Amityville II: The Possession is directed by Damiano Damiani and co-adapted to screenplay by Tommy Lee Wallace and Dardano Sacchetti from the Hans Holzer novel, Murder in Amityville. It stars James Olson, Burt Young, Rutanya Alda, Jack Magner and Diane Franklin. Music is scored by Lalo Schifrin and cinematography by Franco Di Giacomo.
Film is essentially a prequel to The Amityville Horror that was released in 1979. This is loosely based on the real life DeFeo family who were murdered at 112 Ocean Avenue by Ronald DeFeo Jr. On November 13th 1974.
In spite of mixed critical and horror fan reaction, Amityville II was a success at the box office and does in fact have a fan base that believes it is easily the best film of the franchise. Now that may not be saying much since the first film, which is often considered the best of the bunch, isn't exactly great horror anyway, but Amityville 2, in spite of its obvious flaws, does contain good ideas and moments of genuine spooky unease. The main problem with the film, apart from Alda's woeful acting that is, is that it cribs its last quarter from the most revered of horror films, The Exorcist. Even to someone like me, who isn't particularly struck with The Exorcist's popularity, can acknowledge that any sort of imitation of that films central conflict is going to pale in comparison. However, for those who like their horror to be about creepy houses and a haunting of some kind, then there is much to enjoy in this prequel.
From the off the tone is set as we hear the creepy strains of cherubic warbles, the house, with its distinctive Dutch Colonial face, homes into view and then it's the introduction of the Montelli family, a family soon to be terrorised by one of their own after a demon is released and takes possession of the eldest son. Build up is standard stuff as a series of strange occurrences begin to unsettle the already unstable Montelli family (father is a brutish oaf, mother is overtly religious), particularly a weird animal drawing that presents itself on the young children's bedroom wall. Then once the demon identifies its target and begins its stalking process, film shifts from creepy haunting into violent terror, with the added kickers of an incestuous relationship and the introduction of a stoic bastion of religion courtesy of Olson's Father Adamsky. The effects and make up work seem tame by today's standards, but they are very effective regardless, and Schifrin has a good ear for tonal horror shifts.
It's hardly a masterpiece for sure, and some of it creaks for the wrong reasons, but it hits the right notes for the sub-genre of horror it sits in. 6.5/10
Film is essentially a prequel to The Amityville Horror that was released in 1979. This is loosely based on the real life DeFeo family who were murdered at 112 Ocean Avenue by Ronald DeFeo Jr. On November 13th 1974.
In spite of mixed critical and horror fan reaction, Amityville II was a success at the box office and does in fact have a fan base that believes it is easily the best film of the franchise. Now that may not be saying much since the first film, which is often considered the best of the bunch, isn't exactly great horror anyway, but Amityville 2, in spite of its obvious flaws, does contain good ideas and moments of genuine spooky unease. The main problem with the film, apart from Alda's woeful acting that is, is that it cribs its last quarter from the most revered of horror films, The Exorcist. Even to someone like me, who isn't particularly struck with The Exorcist's popularity, can acknowledge that any sort of imitation of that films central conflict is going to pale in comparison. However, for those who like their horror to be about creepy houses and a haunting of some kind, then there is much to enjoy in this prequel.
From the off the tone is set as we hear the creepy strains of cherubic warbles, the house, with its distinctive Dutch Colonial face, homes into view and then it's the introduction of the Montelli family, a family soon to be terrorised by one of their own after a demon is released and takes possession of the eldest son. Build up is standard stuff as a series of strange occurrences begin to unsettle the already unstable Montelli family (father is a brutish oaf, mother is overtly religious), particularly a weird animal drawing that presents itself on the young children's bedroom wall. Then once the demon identifies its target and begins its stalking process, film shifts from creepy haunting into violent terror, with the added kickers of an incestuous relationship and the introduction of a stoic bastion of religion courtesy of Olson's Father Adamsky. The effects and make up work seem tame by today's standards, but they are very effective regardless, and Schifrin has a good ear for tonal horror shifts.
It's hardly a masterpiece for sure, and some of it creaks for the wrong reasons, but it hits the right notes for the sub-genre of horror it sits in. 6.5/10