The good news is this: Saw comes out next week, and then Seed of Chucky the week after that. Eventually, the law of averages has to kick in. The Temple News. Previous Vote or Cry. Next New voters could decide race. Be the first to comment Leave a Reply Cancel reply Your email address will not be published. Copyright The Temple News.
The Grudge is basically opening unopposed this weekend as the only wide new release, so maybe audiences will check it out and feel differently. While The Grudge may not be a critical hit, the year is just getting started and there are plenty of new horror movies to look forward to in Check out those and all the big movies headed to theaters this year in our Release Schedule.
Nick grew up in Maryland has degrees in Film Studies and Communications. His life goal is to walk the earth, meet people and get into adventures. Nick Evans. Your Daily Blend of Entertainment News. Contact me with news and offers from other Future brands. Receive email from us on behalf of our trusted partners or sponsors. The Grudge used its nonlinear structure to present a sense of foreboding.
Before the audience saw what happened to the new occupants of the house, you saw the aftermath. An abandoned old woman whose caretakers were gone. The Grudge weaved a tale that you are never safe. Once you found out what happened to the tenants in the Saeki house, it was all the more terrifying that you were powerless to stop it. Released in a culture obsessed with media, The Ring was a perfect answer. Not only did it capitalize on the fear that the movie you were watching would kill you, but it also did so in a movie itself.
The audience watched characters drop off one by one all the while intercutting frames of the ring of the well. The Ring suggested that you were watching the film yourself and like the characters, powerless to stop the inevitable. Death at the hands of a vengeful child. Unlike many supernatural horror films, the curse that haunted the Saeki house was not a unique situation.
This specific curse was created when violence came out of an intense amount of rage or sorrow. While this created corporeal ghosts that never leave you alone, the reason this violence happened was unfortunately commonplace.
Many families experience domestic abuse. The Grudge used a common theme. A theme that in its own right is terrifying. A husband killed his wife thinking that she had cheated on him and created a cycle of violence that would never end.
The fact that it was created out of a misplaced sense of jealousy was the most terrifying of all. Few genuine scares, a disappointing production design, and surprisingly bad performances manage to sink "The Grudge" like a stone, yet enough people cared about it to warrant a sequel. English-speaking version of Japanese movie. TxMike 10 March This is a remake of a Japanese movie, by the same Japanese director. Which was a good idea, because otherwise most of us would never have seen it with subtitles.
It is based on Japanese myths which are explained in the DVD extras, which is almost essential for fully understanding the story. It is appropriately scary, and begs for watching a comedy next, before going to bed. I didn't particularly like Gellar in the lead role, but I suppose she was OK. Set in Tokyo, early in the story we see Peter Bill Pullman acting strange on his upper floor patio, then without saying anything he just sort of bends over and slides over the edge, down to his death in the street below.
We don't find out why until near the end, when it turns out he was the lover of a Japanese woman who, along with her small son and pet cat, were killed by the enraged husband, who then killed himself. Inspired by an old Japanese story of a king who took a similar revenge after a subject of his beat him in chess.
According to myth, the building then takes revenge, it holds the "grudge", not a person. So the house of the Japanese family is haunted by the dead son and cat, and everyone who enters the house will die. Gradually all the new residents are done in, and as the movie ends Karen Gellar , studying in Tokyo and doing volunteer work, will likely be next. The point being the building doesn't discriminate between good and bad people, they all die. And in the beginning, Peter was possessed to kill himself because he was responsible for the husband's rage that resulted in his family's deaths.
Nothing new under the sun It takes place in Japan but it is not less derivative for all that. The curse of the house which holds a grudge against its new occupants is as old as the hill. And its ghosts as well. It can produce great films: "the haunting" by Robert Wise "the others" But these works had strong screenplays,clever directors and gifted actresses! The only good actor ,Bill Pullman has only got a supporting part. I do not think Gellar did a great job ,leaving her vampires for the ghosts.
Special effects do not help. Quinoa 7 November While I haven't seen that film, I would have to wager that there's more imagination and originality or some rip-off originality, in other words skill with known tropes of the Japanese ghost movie than in his own directed remake. Maybe the script was written to somehow have some kind of warped appeal, or I would guess accessibility, for an American audience.
What starts off with some potential - the hint of something very screwed up going on with Bill Pullman's sudden movement - just goes into a total jumble. And as a horror movie? Gimme a break. Tension could have been built on the situation - a nurse going to take care of a disturbed woman in a house that is haunted - but he undercuts everything he wants to get his audience to feel.
How's about some music timed just so you know when exactly to expect something. A black cat? Yeah, why not just make the ghost-boy thing sound like a cat for creepiness which, in effect, is only creepy if you want cats.
Why not just shuffle between past and present without any semblance of an actual flow of how a story could be told meaning, while the flashbacks are inserted and are meant to be organic with the story overall, they aren't , or for that matter have us care about ANYONE in the cast. By the time the characters, or those that are there for exposition, get around to telling us what is going on or whatever, there's little point to care. The film-making is shoddy i. Even when Shimizu tries for some average old "Boo" scares, like when the woman is in the office building and chased by the Grudge ghost, it's still silly.
Just watch when she's going on that elevator and the ghost is in the background of shots. Either you'll go with it, and if so more power to you, or you'll laugh hysterically at the results. Count me in the latter. I'm not totally sure where this project went wrong - was it Shimizu having to retool it for the studios, or him not giving enough leeway with his revamp of his vision? The Grudge gives us a lot of information that doesn't make sense or at the least give us some horror-fodder to chew on.
It's cineplex trash of a sad order. Following a series of horrifying and mysterious deaths, she encounters the vengeful supernatural spirit that possesses it's victims, claims their souls, then passes it's curse to another person in a spreading chain of horror. Now, she must find a way to break this supernatural spell or become the next victim of an ancient evil that never dies, but forever lives to kill," according to the DVD sleeve's synopsis.
Hopefully, some of the other comments will help you understand what this film is about, because I'll be damned if I know. The Tokyo setting and Japanese villains - especially little Yuya Ozeki as Toshio Saeki - are interesting, but underwritten. The storyline jumps around in time for the sake of simply jumping around in time. The ending is particularly inexplicable.
This is a cultural twist on the too familiar haunted house story You will jump; you will think your heart has stopped; and your goosebumps will have goosebumps.
It is possessed by a plague on the lives of those who enters it. An American exchange student Sarah Michelle Gellar studying social work in Japan agrees to care for an elderly woman Grace Zabriskie victimized by more than her catatonic being.
The house should otherwise be deserted when the young woman begins to hear the sound of scratching and upon investigating she is starkly introduced to supernatural horror.
The story might lose something in translation; but what makes this movie so creepy and heart pounding is the superior collaboration of lighting, sound and camera editing.
The atmosphere is confusing and profound. The only way to prepare for this suspenseful horror roller coaster is Prozac and a change of underwear. Kudos to director Takashi Shimizu. The Real Ring 2 tedg 6 April Friends, this is a grand time to have a life in film.
There are real advances still underway in this still new thing which is more about how we imagine than how we entertain ourselves. A particular device that interests me is the trick of transporting the viewer into the story in a way that actually works.
Scary movies have this as a particular challenge because you cannot be afraid of something that doesn't actually threaten you. Check this out. It is a cross between the timeshifting usually associated with "Pulp Fiction" and the "watching" mechanism that worked so well for "Ringu.
With this setup, we are introduced to a third "watcher," Geller's character. She has some elements of the detective, this inherited from many prior horror films, necessary because this is how much of the explanation is presented. But that's in the background here. Her main role is literally to exit her reality and enter a deeper reality as the watcher of the murder, watching also the first two watchers.
In order to achieve this reality shift, the writer does something very clever. He slices the story up, shifting from time to time and among several related groups of people. This makes us watch closer, investing us deeper in the thing, but that could have been accomplished otherwise. The main effect of this shifting is to make it seem natural that as we shift, so can Gellar.
0コメント