After rewatching the movie recently, I realized something. While the events in the movies quite obviously sucked for all the involved, there is a very fridge-like benefit for the Freelings. These are people who, beyond any shadow of doubt, possess the knowledge that there IS an afterlife, that your consciousness doesn't dissolve into oblivion once you die. How liberating must be to live knowing that there is indeed a light at the end of the tunnel.
Well, they don't actually know there's an afterlife; the only thing they've seen is a horrible in-between place populated by angry spirits and lost souls :P Who knows what's really beyond that light...
But that place IS an afterlife. Those souls went there after their lives hand ended, it fits 100% the definition. Even if they don't know what is inside the light (which they sorta do, unless they discarded Tangina's explanation as bullshit!), they still know that your consciousness doesn't die along with your body.
The mother is thirty-two. With a sixteen year-old daughter. Maybe she's not the mother after all. Might explain the height difference.
32-16=16. You can have a child at sixteen. It's the not ideal by any means, but it happens. And with a helpful family and partner, some are able to have a successful life.
Not the case here, however, as the father specifically tells a workman that his first daughter's mother is dead. (The pool-digging crew had been praising Dana's looks, and saying she must take after her mother.) Mrs. Freeling is clearly Dana's stepmother.
That doesn't happen in the movie. (maybe you're thinking of Hellraiser when that exact situation does occur.)
Go back and watch it again. It's the bit where one of the pool-diggers leans in the kitchen window for a cup of coffee.
...Nope, doesn't happen. Diane's the one that finds the pool-digger, and the entire scene consists of her asking how it was, him saying it was great, her asking for her cup back, and him saying that she makes great coffee. There was a scene where the diggers were praising Dana's looks (before the coffee thing), and after she flipped them off they might have commented on her mother's looks, but the father never says that Diane's Dana's stepmother.
Steve mentions to a couple he's showing a house to that they have very generous construction standards in the area. He has a neighbor who put a wading pool and an aqueduct in their yard, and he himself is having a swimming pool built...in a yard that's right over a cemetery. How is it none of the bulldozers digging up his backyard (that pool is at least ten feet deep) never encountered a coffin (No, the cigar box doesn't count)? And if the development company wants to keep the bodies a secret, why allow people to do things like that?
Possibly the old cemetary lay at the bottom of a gully, that got covered over by 20 feet of infill when the subdivision was landscaped. That'd make the violent emergence of those coffins in the finale even more impressive.
I just can't see even the most unscrupulous developer spending the money to cover that much acreage with that much fill just to avoid moving the coffins. That would cost a lot less.
Not if the gully was only big enough for the Frehlings' house and a little of the nearby street; they could just dump the dirt that was already being excavated to put in the streets and cellars there. That would explain why it's only one house that's haunted, not every house in the neighborhood.
And wouldn't the bodies have been disturbed anyway when they were building the houses, if they were all buried at the standard depth?
Alternately, the bodies weren't left behind at all, just the ghosts of the deceased. They'd already teleported a bunch of their burial goods into the house; doing the same with their actual bodies and coffins couldn't be much different. The father's assumption that the bodies had been left behind was him jumping to conclusions.
In II Kane couldn't be let in the house unless Steven let him in. ('Let me IN!!!") Aside from the Tequila scene where he swallowed the worm. There has been no way he could have gone into the house. Yet after the Let me in part, he was able to get Robbie with his Braces, and throw Steven across the room, and that was before the Tequila scene.
When that happens, Taylor goes right to Carol Anne to look after her. Steve asks him What the Hell, Hero?, and Taylor replies that it's Carol Anne that Kane is after, not Robbie, and protecting her was important. This implies that the situation with Robbie may have been somewhat like the famous face-peeling scene from the first movie; i.e. not entirely real. It's possible that it was mostly an illusion and Robbie was in no true danger, but was merely intended to serve as a distraction so Kane could get to an unprotected Carol Anne.