Poltergeist isn't half bad but it is as unnecessary as a cassette player in a 2015 Lamborghini.

When it comes to the Poltergeist remake, we were hopeful and optimistic but unfortunately the final product for the 2015 film simply fails to deliver unless you have never seen the original 1982 film.

The plot of the 2015 Poltergeist is virtually identical to the classic supernatural horror, with the exception of minute variances. A family, newly moved into a housing development affected by the foreclosure epidemic, experience odd disturbances which swiftly take on a malevolent tone. When the youngest daughter seemingly disappears, mother and father must unite with paranormal experts to save her and themselves.

While horror fans won’t be able to shake the eerie similarities between the two Poltergeist films, super fans of the original will find this year’s version to be a sub-par replica, a near copy/paste of the 80s classic.

When you look back at the talent involved with the 1982 film, you realize that creative juggernauts of their genres came together for a magical creation.  Spielberg brought the carefully cultivated imagination in the form of a fresh and innovative story. Tobe Hooper brought the unshakeable terror through strong-minded vision through direction. The cast was brimming with underrated but well known actors and undiscovered young talents.

Though the 2015 Poltergeist has talent in the form of Rosemarie DeWitt and Sam Rockwell, who both carry more than their own weight as the heads of the family experiencing the haunting, Sam Raimi‘s production falls horrendously short. Raimi has only himself to blame by green-lighting the tremendously successful and horrifying Evil Dead remake. And it is in the differences between the 2015 Poltergeist from the 2013 Evil Dead where the illuminating explanation resides.

In short, Poltergeist adds nothing to the narrative of its predecessor nor does it act as a catalyst in showcasing a newcomers aptitude for the cinematic craft. Both director Gil Kenan and screenwriter David Lindsay-Abaire are odd choices for the horror film, both with a heavy family-friendly filmography.

Neither have an affinity for horror, exemplified by their inability to satisfy horror genre fans. The scares are rudimentary at best, and at worst, showcased in their entirety in all marketing trailers for the film. And what they do accomplish in adding, is a subtractive addition, in showcasing what was originally unseen and off screen terror of the original.