Published on
In the 1980s, the sequel truly came into its own. Countless successful films spawned follow-ups in the hopes of catching lightning in a bottle twice. Some grew into sprawling franchises, like “Police Academy” or “Friday the 13th“, while others stalled after just two entries, such as “Short Circuit“, “Mannequin”, or “Cocoon”. The trilogy, however, became the most common format—though just as often it followed a predictable downward spiral: each installment performing worse than the last, with the third entry underwhelming so badly it effectively killed the series. The Poltergeist trilogy fits neatly into that mold, and “Poltergeist II: The Other Side” is about as textbook a sequel as you can get.
In “Poltergeist II: The Other Side”, the Freeling family, still reeling from their first brush with the supernatural, once again finds themselves targeted by malevolent forces tied to their daughter Carol Anne. This time, the haunting takes shape in the terrifying figure of Reverend Kane, the spirit of a fanatical 19th-century preacher who seeks to claim Carol Anne for his cult in the afterlife.
“Poltergeist II” benefits from the return of most of the original cast, which gives the film a sense of familiarity—but also the feeling that it’s simply treading old ground. There may be no haunted televisions this time, and Carol-Anne isn’t whisked away again, but the movie still mirrors the style and tone of its predecessor to a large degree.
Also back is Tangina, the breakout character from the first film, though this time she’s reduced to what’s essentially a glorified cameo. Stepping into the spotlight instead is Taylor, a Native American shaman who flips the dynamic on its head. In the original, the haunting stemmed from a house built on a Native American burial ground, with the white medium Tangina guiding the Freelings. Here, it’s a Native American shaman aiding the family against the malevolent spirit of a deranged white preacher who once led a doomsday cult in the 19th century.
The preacher is easily the most memorable aspect of “Poltergeist II”, marking the first time the series gives its haunting a true villain with both a face and a personality. Julian Beck is chilling as Reverend Kane, even though he appears in only a handful of scenes. Beck was battling stomach cancer during production—a battle he sadly lost before filming was complete—and the toll of his illness is clearly visible on screen. That haunting presence adds an unsettling authenticity to his performance, making it the standout element of the film, though it came at a tragic cost.
Kane’s presence gives “Poltergeist II” a proper central villain—something the first film lacked. The original was focused on rescuing Carol Anne, with most of the supernatural threats remaining faceless and abstract. By contrast, Beck’s Reverend Kane looms over the sequel, his menace felt even when he isn’t physically on screen. One of the film’s most striking sequences has Craig T. Nelson’s character swallowing a possessed mezcal worm from a tequila bottle, becoming overtaken by its influence before violently vomiting up a grotesque, worm-like creature whose face eerily resembles Kane’s. It’s a rare moment where the danger manifests in a tangible, nightmarish form.
Yet despite these highlights, “Poltergeist II” never matches the impact of its predecessor. While it echoes the first film in tone, it tries to carve out its own identity with new ideas—most of which land with little effect. Even the big, effects-laden climax, where the entire family journeys to “the other side,” feels oddly underwhelming, lasting only a few minutes before wrapping up. In the end, “Poltergeist II: The Other Side” is the definition of a by-the-numbers sequel: familiar enough to be watchable, but never strong enough to stand on its own.
