A bland supernatural thriller, Case 39 is a soulless amalgamation of several horror classics, and marks another dud in the career of Renee Zellweger.  

The film marks Zellweger’s return to horror since her turn in 1994’s The Return of the Texas Chainsaw Massacre, and if both films are an indication, it is a genre which the Oscar winner should stay well away from.    

Zellweger stars as Emily Jenkins, a social worker who takes it upon herself to save young Lillith (Jodelle Ferland) from her abusive parents (Kerry O’Malley & Callum Keith Rennie, both very effective). After Emily saves Lillith from a fatal act of abuse (the films lone gripping scene), Emily agrees to take custody of Lillith, only to discover that not everything is what it seems.

Although able to provide the sentimental schmaltz that the part required during its initial stages, Zellweger comes off as miscast during most of Case 39, not able to convincingly pull off the descent into madness which befalls her character throughout most of the film.

Relief is given in Ian McShane’s turn as a grizzled cop, yet Bradley Cooper fails to convince in his turn as a child psychologist.

As a chiller, Case 39 is sporadic at best. Too often it resorts to cheap thrills and loud noises to scare its audience, its varied CGI critters are neither convincing nor effective, and its over the top kills will only confirm the viewers disbelief in the absurdity of what is in front of them.    

The occasional lament on the loss of faith in mankind perks the films generic tone somewhat, yet these moments are few and far between.

This is a shame, considering it is the American debut of German filmmaker Christian Alvat, whose Antibodies had many stand up and take notice. Yet all that is presented here is a throwaway studio film which burrows heavily from The Omen to The Ring.

Its one major strength was its casting of Jodelle Ferland, who delivers the complexities needed to make the role of Lillith work. If only the film could match her talent.

The combination of kids and horror can be a profitable venture, but not effective nor innovative. Such is the case with Case 39.