With those hilarious sequences and episodes of gore that started right from the beginning, you won’t find yourself bored or lost because everything comes off spontaneously. Also, the former found its comedy in its never-ending turmoil, while the latter found it in its subtlety and crafty slapstick, mainly thanks to Bruce Campbell’s comedic performance The ribcage scene is probably the highest point of the film and the best in the series. What makes this sequence truly memorable is their distinct camera movements, where the Alien receives the handheld, turbulent camera treatment, while The Haunting receives the noir, classic camera tricks. The Alien and The Haunting rip-offs play simultaneously, where the former is chaotic while the latter is subtle. The moment where Mark treated Frankenstein’s monster differently and much more lightly than its owner is a nice touch, considering the mistreatment the monster received that caused its unchecked morality. The Frankenstein bit is good, and the perfect way to start the homages, knowing fully that the story of Frankenstein is a hallmark of classic horror. Lost in Time materializes on esteeming homage to classic horror films and somehow triumphs in making every reference unique and utterly funny. Bringing out nostalgia is the point of the whole franchise, and its predecessor is pretty adamant about instilling it. The film settles on showcasing fictional characters than mixing them with non-fictional entities from history. What made this film work better than the first is that it is decisive, as it heavily focuses on fiction, which pays respect to those who admire uniformity. However, Waxwork II: Lost in Time still deserves a glimpse, as it took responsibility for its predecessor’s weak progression and learned its lesson by giving us what we came for – a chaotic and grisly comedy horror. Apparently, the protagonist, Mark, continues to alter history now and then to favor himself in this film, which makes him more the villain than the protector of our time continuity. David Lincoln in Waxworks never tried to change the timeline because he only attempted to bring the wax effigies back to life.

And there is no point for time warriors because there are no actual scoundrels who try to alter history, even in the first film. And yet, the existence of time warriors is complete baloney as igniting wars in different periods obviously changes the course of history. This idea existed because God is playing a “Nintendo game” with the Devil suing their own time warriors to tip the balance of the universe, according to Sir Wilfred. What’s more confusing is that the supposed “butterfly effect” caused by their time ventures does not affect their present despite various time skips.Īnother irking bit is the existence of time warriors. Waxwork II: Lost in Time seems to scrap this rule, as they needed to take initiative during their time displacements to survive. The sequel bypassed one of the original film’s crucial plot points, that in order to survive in a certain period of time, you need to convince yourself that what you’re seeing is fictitious.

Although there are parallels, including the interdimensional portals, it didn’t respect continuity as the story veers from the established lore of the first film. Sir Wilfred’s house holds clues to her innocence and a compass that reveals the gateways across time and space, taking them to alternate dimensions. After burning the museum, Mark and Sarah’s worst issues emerge when a demonic hand from the museum stalks them home and kills Sarah’s alcoholic stepfather. But there is no dummy gallery anymore, so what’s the point? Hickox forces a story to justify a second film. However, Hickox reinforced his idea of time displacement and called it time traveling to prolong his ill-conceived lore. The waxwork museum already burned in the first film. What’s there to discuss? What’s there to elaborate? Nothing much, really. But despite its promising vision of bringing horror icons back on the screen again, it only proved one thing: nostalgia is not enough to salvage his fleeting, futile idea. Anthony Hickox seems to have fun recalling the past that he managed to come up with another story about anachronisms and horror film icons in Waxwork II: Lost in Time.

Waxworks 2 game