‘Amityville Horror’ won’t be in theaters long

In theaters

THE AMITYVILLE HORROR Directed by Andrew Douglas, written by Scott Kosar, 89 minutes, rated R.

The new “Amityville Horror” movie mirrors 1979’s “Amityville Horror” movie in that it opens with news that the story is “based on true events.” So right away, if you know Hollywood, your skin is crawling and you’re on the edge of your seat.

After all, in Hollywood, what constitutes the truth? As far as this story is concerned, the truth is ripped from some familiar headlines.

In Long Island in 1974, there was indeed a family, the DeFeos, who were murdered by their eldest son, Ronald Jr., in their Dutch colonial with the good woodwork and the nice medallions. A year after the murders, there also was a family, the Lutzes, who bought the house at a bargain price only to flee it 28 days later. Was the woodwork too much for them to polish? Were the medallions too far out of reach to dust? Not quite. Apparently – and here is where things get sketchy – ghosts were underfoot.

The Lutzes, sufficiently freaked out, fled the house, leaving behind their possessions and traces of their sanity. Since too many people are told at some point in their lives that they have at least one good story in them, the Lutzes conveniently decided that this was theirs to tell in print.

With Jay Anson, they collaborated on a best-selling book that came out when the culture was still high on hallucinogens, still entranced by the Mansons, and frightened by such horror movie hits as “The Exorcist” and “The Omen.” Possession was a pop culture darling in the ’70s – you could announce at a cocktail party that you were the Antichrist and people would consume you in earnest banter – so you have to wonder whether the Lutzes’ tale of real estate possession was for real or whether it was stretched thin for commercial reasons.

As directed by Andrew Douglas from Scott Kosar’s script, “The Amityville Horror” proves precisely what the original movie proved – it doesn’t matter whether the Lutzes’ story was true because truth in Hollywood doesn’t matter. What matters are the numbers, and “The Amityville Horror,” with its sexy cast, familiar story and cheap thrills, had all of the numbers it needed to become tops at the weekend box office.

So, how is the film? Nothing special. It’s exactly what you expect from a modern-day horror movie – an assorted bag of assembled cliches, this one with bits of “The Shining,” “In Cold Blood,” “The Exorcist,” “Misery,” and any number of those “Ring” movies tossed in to give it box office curb appeal.

As George Lutz, Ryan Reynolds looks good swinging an ax as he turns on his family – but he’s no Jack Nicholson or, for that matter, even James Brolin.

As Kathy Lutz, Melissa George shrieks on cue, but in her, you sense more motherly worry than outright terror, which is what the film needs. And as for the demonic flies that made such a chilly addition to the original film? They make a brief, thrill-ride appearance here and then they are gone – not unlike this movie will be in three weeks.

Grade C-

On video and DVD

HOTEL RWANDA,

Directed by Terry George, written by Keir Pearson and George, 110 minutes,

rated PG-13.

For three months in 1994, while the world turned away from Rwanda, Rwanda’s Hutu tribe armed itself with machetes and rifles, took to the streets with their collective rage, and slaughtered nearly 1 million members of the minority Tutsi tribe.

The situation that ignited this mass genocide is the backdrop for “Hotel Rwanda,” Terry George’s Academy Award-nominated film about a manager of a four-star European hotel who used his formidable diplomatic skills dealing with the elite to save more than 1,200 Tutsis and moderate Hutus from certain death.

The man, Paul Rusesabagina, is played by Don Cheadle in a career-high performance that earned him a nomination for best actor. He’s terrific in the role, infusing passion and energy in a movie that sometimes rises to the level of his performance, but which too often plays it safe when capturing the horrors of the Tutsi-Hutu war.

As written by George and Keir Pearson, “Hotel Rwanda” errs in that its scenes of genocide are only suggested, not witnessed, timidly taking place off screen. This robs the movie of additional power, as does the narrative, which could be tighter, and the way important political details and events are either taken for granted or are so sketchy that the film occasionally lacks cohesion.

However, the movie finds enormous success in being an engrossing portrait of the bravery of Rusesabagina, the Hutu manager of the Hotel des Mille Collines who became a reluctant hero. Obvious parallels exists between Rusesabagina and Oskar Schindler, whose life was explored in “Schindler’s List,” a movie whose most harrowing scenes involved the dangers of trying to outwit a mad regime.

“Rwanda” follows suit, with its tensest moments involving the sly, dangerous maneuverings Rusesabagina had to craft in order to save himself, his family and all those who were counting on him. Deepening the film is Sophie

Okonedo as Rusesabagina’s equally brave, Tutsi wife, Tatiana, who joins Cheadle in giving one of last year’s more memorable performances.

Grade B+

Christopher Smith is the Bangor Daily News film critic. His reviews appear Mondays and Fridays in Style, and are archived at RottenTomatoes.

com. He may be reached via BDNFilm1@aol.com.