Spine-冷気／寒がらせるing sequel that's definitely not for children: Brian Viner reviews The Woman in 黒人／ボイコット 2?
The Woman in 黒人／ボイコット 2: Angel of Death (15)
判決: Sporadically 冷気／寒がらせるing sequel?
率ing: 
The 2012 adaptation of Susan Hill’s best-selling gothic horror story, mystifyingly and irresponsibly, was given a 12A 証明書.
It had already been 変えるd into a play so successful at 脅すing the wits out of audiences that my teenage son, who went to see it in the West End on a school trip, 報告（する）／憶測d that の中で him and his terrified classmates there was 前例のない silence all the way home. To Hereford!
In the sequel, 始める，決める 40 years after the 初めの, a young teacher, Eve, shepherds eight Blitz 避難民s to 明らかな safety in an abandoned old house
The film was 類似して creepy, yet accessible to all those prepubescent children desperate to see it because it starred Harry Potter himself, Daniel Radcliffe.
The British Board of Film 分類 got that 証明書 不正に wrong, and soon realised it. They were 攻撃する，非難するd with （民事の）告訴s; comfortably more, in fact, than for any other film that year.
The sequel is duly 率d a 15 by the BBFC, so that’s one tick in its favour. And there’s no Radcliffe, which some people might consider another tick, although I thought The Woman In 黒人／ボイコット 産する／生じるd one of his best 地位，任命する-Potter 役割s. But that’s about it.
I can’t think of any other way in which this film 改善するs on the 冷気／寒がらせるing 初めの, maybe because it is principally a 商業の, not an artistic 演習.
Yes, the story comes from Susan Hill herself, but only because 大打撃を与える, delighted with the success of the first film, 招待するd her to think of one.
It is 始める，決める 40 years after the 初めの, during the Blitz. A young teacher, Eve (Phoebe Fox), shepherds eight 避難民s to 明らかな safety in an abandoned old house a hundred miles from the nightly 爆破, only for our old friend, the 黒人／ボイコット-覆う？ ghost herself, to show that they might have been better off taking their chances with the Luftwaffe.
Angel of Death is the sequel to the 初めの movie starring Harry Potter 星／主役にする Daniel Radcliffe
As in the fi rst film, she haunts Eel 沼 House with vengeful malevolence, taking all too literally a ghoulish rhyme: ‘Wherever she’s seen, and whoever by / One thing’s for 確かな , a child shall die.’
Fox is very good as the seemingly open, guileless teacher with a shameful secret of her own, and Helen McCrory as the faintly 悪意のある headmistress exudes her usual 審査する 教祖的指導力.
Director Tom Harper pieces it all together stylishly, as one might 推定する／予想する of the man behind the excellent TV 演劇 Peaky Blinders. But he can’t やめる bring himself to がまんする by the golden 支配する of classic horror films: they are いっそう少なく about what’s put in than what’s left out.
I have seen two really spine-強化するing horror films in the past 12 months. One was an Australian 生産／産物, The Babadook. The other was a re-問題／発行する of The Innocents, the 1961 film starring Deborah Kerr.
Both exemplified the art of getting the audience to 脅す themselves, with creeping 逮捕.
Here, the 脅すs are いっそう少なく subtle, our imagination いっそう少なく engaged.
But that’s not to say that I didn’t, several times, feel that horrible yet strangely exquisite shiver of trepidation.
?
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