TheGrudge attempts to revive/reboot/continue the American version of a venerable J-horror franchise—but it's all jump scares and hot air. Our review
After a woman living in Tokyo circa ’04 stops by an awfully familiar looking house, she returns to her family in Cross Rivers, Pennsylvania. Mass murder, unsurprisingly, ensues. Several years later, a cop who’s transferred to the town comes across a dead body, decomposing in a car in the woods. This eventually leads her to the cold case involving the aforementioned massacre. It also leads her to the house where it happened, much to the dismay of her superior .
Riseborough’s detective work is only one narrative strand among many, serving as a hub for numerous other tales of rewarmed terror. There’s the original story, which serves as a link to earlier entries and gives us the requisite recurring underage specter . There’s the realtors who live next door to them, a married couple played by John Cho and‘s Betty Gilpin who are dealing with a potential problematic childbirth.
The effect makes it feel like you’re watching one of those scary British portmanteau films from the ’70s, or — more pertinently — the type of vintage Japanese mix-and-match ghost stories that inspired the late ’90s wave. It also gives you the sensation of sampling various spooky stories without ever having to commit to any of them, or care about much of anything.
, is able to add his own touches to the template; a sense of decaying Americana and seedy clapboard-house clutter keeps oozing its way into the frame. His choice of a final shot, in which stillness is the move, borders on a quiet stroke of genius.to dullness to deadening as‘s running time marches on. It’s as if the director has been forced to spin an arrow to choose what comes next. Oh, it’s landed on an abundance of flies. Ok, done.
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