The plot remains frustratingly vague and even more frustratingly stupid, and when Heather gets to school she distances herself from her classmates, though a doe-eyed boy named Vincent (Kit Harington, who plays Bean’s illegitimate son on “Game of Thrones,” his Winterfell-worthy beard cleanly shaved away) expresses interest. Heather is plagued, even at school, by these nightmarish visions, which come across like a bargain basement version of “Nightmare on Elm Street” (walls of the school peel away to reveal smoldering embers, etc.) When a private detective tries to contact her, he’s quickly dispatched by a monstrous demon that looks like a rejected boogeyman from Clive Barker’s “Hellraiser,” and it leads to a conversation between Vincent and Heather that actually includes the dialogue, “Do you think there’s a difference between dreams and reality?” Um, yes Heather. Yes I do. After Sean Bean is kidnapped by the aforementioned satanic cult, Heather is forced to return to Silent Hill to free him, confronting her fear (or is it destiny?), along with Vincent, who it turns out is also in the cult (or something). Silliness ensues.
“Silent Hill: Revelation” was directed by Michael J. Bassett, who also helmed the barely releasable “Solomon Kane,” and while he might have a great affinity for the video game, it certainly doesn’t come across here. In a video game, a character might be able to say something about a secret lair being located underneath “Silent Hill’s amusement park,” but while watching the movie, it’s hard not to think, “Oh, it’s good that this gateway to hell, filled with horrifying creatures, has its own theme park.” The first film, 2006’s “Silent Hill,” was written by “Pulp Fiction” co-author Roger Avary and directed by Christophe Gans, who helmed the French historical kung fu costume drama horror movie “Brotherhood of the Wolf” (a terrific movie that should have been a much bigger crossover hit here). That movie wasn’t exactly a classic, but there were some suitably eerie set pieces, and Gans’ direction oftentimes pushed things towards the uncomfortably surreal. The standout character from the original was, of course, Pyramidhead, a monster who, if we remember correctly, ripped a guy’s skin off like he was husking an ear of corn. It was awesome. There was also a harem of balletic, faceless nurses that moved in uncanny ways. Both of those characters are back for the sequel, but they feel forced and way more unconvincingly rubbery than they were the first time. Any attempt at nuance is gone, replaced by a need to have anonymous monstrosities stab characters in the face with giant blades while highlighting the film’s ghastly “shot in Edmonton” production aesthetic. If someone offers you a trip to Silent Hill, quickly decline. [F]