Directed By Paul Leyden

Starring – Jeffrey Donovan, Penelope Mitchell, Richard Brake

The Plot – Set in the American West of 1876, thefilm is a spiritual sequel to 2013’s ‘R.I.P.D.’ Sheriff Roy Pulsipher (Donovan) isn’t too thrilled about finding himself dead after a shoot-out with a notorious outlaw gang, but he does get a second chance to return to earth after being recruited by the R.I.P.D. (Rest In Peace Department.). But avenging his own murder may have to take a back seat to saving the world when a gateway to hell is opened in the old mining town of Red Creek threatening not only the locals, but all of humanity itself.

Rated PG-13 for sequences of violence, adult language, disturbing images and some crude/sexual references

R.I.P.D. 2 Official Trailer (2022) Action, Fantasy Movie HD – YouTube

POSITIVES

At the very least, “R.I.P.D 2: Rise of the Damned” is not a carbon copy remake or reimagining of the first film, instead establishing itself as a 19th century western, and one whose only ties to that aforementioned initial chapter lie in the air of its central protagonist and the supernatural law enforcement group that adopt him. In this respect, it is very much an origin story for original actor Jeff Bridges’ Roy, fleshing out a heart and humanity within his family man by day, gunslinger by night dynamic, but beyond that an extension on the lore and world-building of its plot that easily stood as the single best and most intriguing aspect of its predecessor. It provides depth in the dimensions of their objectives, but also grants us insight into the generational affairs of its officers, with a shred of historical significance that it occasionally uses to spoof real life legends in the same vein as something like “Abraham Lincoln: Vampire Hunter”. Equally aiding to the element of its originality is a fresh-faced ensemble, with two enhancing talents providing commitment for a movie they’re both better than. Richard Brake is once again a seedy, slimy spectacle as the primary antagonist, chewing scenery with the kind of disregard that at least makes his appearances fun and chaotic, and Jeffrey Donovan, whom I’ve often regarded as Hollywood’s most underutilized talent, conveys an underlining heart and psychological grit to work wonderfully with his blossoming impression of the aforementioned Bridges, solidifying the big screen charismatic infectiousness that should’ve afforded him more leading lad roles throughout his career.

NEGATIVES

If you told me nine years ago that “R.I.P.D”, the most forgettable action comedy of the year, would be given a sequel, I would’ve laughed in your face, but as it stands, apparently this awfully underwhelming sequel got the last laugh on me, just never one it incorporates into the actual film. To say that the comedy is lukewarm is the understatement of the year, emulating sitcom style personality full of predictable punchlines and corny gags that feel like the worst kind of TV pilot, and the kind that are followed faithfully with the air of its one-dimensional production values garnering a glaring distraction throughout. The wardrobe feels borrowed from a mall Halloween shop, with practicality among threads polishing a budgetary mediocrity, and the set designs in scale could only rival a high school drama club production of “Bonanza”, in that they’re believable as a backdrop for the environment and nothing more. However, all of this pales in comparison to the single worst special effects work that I have seen in 2022, with unintentionally laughable moments of materializing and believability that would’ve felt outdated by 2013 standards in the original film. Everything is obviously computer generated, but without any of the influence or textures of the elements they continuously call for, leaving us with these graphically jarring blunders of artificiality that work hand in hand with the film’s tonal inconsistencies to completely eviscerate stakes or even conflict from the forefront of the narrative. The script isn’t free from blame either, using a race-baiting gimmick of transformation for the duo of protagonists when they’re deceased to initially unlock some intrigue to what is otherwise a tediously boring engagement, but unfortunately following it up with only temporary justification. I can give enough credit to the cinematography and editing for changing their appearances from the perspective of the characters they come into contact with, however it doesn’t gel thematically into anything beneficial, instead using it as a means for temporary conflict, before retiring it entirely in what is obviously a racially segregated setting surrounding them. Other aspects with the script pertain to plot holes as big as the sun, which only grew more alarming the longer I’m asked to suppress the doubt that proved too tasking for someone with intelligence. One such example is in the character of Roy himself, who is deceased in this film, but somehow is still able to age between the two films from the looks of Jeffrey Donovan to Jeff Bridges. I’ve heard of decomposition, but this is ridiculous. Another instance points to a deadly toxin released into the air, where people must wear a mouth-protecting mask to fight off its influence. The problem in this instance, and one that ironically should’ve resonated in a society currently going through its own pandemic, is that a toxin can still get into any other Orphus of a human being, especially the eyes, which here are as unprotected as you would expect a movie this stupid to be. Finally, my experience with “R.I.P.D 2” wasn’t even given temporary reprieve in the balance of some gut-wrenching action set pieces, instead settling for the kind of hand-to-hand combat for conflict that is unfortunately marred by trigger-happy editing to hide the obvious limitations of the actors in frame. If poor fight choreography was the only problem, I could forgive it. After all, some actors simply lack believability in rarely if ever having to express physicality as a means to an end. But when technical gaffes keep them from ever even attempting the feat, it’s a frustrating essence of influence on the dynamic in the fray, and one that obstructs clarity for these painfully rapid cuts that feel like they should come with a warning at the beginning of the film to those who suffer from seizures as a result of eye-puncturing from the most selfish of production teams.

OVERALL
“R.I.P.D 2: Rise of the Damned” is the prequel that nobody asked for. It’s an unfunny, uninteresting blunder of a TV pilot with reflective production values to match, leaving little in the way of charming or redeeming value for a tortured audience who realize somewhere around the second act that there are in fact things that are more terrifying than death.

My Grade: 2/10 or F-