"The Woman in Black 2: Angel of Death" Relies on Jump Scares to Needlessly Continue Story

There’s no possible way “The Woman in Black 2: Angel of Death” could’ve lived up to the original. Hammer Films did it’s very best to follow it up, but didn’t have much of a chance. The first movie was a pure piece of gothic horror that didn’t need a sequel. Although not a complete bust, what we get here is an unnecessary add-on to a story that really needed no continuation.

40 years after the first haunting at Eel Marsh House, a group of children evacuated from WWII London arrive, awakening the house's darkest inhabitant.

I’m a huge Hammer fan and I’ll never give up on seeing anything the studio offers me. “The Woman in Black 2: Angel of Death” has everything it needs to be a great gothic supernatural piece but can’t prove its worth in the end. There’s an old dilapidated house located in the middle of nowhere. Psychologically damaged children and adults, played by capable actors, who are dealing with their own personal traumas are the helpless protagonists. We also find frightening visions that could or couldn’t be really happening. Unfortunately, because of the original, we already know something supernatural is going on and there’s no suspense.

“The Woman in Black 2: Angel of Death” is rated PG-13 for some disturbing and frightening images, and for thematic elements. You’re not going to find anything here near as disturbing as what was seen in the original. There was an entire 30 minute segment in the original where you couldn’t even catch your breath.

The whole time I watched “The Woman in Black 2: Angel of Death,” I kept feeling like there really wasn’t anything innovative for the filmmakers to say. We already knew the backstory of the hair-raising ghost of the story. She just wanted to claim more victims in the same way she did the first time around. The only thing the movie can rely on is its opportunity to offer a few legitimate jump scares thanks to quick flashes of creepy faces and jolting sound effects or sharp peaks in the musical score. It all ends up feeling like a quick money grab with a tacked on ending leaving room for another needless sequel if the box office justifies it.