Liverpool Sound and Vision * * *
Cast: Stephen Lang, Madelyn Grace, Brendan Sexton III, Adam Young, Rocci Williams, Christian Zagia, Bobby Schofield, Fiona O’Shaughnessy, Stephanie Arcila, Diaana Babnicova, Sofija Stojanovic, Steffan Rhodri, Miodrag Cvetkovic, Ibrahim Ishaq, Eydel Francisco Balbuena, Ron Rogell.
An argument persists that a surprising cinematic hit should at times understand that it should remain a solo outing. This reasonable contention does not always follow suit, the film lover perhaps only has to think of the Saw franchise to know how decent a series can be when its own universe and mythos is expanded, but on the whole a decently produced film with one particular dynamic should by all means refrain from ever thinking of creating cinematic offspring.
The difference say between Don’t Breathe and Saw is down to the advantage of multi layering and constant surprise, and in Don’t Breathe 2 the disadvantage is easily grasped, for in a tale of a secretive blind man keeping away from the outside world, there is rather little to fully explore, and in the end, it comes down to a tussle between seeking revenge and that of home invasion.
Written by Fede Alvarez and Rodo Sayagues, Don’t Breathe 2 brings back Stephen Lang’s Blind Man as this time he is found by the viewer with a young girl, pretending to be her father after her mother died in a house fire. It is only in the act of being blind that stops this film from turning into a Steven Segal special, and of not for the acting chops of several of the cast, including Stephen Lang, Bobby Schofield, and Brendan Sexton III, that stops it from reaching that poor level so consistently found across many of Mr. Segal’s films.
The first foray into the world of the Blind Man had within it a spectrum of originality, the sense of timing and displaying fear that was embracing and astute; it is a shame that its sequel seems to be happy, indeed cherishing, of being less involved, less demanding on its viewer’s psyche, and aiming to prove that often a follow up to a story is not required.
Even in the moments of high suspense, the effect is lost, it meanders along and focuses on the idea and not the spirit, and it is a shame, because the Blind Man deserved better than this, after all it his secrecy that made him a terrifying opponent in the first film, his ability to see despite being blind, and the conscious effort to show how he had adapted to suit his surroundings.
Don’t Breathe 2 is a prime example of a film that should have remained in the can, of being a heartbeat away from its true nature, and one that unfortunately does not capture the intention of its more illustrious previous partner.
Ian D. Hall