Those who haven’t seen the first chapter of the series, myself included, are brought up to speed quickly on all matters except the core motivation of why Marc is doing all these things. That gets held back until a big reveal suddenly creates a dramatic paradox of how you view the other characters. Because of this, audiences entering the sequel first are in for a bigger treat than those watching the installments sequentially. There is also a mind-blowing post-credit sequence that confounds and intrigues where the franchise may go next. It is the kind of post-credit spin that increases your regard for everything you just watched.
The Stalker: Part 2 is also a nostalgia engine for a surprisingly wide swath of cinema. Of course, you have lots of love for 1980s horror, starting with the VHS-style lettering on the posters and the retro synth soundtrack. However, we also have some charming homages to golden age Hollywood, like those sprinkled throughout Avenging Angel, another ambitious exploitation sequel. Officer Harrison dresses in a Robert Mitchum hat and trench coat everywhere he goes. Fromin plays the bumbling sidekick like a fourth Stooge. Some may find this corny, but it is refreshing that the old ways can still be observed.
“…acts faster and hits stronger than your average thriller.”
The overall look is very professional for an indie-level production. There is an intense focus on every scene to arrange the lighting in a highly fashionable manner that most other films never find. It is also interesting how the fusion of the different acting styles works so well. Ayers and Bell nail it by playing everything dead dramatic and serious, which keeps the tension high. This is contrasted with the almost Looney Tunes level of comic anarchy found within villains. The wackiness of their behavior makes their evil acts all the more chilling, like a Will E. Coyote cartoon where the Road Runner screams.
We need more films like The Stalker: Part 2. In today’s busy world, people just don’t have time for expository treadmilling. The filmmakers know what their audience wants and get it into their bloodstream quickly and cleanly.
"…like a Will E. Coyote cartoon where the Road Runner screams."
