Remaking a classic Haunting, with all the Hollywood Bells and Whistles...and Budget.

Woof, does this remake (in name only, minus one or two scenes) stink. I thought that maybe in time, this wasn't as horrid as I had remembered, but it was even worse than what memory served. Oh, kudos to eyepopping set design on the inside of the castle of notorious recluse Hugh Crane as Liam Neeson's "fear scientist" has arranged for a trio of insomniacs to be enlisted (unbeknownst to them) to partake in a study of fear. Well, Crane is still alive in spirit as our the children he "besieged in purgatory", all alive in the house (including another wife that was never officially known in research). Lili Taylor (far better than this film ever deserved) had been burdened with a sickly mother since childhood, not knowing her connection to Hugh Crane. Catherine Zeta-Jones is a bi-sexual fashionista and Luke Owen is another insomniac hoping to be cured of his affliction. All will be terrorized by Crane's monstrous presence in the castle. The insistence on using so much special effects to bring the statues and art pieces in the castle to life makes the ending especially unintentionally silly. I think the best moments are early in the film where we get a nice walk-through of the castle and can soak in the art direction of the sets and the exteriors of locations selected to establish a menace and sinister (but beautifully gothic and as a reflection of its disturbed owner, there's so much that is created leaving a number of impressions) of Hill House. I didn't dislike Zeta-Jones like critics did, but she gets little chance other than her early minutes to do anything with her part, while Claire Bloom was phenomenal in the similar part (while not as flamboyantly extravagant in wardrobe and sensuality) in the previous classic. Neeson is flat-out wasted, though. Richard Jordan, similarly, has a far better part with much better lines, allowing him a scientist that sympathizes with the troubled, neurotic, melodramatic Eleanor (played by Taylor here, while Julie Harris has the role of her career in the classic) and deeply cares for her well being. The trickery of Neeson, disguising the "fear study" as a "sleep study" doesn't help him, and his rare chance to show true empathy and concern for all involved (besides his own well being) certainly never help matters. Wilson is left with nothing but a character who barely hides his cynicism for the whole scenario and rarely ingratiates himself to the audience; regretting to meet at the castle and agreeing to be tested, this is what is mostly apparent during his time in the film. Well, he does exit the film memorably...a swinging lion's head statue has quite been used this way. The re-doctoring of the story with too much plot regarding purgatory, ghost children both calling out to Eleanor and making too many appearances (like under sheets, in full body form, and within curtains), and the way the house just comes unglued in a throw-up of special effects that reminded me of just how masterly Robert Wise was in his different approach by the less-is-more approach, utilizing the camera and sound design, with a magnificent cast and strong dialogue. The score and sound design of the 1999 film isn't necessarily a problem, either. Neither is the cinematography, although when you have such rich detail and architectural splendor to photograph, it makes the job easier. The ending as Taylor assists in seeing that Hugh is stopped from continuing his reign of terror as a door that features an sculpting reminiscent of a painting on hell will help her, with all the "spirit effects", kind of further elaborates how much I truly appreciate the original. I think remakes can do that...they remind us of what was so well done in the original film.

The Haunting (1999): **