There is scarcely any acting, and the only good thing I can think about the movie is that the dance scenes and the music were pretty cool, although far from good. But get this: it also stars Veronica Cartwright, Sally Kellerman, Sarah Douglas and Roddy McDowall. Archived from on August 31, 2008. Marlee then falls for the mysterious Christian Mark Ruffalo , raised by the nuns after his mother Nicolette's demise--but is he just another manifestation of the demon? This also dishes out another brilliant ending. The dancer falls in love with the mirror, and the brother seems to like it initially, then doesn't. As the mirror gains strength from the blood of the damned, the ultimate battle between good and evil begins.
The Horror Show Guide: The Ultimate Frightfest of Movies. The sequel, on the other hand, more completely embraces its concept, showing people conversing with the mirror as if there were someone on the other side. Which, as far as I could tell, was competent; even by Raven Dance standards. The composer and producer of the original is this time around also the director. Like the original, there are some familiar faces, Roddy McDowell and Mark Ruffalo. But he lives to regret it. He still must be kicking himself for ever signing up for this garbage.
It is good for it's budget. As the mirror gains strength from the blood of the damned, the ultimate battle between good and evil begins. Her significantly older stepsister Sally Kellerman arrives with a doctor Roddy MacDowall , both of whom have a sinister plan to incapacitate her and take control of her inheritance, but a mysterious mirror in the convent housing supernatural powers has other plans. Mirror, mirror on the wall: what's the lamest horror concept of all? Years later, left alone at this same convent, newly orphaned Marlee Tracy Wells and her traumatized brother Jeffrey Carlton Beener encounter the same mirror when some visiting rock musicians insist on undraping it. Like they are trying to achieve something transcendent and haunting with the ballet and the raven. The second major stickler is the writing, which is supplanted with drawn-out, unrealistic dialogue, and further disjointedness as characters go in and out of the story without explanation; the themes and images surrounding the raven and Marlee's dance career are half-baked at best, and their relationship to everything else happening with the mirror is rather bewildering.
It is a little slow and starts out cheesy but it gets better. Most films are only as good as the screenplay or adaptation from where they originate. And then Part 5 features. Of course, I'm not gonna let a couple of little things like awful child acting and a complete lack of mouth-watering gore ruin what is essentially a pretty good psychopathic mirror movie. Special effects, of course, are not the greatest but fairly good. In fact, the high point of this film is the breathtaking camera work that moves with Tracy from one side of the room to the other. And the crazy blind nun Cartwright who lives upstairs is warning everyone that evil forces are about to strike!! Seriously, every line he utters was excruciatingly bad.
Unfortunately, while setting all the action inside the orphanage makes things appropriately claustrophobic, it also means it all becomes a bit repetitive and dull. As the mirror gains strength from the blood of the damned, the ultimate battle between good and evil begins. Advertisement Starring Veronica Cartwright, Mark Ruffalo, Sarah Douglas, Roddy McDowall, Emilie Autumn Directed by Jimmy Lifton Synopsis: A mysterious mirror is found hidden in a church orphanage, yet few realize its legacy of evil. The mirror-demon slays Roger, slices up Sister Marion, destroys Dr. Having taken a custodial interest in Marlee, the image-demon encourages Marlee to dance by the mirror as he gradually restores her vision. In spite of the film's general disjointedness, the ending is quite clever, and because of it, I ended up not completely hating the film. William Sanderson of Blade Runner and Deadwood is the only actor from the first movie who returns, and he seems to be playing a different character here.
On top of that, it just happens to feature one the worst kiddie actors I have ever seen. It's only a few seconds long. Lasky rendered Marlee unconscious was palpable. With the aid of Jeffrey, who gets sucked into the mirror, and Christian, whom she mistakenly stabs, Marlee finally puts the mirror out of commission. Unsatisfactory in terms of bloodshed, the second chapter of the glassy saga is missing the underlying menace of the first —where I recall many people being killed in a satisfactory manner. But as for everyone else, shame on you. Sister Marion Lois Nettleton attributes the deaths to a freak electrical storm, but worries that Marlee's strange interest in the looking-glass lends credence to the concerns of Marlee's stepsister Roslyn Sally Kellerman.
Only problem being that she owes a good-size chunk of her dancefloor prowess to the nondescript mirror languishing menacingly in the corner of her bedroom. It's like they asked for above-par cinematography and actors, but didn't realise that granting this wish would also put their screenplay through a paper-shredder. I wasn't really sure who his character was, or what he was doing in the movie - but then his inclusion didn't make much sense in the first movie, either. Now, I don't know if I've made this clear or not, but the sense of despair I felt every time Dr. I have never seen the first movie, Mirror Mirror, but it can't be worse than this one.
I don't know if this was done with a camera or post-production effect, or if they made the bed movie. The movie is too disjointed, with weird flourishes of dancing and ravens that do nothing but signal to the viewer that they can stop paying attention because nothing important is going to happen for the next few moments. It is slow but the second half is certainly worth while. I don't think I have ever seen stained-glass animated before. And Veronica Cartwright sports white contact lenses and thrashes her cane about as crazy Sister Aja, herself prone to the odd frenzied monologue in a cobwebby corner. An oily drifter played by a young Mark Ruffalo is there to save the day, however. The death of the rock band in the beginning really sets the tone, it doesn't get any better than the awfully bad opening scene.