A popular perception of Japanese horror or j-horo can be limited by « Ringu » and « Ju-On: The Grudge », but there is more thematically rich genre. The sustainable image of the garden, which crawled out of the television screen, precedes the decades of folk tales, supernatural myths and aspects of horrors obtained from the traditional Kabuki Theater. One of the earliest examples of J-Horror Konet Shinda’s movie « Anibaba », « Anibaba », The story of fear and betrayal is set out against the background of the civil war. At other times, these horrific stories plunged into deeply surreal waters, such as the « house » of Nobuhika, who for many years acquired the iconic status of his inventive images.
Fast forward to the world of « ring », Takashi Miike made « one missed call », which presents a simple horror story that spins around the amazing cell phone messages. For those who are not familiar with the MIKE film production brand, the director « Listening » and « Ichi -Zabor » undermines the expectations, making the ethos on its own. His approach to the usual J-Horror plot in ‘one missed call’ was no different where It requires proven tropes and pulls them to extreme thematic eccentricity. While the approach to a commercial point of view, it works as a story, challenging the horror convention, and the only vision of the director creates every terrible concept.
Having said this, this J-Horror 2003 is still one of Miyke’s weakest works, as he simply redeser the myth into something gently intriguing. However, nothing I will prepare you for the 2008 movie Rome – also called « One Missed Call » – which is so awful This is shameful 0% on rotten tomatoes.
One missed call hurts through
Eric Vallet’s « One Missed Call » retains the main prerequisite for the original Miike (which is based on the novel « Chakushin Ari »), in which the curse passes around, leading to several deaths. Transfer mode is a phone call or voicemail from the future, stating the time of death of the subject along with a terrible message. This is exactly rearranged the trop, especially after Hollywood Remake 2002 « Ring » performed it for great effect.
Although this modified prerequisite had to work (it certainly worked for MiiKE), the Valleta remake lacks the originality necessary to revise the stale genre tropes from a fresh point of view. The fact that none of the performances can distract you from this vivid restrictions certainly helps. For example, Beth Shanin Sasamon has been experiencing absolute hell for a few weeks, and half of her friends died with a voice mail. But Beth looks without magistracy, even if the movie wants us to think she was scared or horrified and not reacting when things continue to go out. Stupid performances in Baku, any attempt at social comments – for example, our excess from phones that often act as proxy for identity – become flat without depth and nuances to ground it.
Of course, this may not be the worst horror movie that has never been made, but its void feels somewhat sophisticated, especially when contrasted with a busy version of Miike. One thing is to make the movie sad; This is another to shamelessly thwart the best, more genre headers (for example, Kiyoshi Kurosawa’s Gounting Techno-Horror « Pulse ») and still do not entertain.
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