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DIRECTED BY: Christophe Gans

FEATURING: Jeremy Irvine, Hannah Emily Anderson

PLOT: A painter’s drunken dreams and a mysterious note lead him to the ghost town of Silent Hill, where he searches for his lost ex-lover amidst the eternally smoldering ruins.

COMMENTS: Aficionados will tell you that “Silent Hill 2” is one of the greatest video game stories ever told. I trust them, but this adaptation by Christophe Gans, returning to the Silent Hill series after a highly disappointing middle installment from another director, does nothing to support their claim. (Evidence of it faithfully recapturing the look of the game, on the other hand, is much stronger.) What we get here is a gilded but mediocre psychological horror that never explains why it needs to be set in the rapidly deteriorating “Silent Hill” universe—except for the fact that it’s a spooky locale.

And indeed, the film is at its best when it’s merely prowling about the town, encountering swarms of beetle-like insects, headless zombies squirting acid from a torso orifice, and spider-like corpses. It’s fun just sightseeing: the ashy gray streets and the eerie hallways of the town’s dilapidated tenements have a bleak beauty. But even Silent Hill’s essential hauntedness is starting to have diminishing returns. The series’ signature monster, Pyramid Head, is scary—terrifying, in fact—the first time you see him. Three movies in, he doesn’t have the same impact. Unlike in a game, this lumbering behemoth is never a threat to catch a protagonist.

Irvine and Anderson are competent leads whose main virtue is that they’re easy on the eyes. The supporting cast does not stand out, and it seems that most of their characters have been cut for time (Eddie serves no purpose in this plot, and could have been left out entirely). Akira Yamaoka’s evocative music again features. The star, such as it is, is the production design and visual effects.

The plot is the biggest issue. Yes, the movie will get weird, but only in that tired “the borders between reality and hallucination start to blur” approach that now seems to animate 5-10% of low and mid-budget horrors. The info drops explaining James and Mary’s generic love affair hardly create a strong emotional rooting interest, and the backstory of the mysterious cult isn’t developed enough to create a meaningful plot engine. In a nod to the video game’s multiple possible resolutions, the movie has conflicting, contradictory endings. The technique doesn’t work at all in the context of a movie adaptation, particularly for people who’ve never played the game. Don’t Return to Silent Hill in theaters. If you do, don’t say you weren’t warned.

Walkout note: the only other people in my theater, a couple, walked out with fifteen minutes left to go.

WHAT THE CRITICS SAY:

“…between unnecessary lore changes and a lack of thematic heft in some of its storytelling, the filmmaker’s return to the franchise is a weird mix of exciting recreations, gorgeous visuals and disappointing execution.”–Grant Hermanns, Screen Rant (contemporaneous)