Remakes have recently faced a rather explosive trend on the movie front. Studios have remade numerous Asian films such as The Ring (2002), Dark Water (2005), and Shall We Dance (2004). All of these have had some financial success, as have many European remakes. Meanwhile, sequels try to follow up on the success of their predecessor, but most often fail to live up to the quality of the initial film. Yet, they often make enough noise to make a sure buck or two. Thus, making a sequel that almost feels like a remake while viewing it should be a sure financial success. However, whether it has any cinematic value is a completely different question. Single White Female 2: The Psycho presents a meager cinematic experience with a resounding echo, which might turn some heads due to its title.
Single White Female 2 presents another of many fruitless and unimaginative films released that blatantly uses a title that will attract some viewer's attention. The attention is all that this film seeks, as it might trap a few audience members in order to secure enough profit. Nonetheless, the story follows a concept that Fatal Attraction (1987) exposed through a bloodthirsty mistress. Later in Basic Instinct (1992), a female psychopath emerges through the combination of sex and independence while the nanny goes postal in The Hand that Rocks the Cradle (1992). Single White Female (1992) continued this psychopathic female trend by adding the twist through the acquisition of a roommate, which caused additional fear in many viewers. Meanwhile in 2005, Single White Female 2 only refurbishes the old idea of the psychopathic feminine power with newer and younger women with an exquisiteness that many men will ogle. However, all other aspects of the film go far below the quality of the original film and many other films in the category.
The story opens with a shot of a little girl discovering a woman in a bathtub with cut wrists (I only wish it did not look like ketchup dripping from the wrist.) I assume the director, Keith Samples, tries to evoke some deeper meaning in this scene where the audience should draw inferences to a disturbing childhood. The problem with this scene is that it forgets to point the audience in a direction, which coerces the audience to retreat to previous experiences with similar themes and stories. However, the title Single White Female 2: The Psycho has already functioned as an obvious reminder to what the scene intends to suggest. The film continues to exploit trendy pop-psychology through secretive items hidden away in cellars, locked suitcases, and sadomasochistic occurrences (Barbet Schroeder, the director of the original film, directed Maîtresse (1976), which gives a far better look on the world of sadomasochism.)
Consequently, the story follows a predictable path where two competitive women in their mid-20s clash together, as the borders between the personal, professional, and sex diffuse. This conflict leads the story's red headed protagonist, Holly, to seek a new home with a friendly and understanding woman. However, Holly slowly begins to realize that there is something strange and bizarre about the woman from whom she rents a room, as the woman begins to borrow her clothes, color her hair like Holly, and have an uneven temperament. Eventually the film comes to the part that everyone is waiting for-the shinny kitchen knife and the demented woman's inability to deal with rejection and separation.
Single White Female 2: The Psycho only has one thing that might keep some men's attention - beautiful women. Besides this trite exploitation of beauty, there is not much substance that would develop much entertainment, suspense, or contemplation, as this sequel most likely feels like a clumsy copy of the original film. Unfortunately films such as this one do instigate the notion of poor filmmaking, and an opportunity wasted on potential talent.