Many of the industry’s eyes are locked upon “The Host,” the newest offering from Stephanie Meyer, the author of the “Twilight” series.

The “Twilight” saga’s film adaptations grossed close to $2 billion in just five installments.

Everyone is asking the same question:

Can lightning strike twice?

In the case of “The Host” No, lighting doesn’t strike twice.

In fact, not even the faint whimper of a distant thunder can be heard in this monotonous, slow-paced adaption.

The most glaring problem for “The Host” happens right from the get go.

Immediately, the audience is introduced to a post-invasion-Earth that has been overrun with aliens that possess the human body.

The aliens aren’t loud and destructive like most Hollywood types.

Instead these aliens are determined to bring balance and peace to our planet.

Here’s where the problem arises:

Where is the back-story?

Did Earth not try and fight the invading species?

Something about the absence of context makes the entire human race look incredibly passive.

While most Earthlings have been overtaken by the alien occupants, there are a few humans who have managed to stay…well, human.

One being Saoirse Ronan’s Melanie, the film’s main character.

However, within minutes of the film start, Melanie is surrounded by aliens.

Over the course of the film eventually Melanie finds herself with an alien occupying her body.

Considering Melanie’s fight and tenacity, the alien spirit (named Wanda – short for Wanderer) and Melanie’s inner-soul battle for occupancy.

The resulting film showcases the two competing inner-monologues bickering at each other while Melanie/Wanda finds solace in a refugee camp ran by Melanie’s uncle Jeb.

Hot on their heels is The Seeker, played by Diane Kruger. Kruger’s sporadic appearances in the film are slick and well acted, she’s easily the best part of the movie.

The film burns through its run time at the refugee camp by showing scenes of Melanie/Wanda’s growth as the two find love and learn how life works in hiding.

Essentially, the filmmakers want it to seem as if a lot of life-affirming events happen at the camp when, really, you’re just listening to two teenagers argue while they learn to harvest wheat.

Thrilling.

At its core, “The Host” leads up to a climax that just isn’t there.

During the film’s press screening there were a bevy of audible sighs and ughs – with good reason, too.

While Meyer’s material may be considered box-office gold, “The Host’s” steel-cold story line is reason enough to skip.