The sequel, [REC] 2 (2009), skillfully re-creates the pandemonium…but little else.
Juame Balaguero and Paco Plaza’s follow-up picks up mere moments after the conclusion of the visceral first film. A SWAT team equipped with helmet cameras enters an infected apartment building in Barcelona.
Owen notes grimly that the building is “infested with the damned…with demons.”
Naturally, matters continue to spiral out of control inside the quarantined apartment building. The Vatican has secretly been experimenting on children, an element of the tale which is, perhaps a veiled metaphor for the recent (but ongoing…) priest molestation scandal in the Church. Children are but tools to be used and manipulated by the ostensibly altruistic organization. These demonically-possessed tykes crawl around air ducts, race across ceilings(!) and attack the flustered, frightened team-members. And some moments featuring these terrifying, blood-thirsty creatures (particularly a hasty retreat through an air-duct…) really get the blood flowing.
Our protagonist from the first film, Angela (Manuela Velasco) has also, miraculously, survived her encounter with that nightmarish creature, the Medeiros girl, and eventually joins Owen’s team. Despite the overwhelming danger, Owen won’t permit anyone to leave the premises until he has recovered the Medeiros blood sample. And he can enforce his orders. Only his voice authorization can enable release from the quarantine zone. If he dies or is incapacitated, no one gets out.
Give the directors of [REC]2 lots of credit for their stylistic ingenuity. The first-person, handicam approach of the original has been repeated and augmented with a half-dozen or so inventive new flourishes. For instance, the cameraman capturing all the dynamic, helter-skelter action now boasts the capability to switch views between SWAT officers, presenting a screen-within-a-screen dynamic for some important sequences.
In a first-person-styled movie — where viewers can only see what the camera sees as the camera sees it — this device permits the filmmakers to switch perspectives in a pinch. The technique not only maintains a sense of pace and chaos, but actually acts as the equivalent of cutting-between-scenes in a traditionally-structured movie narrative. Nice.
This sequel also provides two crucial switches in perspective to keep matters unpredictable. We begin with the SWAT team helmet cameras (and the picture-within-a-picture conceit) in the first act and then transition to the amateur home video of three local kids (who sneak into the quarantined building) in the second act. Finally, in the third act, we return to Angela’s camera…the lens through which the saga began.
If only Owens had bothered to check Angela’s footage…
Another ingenious scene, near the end of the movie, challenges our sense of reality itself. In particular, a camera set on night-vision reveals secrets not visible in the light. I’m not talking about a simple monster reveal here, either (like that splendid jump moment in The Descent , for instance). Rather, I’m talking about a “prison of darkness” barred from our human eyes, our daylight illumination. This scene is daring, creative and unlike any other sequence I’ve seen in this type of experiential, first-person film. It’s a spill-over into a (supernatural?) dimension not quite our own. It’s an intellectual conceit, and presents a kind of creepy, cerebral horror not usually featured in the intense, violent fast-moving films of this sub-genre (think The Last Broadcast, Cloverfield, etc.)
Again, credit the directors with devising and executing these really terrific twists on their original formula. And this sequel is undeniably intense too, for sustained spells. You’ll be perched on the edge of your sea throughout.
Another way to describe the problem: While [REC]’s ending was legitimately mind-blowing, [REC] 2’s ending…sets up a sequel. All audience questions are answered on camera, and the franchise’s scintillating ambiguity, its amazing sense of imagination, bleeds out. The climax here is obvious, commercially-based, and thus totally deflating. Couple that with the familiar setting, the almost-interchangeable, unappealing SWAT characters and the worn-out milieu of the fast-running zombie/infected person…and all the good stylish invention in visualization is arguably mitigated.
I absolutely need to be clear on this subject. If you’re into the idea of [REC] as a continuing horror film franchise, this first sequel is a perfectly serviceable, imaginative, and occasionally-inspired effort. It’s a “good” installment with bumps and jumps and some cool curve-balls. I can recommend it on that basis, as an effective 84-minutes of horror.
I look at [REC]2 and I see some great visual conceits in search of a workable narrative. I have the distinct feeling that the directors could have applied these trail-blazing techniques to a better story and more interesting characters, given just a little bit of time and patience. In that scenario, perhaps they could have devised a sequel that looms as large in the imagination as [REC] does.
But I suppose the desire to produce a sequel fast — to strike while the iron was hot — was too much to bear. I understand two further sequels are simultaneously in development.
Maybe the devil made them do it…