Poltergeist

The suburban family in Poltergeist could have saved themselves a lot of trouble if it was familiar with the three rules of real estate.

Then again, that also was true 33 years ago, when Tobe Hooper’s original film of the same name became a 1980s horror classic. And this remake feels pedestrian and pointless by comparison, not able to improve upon its predecessor in part because it doesn’t even try.

When Eric (Sam Rockwell) and Amy (Rosemarie DeWitt) think they’ve found a great deal on a house, they don’t realize that it’s because of an abundance of nearby power lines and an abandoned cemetery underneath. Those facts become clear to his family of five once they’ve moved in, experience some bizarre goings-on, and become convinced that the house is haunted. Once young daughter Madison (Kennedi Clements) is abducted by the ghostly intruders, the family must fight back against the supernatural forces to retrieve her.

There are perhaps some angles to explore in updating the material that could make it fresh again, especially given that it takes place in an era of smartphones, flat-screens, drones and other gadgets that could be quite useful in eradicating evil spirits. Yet director Gil Kenan (Monster House) and screenwriter David Lindsay-Abaire (Rabbit Hole) play it safe rather than having the courage or creativity to re-imagine a classic.

The actors are fine, with Rockwell in particular seeming to enjoy himself. Yet the quirky presence of Heather O’Rourke and Zelda Rubenstein (along with Jerry Goldsmith’s haunting score) is missing here. Their portrayals of the young daughter and the medium in the original Poltergeist are tough to match.

There are some moments in the remake that are chilling and unsettling, but almost all of them are cribbed right out of the first film, which was conceived and co-written by Steven Spielberg. The iconic moments are here — the terrifying thunderstorm, the little girl staring into the television, and the bedroom closet that opens up a whole world of trouble.

The film handles them all with slick technical proficiency, and the special effects allow for more visual tricks this time around. It might thrill those who haven’t seen Hooper’s original version, but there’s no reason not to go back and find that one instead. It’s simply better than this inferior attempt to cash in.

Rated PG-13, 93 minutes.