In appearance her Chelsea recalls Alison Lohman’s transient foster child in Peter Kosminsky’s White Oleander ““ a cool, pale canvas awaiting interpretation.
Lohman, still as winning as in "White Oleander" and "Matchstick Men," fights the devils with every ounce of her tiny frame, and Raimi and cinematographer Peter Deming give the movie the same snappy visual punch as Raimi's crucial '80s B-movie "Evil Dead 2."