"The Reaping" just may be the most hellish cinematic abomination to grace the horror film genre this year. This film is, indeed, sufficiently scary, but only due to cheap-shot special effects only meant to trigger the most primal and unthinking human emotion: fear. Even a couple of genuine screams can't make up for the completely inane plot and pitiful premise around which the suspenseful music and sudden "surprises" revolve.
Katherine Winter (Hilary Swank) is an ordained minister transformed into a miracle-debunking sceptic, called upon by a rural Louisiana town to scientifically explain a few disconcerting events plaguing (haha) the community. Beginning with the local river turning to blood, the 10 Biblical plagues follow one after the other, all strangely revolving around a 12-year-old girl, Loren McConnell (AnnaSophia Robb). As Winters attempts to explain the happenings with her assistant Ben (Idris Elba) and community member Doug (David Morrissey) alongside her, she is thrown into a world of darkness and evil, not to mention a healthy side dish of suspense.
The hour-long build-up is entertaining enough for a horror film, but it is no doubt the final scenes that make this film unworthy of $10 from anyone.
However scary it may be, the techniques, not to mention the story line, are far from creative. Take the religious/cult elements from "The DaVinci Code" (2006) and the scary chick from "The Ring" (2002); add in a worn-out Hilary Swank and you have "The Reaping." The film even plays up the becoming-a-woman event capitalized upon in "Carrie" (1976). If you really break it down, almost every scene can be related to something else from horror film history; at least the creators drew from old-school flicks from the '70s.
This isn't the first time a horror film has spawned from spiritual origins - think "The Exorcist" (1973) or "The Omen" (1976) - but this time the poor excuse for a religious premise deletes any sort of vague believability. The entire plot draws from the Old Testament's 10 plagues and then attempts to cram in a prophetic, religious explanation for the bogus events in the last 20 minutes.
This entire film is a disgrace to Hilary Swank's career. The fact that someone as well-respected as Swank would read this script and give the go-ahead is about as ridiculous as the film itself. That isn't to say that she does a particularly bad job in the role. Her reactions are relatively believable and her intentions are fairly genuine, given her character's repetitively underscored checkered past, but the character itself is so superficial that a particularly talented show business monkey could give a good performance. After winning two Academy Awards for very complex roles in "Boys Don't Cry" (1999) and "Million Dollar Baby" (2002), perhaps she was just looking for a no-brainer this time around.
AnnaSophia Robb, in the role of the rumoured-to-be possessed Loren McConnell, does the best she can in the film - luckily, she can rely on her young age to provide the excuse for her participation. As she works up the cinematic ladder - first "Charlie and the Chocolate Factory" (2005), then "Bridge to Terabithia" (2007), and now this - it is certain that her immense talent will be put to use in more reputable films, hopefully one day dethroning the despicable Dakota Fanning.
It is an utter shame that any talented actor be subject to such a career-ruining film. Horror films in general are not perceived as particularly dignified, and participating in a genuinely terrible one makes one question the participants' faculties.
Another disturbing thing about the production is the amount of obstacles the cast and crew overcame to make the film finally hit the big screen, the best example being Hurricane Katrina.
They should have taken the hint. Anyone with better judgement would have just thrown up their hands and gone home.
The acting might be passable and the suspenseful scenes amusing enough, but if it's a good scare that you're looking for, curl up with one of the '70s classics and be sure to steer clear of this total blasphemous disgrace.
