First, by way of introduction: I'm easy--all I demand of a movie is 90-120 minutes of diversionary entertainment, a grossly overpriced large popcorn with lots of Golden-Flavored Topping® & a soda, & I walk away happy. I'll be the first to admit that this movie and, for that matter, others of its genre are not for everyone, but hey, it's not like viewers don't know what they're letting themselves in for. It is what it says it is; no one claimed it was gonna be another "Citizen Kane."
The better offerings in this area offer deeper meaning to those willing to see more than the obvious. They're dressed-up (well- or shabbily-) morality plays. The fact is, underneath all the splash & splatter, there's also a story of redemption here. As the film opens, we're presented with a present-day Morgana (reference to Arthur's evil half-sister?), a young woman thief with apparently no morals, ethics, or any thought beyond her own immediate desires. On the other hand, though, she's not just a *common* thief. We don't see her shoplifting or robbing a bank; she's an *art* thief: a specialty that requires intelligence, study & discipline. Could there be hope for her? Her hand is burned by a broken gem that fell from a statue smashed during escape from a job that isn't going as smoothly as planned; she feels an eerie presence that passes quickly in the pressure of the moment. In a twisted, but nonetheless valid, act of selflessness, Morgana, carrying the stolen merchandise, is sent from the scene of the crime alone by her mortally wounded accomplice/boyfriend Eric. Her escape comes with a price: she shoots and kills the guard who was holding them at bay. Seeing the guard's widow & children on the news that evening, she feels deep remorse. Apparently, she has her limits; she hadn't signed on for murder.
Unwittingly, Morgana has released an ancient Persian djinn who, appearing in both demon and human forms, plans to unleash evil on the world by trading wishes for souls. She begins to have terrible, frightening visions, sending her back to her Catholic roots and ex-boyfriend Gregory, now a priest from whom she seeks spiritual guidance. As destiny leads Morgana and Gregory to battle for the fate of the world, she finds that the real demon she must conquer is the embodiment of her past mistakes and resulting spiritual bankruptcy. At a climactic moment, she intuitively discovers and carries out her own personal redemption ritual in an attempt to regain the purity that offers the only hope of resisting her virtually omnipotent enemy.
On the surface we're treated to an assortment of gory and fantastic special effects of uneven quality; the best are good for losing, if not your whole dinner, maybe at least that second helping of pie you shouldn't have ordered anyway. The sound team is to be complimented for the subtle and therefore effective enhancement of the djinn's voice.
Holly Fields transcends what, in less capable hands, could have been a pedestrian, wooden role, bringing to Morgana depth and believability. Paul Johansson comes across with a creditable showing as the sincere, but conflicted, Father Gregory. Andrew Divoff offers an exceptional portrayal of the djinn: scarier in human than in demon form.
There *is* that nagging matter of inconsistency between this and the first film of the series regarding the method by which the demon may gain his freedom. Okay, how about: With each failure to evilize (it's *my* word, I like it, & I'll use it at will ;) ) the world, the otherwordly rules governing the djinn's task become more difficult?...What?...Okay, fine--come up with your own justification! Or not. ;)
The better offerings in this area offer deeper meaning to those willing to see more than the obvious. They're dressed-up (well- or shabbily-) morality plays. The fact is, underneath all the splash & splatter, there's also a story of redemption here. As the film opens, we're presented with a present-day Morgana (reference to Arthur's evil half-sister?), a young woman thief with apparently no morals, ethics, or any thought beyond her own immediate desires. On the other hand, though, she's not just a *common* thief. We don't see her shoplifting or robbing a bank; she's an *art* thief: a specialty that requires intelligence, study & discipline. Could there be hope for her? Her hand is burned by a broken gem that fell from a statue smashed during escape from a job that isn't going as smoothly as planned; she feels an eerie presence that passes quickly in the pressure of the moment. In a twisted, but nonetheless valid, act of selflessness, Morgana, carrying the stolen merchandise, is sent from the scene of the crime alone by her mortally wounded accomplice/boyfriend Eric. Her escape comes with a price: she shoots and kills the guard who was holding them at bay. Seeing the guard's widow & children on the news that evening, she feels deep remorse. Apparently, she has her limits; she hadn't signed on for murder.
Unwittingly, Morgana has released an ancient Persian djinn who, appearing in both demon and human forms, plans to unleash evil on the world by trading wishes for souls. She begins to have terrible, frightening visions, sending her back to her Catholic roots and ex-boyfriend Gregory, now a priest from whom she seeks spiritual guidance. As destiny leads Morgana and Gregory to battle for the fate of the world, she finds that the real demon she must conquer is the embodiment of her past mistakes and resulting spiritual bankruptcy. At a climactic moment, she intuitively discovers and carries out her own personal redemption ritual in an attempt to regain the purity that offers the only hope of resisting her virtually omnipotent enemy.
On the surface we're treated to an assortment of gory and fantastic special effects of uneven quality; the best are good for losing, if not your whole dinner, maybe at least that second helping of pie you shouldn't have ordered anyway. The sound team is to be complimented for the subtle and therefore effective enhancement of the djinn's voice.
Holly Fields transcends what, in less capable hands, could have been a pedestrian, wooden role, bringing to Morgana depth and believability. Paul Johansson comes across with a creditable showing as the sincere, but conflicted, Father Gregory. Andrew Divoff offers an exceptional portrayal of the djinn: scarier in human than in demon form.
There *is* that nagging matter of inconsistency between this and the first film of the series regarding the method by which the demon may gain his freedom. Okay, how about: With each failure to evilize (it's *my* word, I like it, & I'll use it at will ;) ) the world, the otherwordly rules governing the djinn's task become more difficult?...What?...Okay, fine--come up with your own justification! Or not. ;)