spirit realm filled with evil ghosts and demons. It’s great that Dalton is back in this Earthly realm, but a price was exacted for his return: A malevolent spirit has possessed Dalton’s dad, Josh (Patrick Wilson: The Conjuring), causing him to strangle the family’s psychic aide Elise (Lin Shaye: Crazy Kind of Love). The demon abandons Josh, leaving the Lambert
family ghost-free, but with a dead body in their living room.
    Don’t you hate when that happens?
    Luckily for the Lamberts, the police called to get rid of the body don’t seem to care about finding the murderer or locking up Josh. With no sign of those pesky spirits, no criminal charges and no need to visit The Further again, the Lamberts seek a fresh start. They leave yet another haunted house and move in with Josh’s mother.
    The only problem? The house wasn’t drawing the evil spirits. The Lamberts were.
    Not-so-friendly ghosts return. They harass harried mom Renai (Rose Byrne: The Turning), who squeals helplessly. They spook Dalton and threaten to take the youngest Lambert, baby Kali.
    The family tries to ignore the ghosts, hoping the evil otherworldly entities will get bored with haunting and perhaps take up Sudoku. Unfortunately for the Lamberts, these haunts are committed to making their lives hell.
    To make matters worse, Josh is apparently no longer possession-free. He spits out bloody teeth, has heated arguments with no one in particular and looms in doorways like a suburban version of Jason Vorhees. To stop the haunting, the family must delve into Josh’s past and find the source of their ghostly troubles.
    This sequel to the mildly chilling Insidious is a nonsensical film that offers poor writing and ridiculous plotting in place of genuine scares. Sure, there are jump scenes (loud noises and suddenly appearing entities), but they play on the reflexes and not the psyche. Insidious: Chapter 2 isn’t the type of film to make you lock the doors and check under the bed; it’s the type of film you forget about as soon as the credits role.
    The problem with the sequels to successful horror movies is logic. How many bad things could possibly happen to the same characters? Much like the Paranormal Activity films, the Insidious franchise started off with a decent idea that gets progressively more ludicrous with each installment. This weekend’s box office success ensures that you’ll be seeing more hauntings from The Further.
    Don’t feed the beast. Instead, see Wan’s much more sophisticated haunted-house yarn, The Conjuring.

Poor Horror • PG-13 • 105 mins.