Takashi Shimizu
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Filmography
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Connections, in both directions
Terrified (2018)
Directed by Demián Rugna
influenced by Ju-on: The Grudge (2002), The Grudge (2004)
Visuals
The interconnectedness of the houses are reminiscent of Takashi Shimizu’s Ju-on: The Grudge , and the motif of water summons memories from other J-horror films like Dark Water .
Perhaps the closest analogue is the weird world of Takashi Shimizu’s Ju-on: The Grudge, with its apparently episodic intrusions accumulating a peculiar interconnectedness.
Director and screenwriter Demian Runga’s film pays tribute to the genre with callbacks to staples such as Pet Cemetery and The Grudge , while creating unique visuals and set pieces that are nightmareish and warrant sleeping with the lights on.
It's also the most desperate effort anyone is ever likely to make at copying The Ring and a pathetically inadequate attempt at that.
"The Grudge" remake is more successful a reinterpretation than "The Ring."
The 2003 original, "Ju-on: The Grudge," is part of the new wave of Japanese horror, joined by "Ringu" (in America, "The Ring") and the Pang Brother's "The Eye."
And then we have the shadowy girl figure from The Ring make a cameo.
First came THE RING, an above average creepfest, and now we get THE GRUDGE, which director Takashi Shimizu remade from his own film JU-ON.
Like the far superior The Ring, also based on a Japanese horror sensation, The Grudge employs a cold, bleak look -- virtually all color has been drained from the film's settings, as though the celluloid were a corpse on the mortician's table.
It’s not often that a foreign director agrees to remake his or her own film in English and the results are no guarantee of quality - see (or rather, don’t) Dutch director George Sluizer’s abysmal remake of his own cult thriller The Vanishing.
It also delivers – at least most of the time – with an extremely creepy ghost reminiscent of the chilling title character from “The Grudge.”
It lacks the requisite blood, gore and severed limbs for hard-core horror fans, but "Mama" does offer the shadowy suggestiveness of some of the better Japanese horror flicks such as "The Grudge."
The film’s prologue and Mama’s origin creates something that’s more than just a haunted house movie although physically, “Mama” falls into the Japanese ghost territory of “The Ring,” “The Grudge,” et al. – long scraggly hair and movement as if every bone in her stick-thin body has been shattered and reassembled.
Some scenes reminded me of “The Grudge” (the japanese version) like the ghost’s floating frizzed out hair..and the ghost appearing from just the Hair…or from a rotting blot on a wall.
Instead, the film — which fittingly began life as a short — turns into a rote, protracted take on the imitation J-horror of The Ring and The Grudge.
It deals, as so many creepy tales from Henry James to The Grudge, with children, starting with a young tot (Roger Pr�ncep) playing with imaginary friends in his new home, a dilapidated building that was once the orphanage where his mother (Bel�n Rueda) lived.
But perhaps the source that it most unfortunately borrows from is "The Grudge", that last unraveling of the Japanese horror trend.
J-horror, or Japanese horror, impacted the genre on a massive scale after titles such as 1998’s Ring and 2002’s Ju-On: The Grudge haunted audiences.
It's easy to spot the Asian horror influences—the daisy-chain urban legend of The Ring here, the doomy relentlessness of The Grudge there—but It Follows owes its largest debt to John Carpenter, whose presence can be spotted in every slow pan across a leaf-blown street or uncomfortably lengthy shot of a dark hallway.
The plot mixes the curse theme of The Grudge or The Ring with the sexually transmitted plague of David Cronenberg 's Shivers, while its pulsating digital score is straight out of John Carpenter 's playbook.
The concept of an evil curse that can spread almost virally between victims owes more to J-horror classics like The Grudge and The Ring than any particular innovations on the part of the filmmakers however.
Sly reference is made to The Grudge and Hellraiser, to werewolves and zombies and fishmen and pretty much everything else known to go bump in the night.
When we see, e.g., the haunted attic and desperate recourse to a priest (The Exorcist), the spectral sisters in the corridor (The Shining), the unhinged séance (Drag Me To Hell), the disembodied demonic footprints (Paranormal Activity), the comatose patient who seems only to be half asleep (Patrick), the body of a hypnotised man used as a portal by the dead (Two Evil Eyes), and the photographs exhibiting an eerie clairvoyant power (The Grudge, Shutter), Leigh and Whannell are not merely 'paying homage to as many films as they can', but throwing us apparent interpretative breadcrumbs that lead viewers - especially, but not exclusively, genre savvy viewers - in so many different and conflicting directions (how exactly do you get from The Exorcist to Patrick to Shutter?) that all this hyper-allusiveness conjures up its own kind of uncanny.
We've seen a few horror films produced by Raimi, most notably the U.S. version of The Grudge made by the film's Japanese director.
Watching the film is almost enough to erase the memory of slogging through all of those rotten “Saw” movies, their bloody knock-offs and the glut of Japanese horror remakes whose entrails we’ve been wading through since “The Grudge” (which Raimi produced) hit the scene in 2004.
In a month where high profile horror remakes have fallen flat ( The Grudge , Fantasy Island ), it’s a shame that The Lodge wasn’t given the same wide release.
Undoubtedly influenced by the more icy emotional edge of J-horror (never forget that the starting point of Ju-on: The Grudge is a home visit from a social worker), first-time feature director James puts the family drama first and foremost.
With Funny Games, an update of his 1997 German film of the same name, Michael Haneke joins the shortlist of foreign directors who have remade their own movies for Hollywood, a group that includes George Sluizer (The Vanishing), Takashi Shimizu (The Grudge) and Ole Bornedal (Nightwatch).
Eventually, as the apocalypse evolves, Bird Box adds The Grudge, The Purge, and The Crazies to its list of films to rip off, and instead of watching the action ramp up (which is impossible, anyway, since we know where this is all leading from the opening scene), it only grows more monotonous and uninspired.
Netflix continues to improvise its way into the movie business, and "Death Note" is part of a reliable genre given the popularity of past Japanese horror imports that yielded U.S. adaptations like "The Ring" and "The Grudge."
Sinister (2012)
Directed by Scott Derrickson
influenced by Ju-on: The Grudge (2002), The Grudge (2004)
Themes Visuals
But even if you don’t live the real life of a scribe, there’s plenty of stuff going bump in the night as well; this is the creepiest haunted house since the one in Ju-on: The Grudge.
The ghostly visuals creeping into the plot retain an especially chilling value for the lack of information accompanying them, and the supernatural figures are among the scariest to appear in an American horror movie since "The Grudge."
In terms of genre pedigree, there's traces of everything from Wes Craven's Nightmare on Elm Street to J-horrors like The Grudge and Deep Water.
She scares the bejesus out of them, and out of the audience, and then, when everyone hurls themselves out into the sunlight, she stands up, dusts herself off, and merrily announces she’s making chicken pot pie, like a Norman Rockwell grandmother crossed with something out of The Grudge.
There’s a pervasive sense of tragedy throughout, as the details of Kaylie and Tim’s tragic past are slowly fed to us through flashbacks and hallucinations, calling to mind the disorientation of The Grudge and the mournful quality of Dark Water.