Screenwriter Michael Mahin, debuts with his first script made into a film with experienced horror director Julian Richards, known for his crossover thriller-horror movies Daddy’s Girl (2018) and The Last Horror Movie (2003). They combine to bring a move that contains many cliché references to Carrie (1976) and Firestarter (1984), noted by many critics, however I saw some notable mentions to Shocker (1989) and the lesser known Basement Jack (2009).

The opening 15 minutes provides an intense storyline of morgue worker Ken Stern (Chaz Bono) clearly a wretched individual, he captures a stillborn baby that came back to life, thanks to lightning strike causing an electrical surge. He keeps her, now known as Tess (Kayleigh Gilbert), captive for 16-years which he now tries to sexually assault, but she escapes the monster and begins her quest to find her birth mother with her special electro-kinetic power. Meanwhile, one learns about Lena O’Neill (Barbara Crampton (We Are Still Here [2015)]) who never properly dealt with the death of her baby affected her entire life, causing her to suffer a lackluster acting career, troublesome battles with her agent and numerous sessions with her therapist. Seeking closure, Lena returns to the hospital administration’s office to learn about her baby, however they lost the body, this heavily displeases her, however fate is a vicious beast. Tess follows a trail of clues to find her mother, she locates the doctor who delivered her, and unleashes her power on him as he rides the elevator of hell, quickly she discovers Lena is her mother, and begins defending against her enemies real and perceived.  As the body count grows, a romantic interest grows between Detective Mark Fox (Michael Pare (Abattoir [2016])) and Lena, all of it striking a jealous chord with Tess causing more uncontrollable sparks.

Gilbert and Crampton have solid chemistry when sharing the screen, both providing a compelling connection in their perspective roles. The overall storyline slams the throttle down for quicken pacing of a plot, there are various reasons of why this occurs, namely an overall weak script concept, it’s full of plenty of clichés and taking snippets from other more well-known films; after all its only 80-minutes long including credits.

Sadly, while Reborn delivers some enjoyable moments, and it’s great to Crampton on the screen, its thoroughly unoriginal, as previous stated borrowing from two Stephen King stories (the writer definitely a fan), it hints back to Frankenstein (1931) with Tess as the monster, uncontrollable and lacking love, it all just frizzles.

IMDb Rating: 5.8/10

Baron’s Rating: 5.0/10