Film Reviews


By • Oct 11th, 2010 •

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Horror thrives on one’s fears. Little Lilith knows what scares you.

For me, it’s going into a dark room (a theater) spending 90 minutes predicting the future of the celluloid souls, and knowing that I shall never have those precious 90 minutes back.

My fear hath been realized, delivered straight from the hell in which she hails.

Lilith is truly evil incarnate.
CASE 39 depicts the tale of another creepy kid in the Pacific Northwest.

(Forgive me for going off tangent, but this is an issue that needs addressing more than this film. Why does this area of North America with its fresh landscape, excellent coffee, salmon, and the birthplace of Jimi Hendrix and music known as grundge that gave the world Nirvana and Soundgarden, have such a bad image? Sure, it’s the serial killer capital of the world. But, Jack Kerouac hopped on freight trains to get there from his New Jersey home.)

Renée Zellweger is no longer portraying the cutesy little girl looking for love. She is Emily Jenkins, a kind-hearted single social worker looking for love. CASE 39 brings 10-year-old Lilith Sullivan (Jodelle Ferland) into her heart, only to rue it later. Rescuing her from parents that are caught performing an abject act, the withdrawn child transmutes into a shining beam of light and later rears its detestable wickedness.

All those within Emily’s warm circle of love, friendship and outwardly goodwill are victimized and penalized by this little devil. On the roster of doom are Doug (Bradley Cooper), Emily’s fellow social do-good love interest, and her tough as nails cop friend, Detective Barron (Ian McShane). Even the children under the watchful eye of social services are meant to suffer under Lilith.

Act I is well done and deserves applause. Act II is where the derailment begins.

Once the secret is revealed, the challenge is to keep the audience in suspense. The plot points are ever so predictable. Emily is faced with a ward of the state that she fought victoriously to bring under her care in her own home. The audience sees what Lilith’s living victims must confront. There is no jolt to the system. There is no entrancement.

There are special effects!

Doug fears insects. The scene exploiting his fear is technically well crafted. With that said, it is an ideal time to head for the concession stand or empty the bladder. Watch CREEPSHOW for a scene of vast superiority to Doug’s when a man faces his deepest fear of insects.

The resolution to Emily’s imprecation is so common that I would bet that evil would be better prepared to combat such a mindlessly drivel-driven damnation back to hell.

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