EVERY so often a film comes along which changes cinema forever. The introduction of sound and technicolour in the early part of the 20th Century.

The extraordinary advance in computer generated imagery, culminating in the remarkable Avatar.

Then there is Ghost Rider 2: Spirit of Vengeance. If pioneering filmmaking is like the birth of a star, then this type of film would be akin to a black hole sucking everything in its wake into a void of nothingness and despair.

There were some warning signs of course: multiple production companies backing the film from all corners of the world; Nicolas Cage’s hair reflecting his recent film career: permanently fixed in the same place but hard to believe it is genuine; animals running away from cinemas screening trailers of the film – alright it is possible that last one was made up.

The plot, such as it is, revolves around a young boy (Thomas Hern) who is destined to become the next incarnation of the Devil (Ciaran Hinds).

Apparently Old Nick spends his time moving from human host to human host, until their frail bodies burn out – perhaps he should have considered a robot.

There are some good people who are trying to protect the boy from being found, so they call on the Ghost Rider to take the child to a sanctuary until a particular full moon or planetary alignment passes and then the child will be normal, except for some unresolved father issues.

The Ghost Rider is trying to resolve his own issues – he does after all ride around with a flaming skull for a head.

He is trying to find a way of becoming Johnny Blaze, the man he was before he sold his soul to the devil, as covered in the first film.

There a lot of riding around on a flaming bike, English character actors who should have known better filling out supporting roles and some sort of showdown involved in the film as well.

If you see one film this week make it Safe House or The Best Exotic Marigold Hotel – review to follow.

This is one to avoid unless you are bored with staring at the wall.

It might just about have enough bangs and flashes to entertain a younger audience but even they might despair as to how low their expectations are levelled after this.

Chief at fault is the – and one hesitates to say this – Academy Award winning actor Nicolas Cage who turns in a performance like one of those people who is really annoying at work but thinks he’s hilarious and continues to make crass comments even though nobody laughs.

Most of the budget goes on the effects, and the director appears to have run out of money and switched to a cheaper camera at points.

Perhaps history will look more kindly on this film but only if Cage becomes some sort of world dictator and writes his own history. So bad, it is...no it really is that dreadful.

1/10 Andrew Shepherd