Parents need to know that SCARY MOVIE 2, the first sequel to Scary Movie, is a send-up of slasher movies, ghost stories, and haunted houses. Exaggerated cartoon violence -- falls, fierce fights, in-your-face scares, blood, monsters and skeletons, burning, gunfire, gross-out wounds -- is continuous, with no serious injuries or deaths. Obscene language and swearing is also non-stop (i.e., \"f--k,\" the \"N\" word, \"s--t\"), with jokes and sight gags about racial discrimination, religion, disabilities, ejaculation, rape, penis enhancement, homosexuality, masturbation, and more. There are multiple scenes depicting simulated sex (including oral and anal) -- all with comic intent. Alcohol consumption and drug use are also treated as farce. Not to be left out, vomiting, peeing, farting, and pooping are awarded lots of screen time.
SCARY MOVIE 2 begins with a brief parody of The Exorcist, with James Woods in the Max von Sydow role as the title character. This is the highlight of the movie, especially when Veronica Cartwright, in the Ellen Burstyn role, segues from singing \"Hello Dolly\" with her friends to a rousing chorus of \"Shake Ya Azz.\" But it ends with tragedy, and we skip ahead to a year later, when a professor (Tim Curry) and his wheelchair-bound assistant take some students to the mansion where it took place for some paranormal experiments. The rest of the movie is just an avalanche of parodies of everything and anything, from Monica Lewinsky's dress to \"The Weakest Link,\" and violations of every possible standard of good taste. Not one but two handicapped characters are played for laughs (with extended comic use of a withered hand), and there is something to offend everyone.
Though a slight improvement over the original, Scary Movie 2 is the same hour and a half of easy, dumb humor. The inane insults, pop culture references, and political incorrectness are all there -- along with gallons and gallons and gallons of bodily fluids. It's not enough to simply insult someone or make a politically incorrect comment or drown someone in excretions. That's the easy part. The tricky part, and the worthwhile part, is to make those things funny, and this movie misses so often that its hits seem almost inadvertent. So what we have is a lot of fake and lazy attempts at humor. They may have the rhythm and cadence of jokes, but there is nothing really funny inside.
On the other hand, the movie is so cheerfully unassuming about being in the worst possible taste that it is hard to be bothered by it. Woods and Tori Spelling (!) should get good sport Oscars, but the other cast members are mostly forgettable.
Visuals -- images disturbing, surreal and erotic -- are what thismovie is all about. Once the storyline leads into mind travel theproduction design by Tom Foden goes wild. The film becomes a cross between \"The Matrix\" (1999) and \"What Dreams May Come\" (1998) with a little \"Silence of the Lambs\" (1991) tossed in.
Tarsem opens the film with a spectacular dream type scene shot in an African desert, and you know right away that, visually, \"The Cell\" will not beyour run-of-the-mill Hollywood production. And it's not: Beyond the visuals, this is, at heart, one disturbing flick.
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