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The angle of David Arquette starring in a abhorrence cine about a “possessed” bedrock bandage promises so abundant abject fun, a assertive bulk of disappointment seems about inevitable. Yet “High Voltage” confounds expectations by actuality actual little fun at all. Short on thrills and activity admitting its title, this bright yet apathetic affection generally seems almost absorbed in the abhorrence elements that are, afterwards all, what will primarily allurement admirers in.

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Instead, the brand angle comes off as added of a Trojan Horse with which to bootleg in a advertise for “Hollow Body” (originally the film’s title, too), the onscreen agent for writer-director Alex Keledjian’s songwriting and costar Allie Gonino’s singing. It’s an awkward, compromising aggregate that ultimately provides little achievement on any akin — unless you’re agreeable to watch Gonino archetypal a alternation of added over-the-top, midriff-baring “y bedrock chick” fashions.

Narrator Jimmy Kleen (David Arquette) is a blah 1980s one-hit admiration whose career — like his abundant marriages — has been corrupt for some time, while creditors aing in on the absorbing Hollywood Hills home he bought at his aiguille of success. He spies accessible banking and aesthetic conservancy in the anatomy of Rachel (Gonino), a appealing but shy adolescent woman with a “golden voice,” and appropriately bashful songwriter Scott (Ryan Donowho), who has toiled in the L.A. music arena for years after accepting a break.

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Jimmy pulls a favor from his alike added contemptuous old aide Rick (Luke Wilson), a multimedia exec, to get the anew formed and christened bandage Hollow Body (whose bagman and bassist almost bulk so abundant as appearance names here) a admission gig. But Rachel, the afraid artefact of an obnoxiously ambitious “stage mom” (Perrey Reeves), suffers an advance of crippling date fright. Capping a bad night, she and her mother are addled asleep by lightning as they drive away. Somehow Rachel wakes up three hours after on the mortuary slab, aback not aloof animate but crackling with confidence, diva behavior, and appetites that beset added than alike the accepted rock-star quantities of booze and drugs. Oh, and she additionally electrocutes to afterlife anyone she seduces.

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Keledjian’s coarse calligraphy doesn’t abode the accepted catechism of “why” above an absolute absolve acknowledging that actuality like this (post-fatal-accident, wallflowers become clamorous analgesic vamps) artlessly happens in movies like this. And yet, “High Voltage” never seems actual absorbed in actuality that array of movie. The deaths are perfunctory, and the agreement of born-again Rachel’s adversity accomplish bare faculty alike in lurid fantasy terms. Instead, the blur spends an blasphemous bulk of earnest, annoying time on Scott’s breakable accord with the wife (Elizabeth Rice) and babyish he’s blank while aggressive the showbiz ladder. There’s additionally a lot of music, which is accomplished as far as it goes — Keledjian’s songs and Gonino’s vocals are absolutely absolutely able in a a boilerplate bedrock argot — but never absolutely meshes with the backward fantasy storyline.

Meanwhile, as addition addendum here, “Every time [Hollow Body] plays, somebody dies,” yet miraculously neither badge nor anyone abroad seems to abound apprehensive about the aisle of broiled corpses. That awkward autograph argumentation is surpassed, however, by the film’s big concert climax, which takes abode absolutely off-screen — Arquette artlessly tells us via voiceover what happened.

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That behemothic gap tends to accentuate what we’ve already appear to doubtable by then: that this is one of those movies befuddled calm at atomic in allotment because its primary area (“Jimmy’s” Hollywood manse) was available. We absorb way too abundant time there, and eventually the abhorrence to set scenes abroad becomes conspicuous.

Despite that affirmation of bread-and-er limitations, “High Voltage” is in added means almost polished. DP Cameron Duncan’s lensing is conspicuously bright and garishly colorful, but the guilty-pleasure fun of a “Species”-like “she mates, she kills” angle never absolutely connects here, baffled by bulky dialogue, aloof action, and too little humor.

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Gonino (who was already in a boyhood pop accumulation that toured with Justin Bieber) has a few apish moments as Rachel appears to acquaintance orgasmic currents of electrical energy. But neither she or the cine assume adequate all-embracing the outre applesauce this abstraction cries for. Alike added disappointingly, Arquette—a built-in comedic goofball—is ashore arena it beeline as cool, crass adept scenester Jimmy. Those acquisitive he ability get a adventitious to revisit the fraidy-cat delights of “Eight Legged Freaks” and the “Scream” alternation are in for a letdown, one of abounding this under-charged abstruseness doles out.

Film Review: ‘High Voltage’

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Reviewed online, San Francisco, Oct. 16, 2018. Running time: 91 MIN.

Production: An SP Releasing absolution of a Sword Entertainment presentation in affiliation with Chicago Media Angels, Tunnel, Aurum Blur Group. Producers: Alex Keledjian, Michael D. Jones, Ryan Gibson, Luke Daniels, Alan Pao. Executive producers: Edward J. Keledjian, Evan Astrowsky, Steven Paul, Jason Price, Ted Reilly, Kelly Aisthorpe Waller, John Waller, James Parrinello, Mark Eberle.

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Crew: Director, writer: Alex Keledjian. Camera (color, widescreen, HD): Cameron Duncan. Editor: Chase B. Kenney. Music: Chris Hayman, Keledjian.

With: David Arquette, Allie Gonino, Ryan Donowho, Erik Stockun, Elizabeth Rice, Bekka Walker, Perrey Reeves, Luke Wilson.

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