After the relative success (I gave it three stars) of “Amityville 1992: It’s About Time,” writers Christopher DeFaria and Antonio Toro quickly crank out the seventh film, “Amityville: A New Generation” (1993). Unfortunately, they didn’t get any new ideas in the interim, and a lot of elements turn out worse in director John Murlowski’s film, another entry from the direct-to-VHS era.
Instead of a haunted clock, which allows for unpredictability, here we have a haunted mirror, which is straightforward and bland. People see an image of them killing themselves, and then they are magically driven to carry it out.
Yet another killing in the infamous house?
Although the “Amityville” films are notorious for the continuity not making sense, most of the first six entries hold up OK if you squint. In “New Generation,” though, we’re told the DeFeos in 1974 were not the first family of victims in the infamous Amityville house. In 1966, a son of the Bronner family killed his parents and siblings with a shotgun while they were sitting down to dinner.
“Amityville: A New Generation” (1993)
Director: John Murlowski
Writers: Christopher DeFaria, Antonio Toro
Stars: Ross Partridge, Julia Nickson, Lala Sloatman
On Tuesdays this summer, RFMC is looking back at selected films in the “Amityville” series.
There’s no explanation for why the Bronner killings were not mentioned before this, nor is there any reason for this film to act like the Bronner killings are the only killings in that house. (The behind-the-scenes reason is legal rights to reference the DeFeo and Lutz events.)
Even dumber, the Bronner son somehow got married and had son of his own after the killings. Although we do see the mother in flashbacks, there’s no rational reason given why she married an insane man.
At any rate, that son is our main character: the oddly named Keyes Terry (Ross Partridge, who likely spent much of his career losing roles to Kurt Russell and Patrick Swayze). Especially after acquiring the mirror from an old man on the street, the photographer is stuck between the drive to kill his girlfriend (Lala Sloatman’s Llanie) and friends in the visual arts community, and just being the good dude that he is and not killing anybody.
Partridge has good looks and a dash of charm but the script doesn’t give him anything to work with. I never believe Keyes’ internal strife. I understand it only in the sense that I understand the cliché.
Art without substance
Ironically, since visual art is a core theme, we get bland CGI or composites when people see demonic versions of themselves in the mirror. We miss “It’s About Time’s” practical gore effects and creepy alternate dimensions. Keyes’ dream space consists of him seeing the Bronner killings and the newer victims; nothing revelatory. Also, the score lacks a horror mood.
The old downtown brick building that houses the artists’ lofts provides flavor, and Keyes’ neighbor, Suki (Julia Nickson-Soul), has earthy appeal with her overalls and Winona Ryder-esque voice. But “New Generation” almost aggressively avoids character development, an unfortunate switch from “It’s About Time.” In fact, one of Keyes’ artist friends is merely present in scenes; she’s given no personality, let alone characterization. Terry O’Quinn and Lin Shaye are in this movie, and even they can’t help it.
Almost – but not quite – providing an interesting angle is the marriage of visual art with horror, as Llanie suggests Keyes should pretend-kill her and their friends as part of an art installation in order to get this curse out of his system. If one is extremely generous, “New Generation” is commenting on how silly modern art can be.
It’s too shallow of a presentation to be clever, though. Better art-gallery horror would come in “Candyman 4.” And in terms of movies with haunted mirrors, I’d give “Oculus” a second look before this one. Oh, but here’s one under-represented sub-genre “New Generation” belongs to: Thanksgiving horror. It’s easy to miss, but the Bronner killings and the climactic events occur on Turkey Day.
“Amityville: A New Generation” isn’t as bad as “Amityville 4: The Evil Escapes” (the one with the haunted lamp), because it’s not as paint-by-numbers. Unfortunately, the unpredictability comes from the filmmakers not having a handle on what new things they want to say (if anything). Again, we know this will end when the hero finally destroys the haunted object. And again – even though it’s a mirror – we’re left with little to reflect on.