This sequel to the breakout horror-film hit finds its young heroine once again undergoing the titular ritual.
Instantly rendering the title of its first installment moot, “The Last Exorcism Part II” proves yet again that you can’t keep a good demon down. Yes, Abalam is back to torture Nell Sweetzer (Ashley Bell), the innocent, deeply religious young woman who went through both spiritual and physical contortions in the 2010 breakout hit. After a brief recap featuring scenes from the original film, Nell — who somehow survived its fiery climax — is seen terrorizing a young couple in their home, after which she is promptly whisked off to a New Orleans halfway house for troubled girls. There, she’s introduced to such joys as hard-rock music on an iPod, the exotic spectacle of Mardi Gras and a burgeoning attraction to a nice young man who returns her interest. But it isn’t long before creepy things begin happening, including ominous visits from her father’s ghost, warning her that she’s in danger; her newfound friends suddenly being possessed by a vengeful spirit; and an unsettling encounter with a stranger in a church that’s followed by an attack by suicidal birds. (That last scene, incidentally, represents the second such episode in a horror film in a week, following quickly on the heels of “Dark Skies.”)

Technique
Forgoing the faux found-footage technique that the original employed, this sequel takes a more classical narrative approach. Unfortunately, while director-co-writer Ed Gass-Donnelly displays an admirable restraint in his general eschewing of gratuitous gore, quick editing and flashy visuals, the results have a generally soporific feel. Although there are several moments that are undeniably creepy, such as Nell’s encounter with a motionless mime or her experiencing an episode of airborne solo sexual ecstasy, the general tedium is only alleviated by the obligatory shock scares for which the sound mixer has dutifully cranked up the volume to 11.
It all culminates in — what else? — another exorcism, this time of the voodoo variety. But the scene barely registers, and the explosive finale featuring unimpressive CGI fire effects is a further letdown.
Reprising her role, Bell again is the film’s chief asset, delivering a memorable, unsettling performance that easily can be compared to Sissy Spacek’s Carrie. Vividly conveying her character’s complex emotions with a minimum of histrionics, she actually comes across as a real person, unlike so many glam horror film heroines who look like they’ve just stepped out of a photo shoot. Although the actress doesn’t perform nearly as many of the memorable physical contortions as she did in the first film, she remains a vital presence throughout and clearly is headed for bigger and better things.
Of course, before that she might be headed to a third installment of this series, the seeds of which are planted in an open-ended climax demonstrating that this edition should have probably been titled “The Penultimate Exorcism.”
“The Last Exorcism Part II,” a CBS Films release, is rated PG-13 for 88 minutes.
 

The clown always longs to play “Hamlet” and, apparently, the guys who wrote “The Hangover” want to end the beer blast with an honest talk about feelings and adult responsibilities. At least that’s what happens in “21 & Over”, the directorial debut of “Hangover” writers Jon Lucas and Scott Moore, who prove themselves masters of on-screen debauchery while still facing a steep learning curve on poignancy.
If you want to make “Animal House”, make “Animal House”, and if you want to make “The Breakfast Club”, make “The Breakfast Club”. Trying to do both is no easy feat, and it’s one that these two first-timers fall short of accomplishing.
Still, “21 & Over” is a blast while the party’s on. Miller (Miles Teller, “Footloose”) and Casey (Skylar Astin, “Pitch Perfect”) surprise their high-school pal Jeff Chang (Justin Chon, “Twilight”) on his 21st birthday for a wild night of debauchery.

Arranged
Jeff Chang (the use of his first and last names is a running gag in the movie) initially begs off since he has a med-school interview at 8 a.m. the next morning, arranged by his ultra-strict Tiger Dad Dr Chang (Francois Chau) — but it doesn’t take much to talk him into just one beer.
One beer becomes two becomes shots, and soon the trio are burning up the town (the film was shot in and around the University of Washington) with a spree that eventually includes vengeance-minded sorority girls; irate pep squad captain Randy (Jonathan Keltz); seize-the-day sorority girl Nicole (Sarah Wright), who catches Casey’s eye; an out-of-control buffalo; and some of the most prodigious projectile vomiting seen outside of the oeuvre of John Waters.
So far, so good, and “21 & Over” distinguishes itself from many of its gross-out peers by giving us compelling characters (the friction between the rambunctious Miller and the buttoned-down Casey provides much of the comedy) and by allowing the occasional victims of our heroes’ bacchanal the chance to get their revenge.

Most male-privilege farces never give the other side a chance for rebuttal, but Lucas and Moore are savvy enough to give us both outrageous acts and legitimate consequences without being wet blankets about it.
Things do get sodden when Miller and Casey realize that Jeff Chang is perhaps more troubled than they realized, which leads them to contemplate that their friendship isn’t as close as it once was, and that in turn prompts conversations about their lives after college and whether or not they’ll all stay in touch.
There’s a movie to be made about such subjects, to be sure, but “21 & Over” twists itself into knots trying to be wild and sweet at the same time.
The parts that work, however, work very well, thanks mostly to the three engaging leads (all of whom are subjected to full dorsal and mostly frontal nudity over the course of their adventures). There are plenty of hilarious recurring jokes involving minor characters, particularly Randy’s unctuous yes-men.
“21 & Over” provides lots of fun while the beer flows. Too bad the R.A. felt like he had to come in and ask everyone about their major. (Agencies)

By Frank Scheck