‘Poltergeist III’ Shows Just How Unnecessary Certain Sequels Can Be
It’s only with an obscene amount of free time, combined with a morbid curiosity, which had me watching “Poltergeist III” on cable. My only real memories of it beforehand were a behind the scenes show detailing the special effects and Siskel & Ebert’s scathing review of it. By the time this sequel came out in 1988, the series had already worn out its welcome. I don’t remember anyone liking “Poltergeist II: The Other Side,” and it was said to have been one of 1986’s big losers at the box office. Nevertheless, the powers that be at MGM decided they could wring just a little more money out of this franchise with one more sequel.
Once again, Carol Anne (Heather O’Rourke) is at the center of the story which has her shipped off to Chicago to live with Aunt Pat (Nancy Allen) and her husband Bruce (Tom Skerritt) who manages the luxurious high rise building they reside in. However, it doesn’t take long before those evil spirits and Reverend Henry Kane find Carol Anne and start their nasty little tricks to get her to come to the other side.
Now I can’t help but wonder if Carol Anne’s parents just dumped her in Chicago so they could be rid of those evil spirits for good. What if this series continued on? Would Carol Anne have resided with a different family member in each successive sequel to where she would become the ultimate unwanted house guest? Just imagine what Aunt Pat’s conversations with the girl’s parents (played by Jo Beth Williams and Craig T. Nelson) were like. I mean, Pat at one point says all she heard was they were caught up in a land deal gone bad, but maybe it went more like this:
“Pat, we love our daughter, but this poltergeist problem is really just rubbing us the wrong way.”
“Oh come on, stop kidding around sis! Your daughter is being bothered by a poltergeist! You expect me to fall for that?”
“Oh yeah Pat? You think I’m joking?! C’mon! I dare you to let her stay with you! I double dare you!”
“Yeah right! So that the ghosts or spirits or whatever the hell they are can haunt me and my family?”
“What are you, chicken?”
“Pat, stop teasing me! You called me a chicken all the time when we were kids! I AM NO CHICKEN!!!”
“Alright, prove it!”
Now guess what happened after that…
Apparently, Carol Anne was told by her mommy and daddy she was to attend a school for “gifted children with emotional problems” in Chicago. Once there, she meets up with one of the dumbest psychiatrists in cinematic history, Dr. Seaton (Richard Fire). He’s the one who foolishly opens Pandora’s Box by getting Carol Anne to talk about her experiences from the first two movies. By doing so, a slimy hand bursts out of his desk and throws a coffee cup at him while an evil voice cackles away.
So, what’s Dr. Seaton’s explanation for this? He says Carol Anne is a manipulative child who has the power to create mass hysteria and perform mass hypnosis on people to make them think they see ghosts. What?! Are you serious?! People pay this guy money to say shit like that? Where’s this guy’s degree? Is he a legitimate psychiatrist, or is he like Leonardo DiCaprio’s character in “Catch Me If You Can,” faking his lifestyle while forging checks?
The character of Dr. Seaton basically exists for the audience to despise him whenever he opens his mouth. His disbelief in all the strange and bizarre things happening in the building is excruciating to sit through, and you just want these evil spirits to strangle him to death so he’ll shut up. Seriously, it says a lot about a movie when you start siding with evil spirits against the humans.
In fact, this is the big problem with “Poltergeist III;” you don’t care much for the majority of these characters. They exist merely as clichés instead of living breathing human beings, and seeing them suffer becomes more fun than fearing for their safety which all but kills the suspense. You have the teenage guy Scott (Kipley Wentz) who’s slobbering over his girlfriend Donna (Lara Flynn Boyle of all people), and they look like they’ve come out of a thousand movies from this genre. Then there are Pat and Bruce’s hopelessly self-absorbed and shallow friends who are too interested in their own needs to notice signs of evil spirits invading the building. And where exactly are the cops in all of this?
Looking back at the Siskel & Ebert review, the one major complaint they had about this sequel, which I am in total agreement with, was all the characters kept incessantly crying out for one another:
“CAROL ANNE!!! CAROL ANNE!!!”
“CAROL ANNE!!! CAROL ANNE!!! CAROL ANNNNNNNE!”
I swear, Carol Anne’s name is mentioned as many times as Al Pacino used the F-word in “Scarface.” It didn’t take long for me to figure out what Kane was saying to his fellow evil spirits as well as their quick reply:
“We must bring her to the other side!”
“Yes Reverend, but we also got to get this screaming bitch to shut the hell up!”
Remember the bottomless pit that opens up in the garage? Those slimy hands reaching out to grab the main characters look like those rubber gloves you buy at the supermarket but with extra makeup applied to them. The overall budget for “Poltergeist III” was just under $10 million, but it looks like it cost a lot less. While the other “Poltergeist” movies have state of the art special effects, the filmmakers here get short served and have to work with whatever’s available. Yes, some of those mirror scenes are cool as characters pass by without their reflections showing up on them, but that’s just an old trick.
Directing “Poltergeist III” is Gary Sherman who made “Dead & Buried” which has since become a cult classic. He also made the superb exploitation feature “Vice Squad” which featured one of the scariest and most vicious pimps ever played by Wings Hauser. A lot of Sherman’s skill isn’t evident here, and even he admits this is his least favorite film of the ones he made. Perhaps the studio played around with the sequel more than he liked, and with a franchise like this you know he’s never going to get complete control over the final product.
My hat is off, however, to Skerritt and Allen who came out of this movie relatively unscathed. They overcome the ridiculous material and manage to keep a straight face as the movie becomes increasingly laughable and confusing as it heads towards its unnecessarily reshot climax which leaves the fate of certain characters up in the air.
Aside from O’Rourke, the only other cast member to appear here from the previous “Poltergeist” movies is Zelda Rubinstein as Tangina. I find it funny how she received both Saturn and Razzie Nominations for her work here. I for one can’t figure out if she’s good or bad in this movie, but her mystical dialogue gets a bit ponderous with her overzealous delivery of it.
Of course, the lasting significance of “Poltergeist III” is the fact it was O’Rourke’s last movie before her tragic death at far too young an age. Her loss is inadvertently emphasized in the film’s final scene in which she is substituted with a body double. Since she passed away during post-production, you know it’s not her being held by Allen. For what it’s worth, she is very good here despite the cruddy material, and the film was dedicated to her memory.
Who knows what would have happened if O’Rourke lived to see another “Poltergeist” sequel. With Carol Anne quickly growing up, it would have been a kick to see her turn into an Ellen Ripley type of character who is prepared to go to war with these evil spirits. While others will be horribly terrified by them, she’ll see it as just another day at the office. I can just see her talking with girls her age:
“You think you have it rough? I got sucked into another dimension by evil spirits when I was five! Going through puberty was a piece of cake compared to that! Stop. complaining about the run in your nylons!!!”
I wonder what the tagline was for “Poltergeist III.” The tagline for the first one was:
With “Poltergeist II,” it was:
I guess the tagline for the third film was: