I was going to say, the only thing good about this sequel is the lead actress. I was going to. But I couldn't. The movie is just too disjointed, far-fetched and farcical to be saved by a gorgeous face. I reckon there was a major brain fade when number two was being thought up. How else can one explain the down-the-well slide this sequel experiences, when episode one was a high-flyer? Such a disappointment, and the fact that I sacrificed valuable snooze time to catch this it makes things even more wtf-inducing.
First clanger, a nonsensical usage of flashbacks. The first twenty minutes or so can be classified as - present, flashback 1958, flashback 1960s, flashback 1970s, flashback prior to present, flashback to periods unknown, flashback to present. The movie just kept flashing, I tell you. Then there's the not-so-plausible event occurrence. How on earth does Mr Ponty prepare to leave the village which currently houses his infant child and his deceased wife's best mate, without knowing of their presence there? Made more illogical considering best friend's father is some village wise man. And by the fact that assassins run into the afore-mentioned Mr Ponty, on the same day he's heading back to see his woman. Like they say in Malay, tak masuk akal (literally doesn't enter mind).
Next, the almost obsession-like fascination with Indonesian kampungs. How easy it appears to kidnap a child and hop over to Sumatera (or perhaps Riau islands) for a little bit of R&R. Besides the fact that the kampungs looks like they're stuck in a time warp, the disturbing apathy the villagers display towards our shouting and screaming protagonists (in the middle of town) is bemusing. Everyone looks like they were teleported from the Malacca Sultanate, without a sign of technological advancements such as TVs, phones or even radios. A really surreal village indeed.
Yet again, abuse of special effects and constipated wailing. More, in fact. Ponty rides a horse in one scene, flies in another, and walks in yet another. And after a while, the change in costume and appearance is thought-provoking. Why transform from a lovely maiden in kebaya (I think) to a hag with excess powder and Shinto-esque robes? There's no logical explanation here, and I doubt there ever will be. The rules of possession (one spirit, one body) is blatantly ignored, while the kungfu-like action is sadly misplaced.
A real pity, Ponty's fate. From a character sympathised by many, she becomes a banshee suffering from PMS, flying around without an inkling of what she wants in the afterlife. Well, she does want her child back, but not knowing who her child was is quite befuddling. Yet she accurately identifies the infant descended from her unwitting murderer. And to cap off a bad night out, this model Indonesian village, made up of cowardly busybodies, sits right smack on an earthquake fault line. The death toll from this devastating disaster is absolutely mind blowing - two. Both outsiders, mind you.
What's worse, if that were possible, is that this poor effort of a sequel is plagued by horrible editing. Scenes just keep getting cut off before one is able to absorb or even make sense of what's going on. A minor annoyance which festered into major irritation. Even with the lovely MK, PHSM 2 is beyond redemption. Which is a massive anticlimax. It barely deserves a 1.5/10; the 1.0 coming from the biased fact that I liked number one. Poor acting, stereotypical casting and predictable dialogue all conspire to ruin the movie; they're aided by a story with more holes than cheese.
The only engaging part of the movie centres around the kuda kepang, which provides an insight into this dance which blends folklore, animism and the supernatural.
One can only hope that ponty baby is finally enjoying the peace she craved for. And that part three doesn't haunt the silver screen.
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