Butoh is a mysterious type of avant-garde theatre from postwar Japan that uses contortion, body paint and expressive, uncanny movements to create intense performances, often relating to taboo subject matter. From a personal standpoint, I thought the American version of The Grudge was laughable and Ju-On: The Grudge wasn’t much better. Filled with purposeful self-mutilation and a ghost-child that only shows up to hold hands in an empty supermarket and make juicy gagging noises for no reason whatsoever, The Grudge attempts to provide a new take to an already well-established audience completely devoid of what that audience desires.Dirty bathtub water and fetus stabbings aside, The Grudge is this bland, finger-chopping, stairwell-plunging, America-residing meat substitute sloppily shoehorned between the moldy, stagnant, and Japanese-originated pieces of bread that crumbles, deteriorates, and barely holds the film together each time the audience takes a metaphorical bite over the film’s lifeless duration.

Craig Lines has written articles for various magazines and websites, two whole books and several thousand pointless tweets. The interest in Japanese supernatural horror kind of fizzled out to the majority of the American masses over the years.For a franchise that is more than a decade and a half old, you pretty much know what to expect but what makes this new version of The Grudge different or worthwhile?The frustrating aspect of The Grudge is that it’s a promising concept that could be scary or intriguing, but it never seems to live up to its potential. Many of the scares here are too daft to work, like when a football turns into Toshio’s spinning head or a photocopier starts churning out copies of Kayako’s face, but worst of all is a prolonged sequence where a girl is menaced by a sentient wig that runs along the floor like a tribble.A generous reading could argue Shimizu was intentionally satirising J-Horror tropes here, as the genre was already speeding towards burnout, but it’s equally possible he just misfired. The death curse, while still scary, has lost some of its malevolence. It’s been parodied and imitated so often now you’d think it would lose its power, but it’s still terrifying.


They turn into the spectral equivalents of kaiju by the end but both of their first appearances in the film gave me goosebumps of residual fear. Either way, With the series now becoming something of a worldwide cult phenomenon, the US remake was inevitable. The 2020 US Unlike many horror antagonists, the curse doesn’t target wrongdoers – it gets literally anyone, good, bad, adult, child, as long as they’ve gone into the house – and this makes it all the more chilling. One does not simply walk into Shimizu’s sprawling world. The originals may be rough around the edges but this suffers a little from its own polish. Especially since there’s a super-catchy theme song at the end to make everything better…However, much like its own eternal death curse, the Ju-On franchise is showing no sign of stopping any time soon.

It’s not every day that you get to throw around the term, “sidequel,” when describing a film.While The Grudge doesn’t shy away from blood and gore, the kills are predictable, stale, and just downright disgusting. It’s not a bad effort at all but there is a certain magic missing. The timeline of the film is also kind of confusing; the film isn’t a full on reboot but takes place during and after the other Grudge films.

What made matters worse is that somebody recommended Ju-On: The Grudge as one of the scariest films they’d ever seen, which only soured the situation even further.Other than a sequel to the 2004 American version of The Grudge, I think we all kind of moved on after that. Films like Cinematic history repeats itself so it’s no surprise that a new generation of filmmakers are showing their classic J-Horror influence. Get the best of Den of Geek delivered right to your inbox!The second half of the movie focuses on the poor family who move into the cursed Saeki house and, while this has its fair share of disturbing images, its breezy pacing and more creative scares give it a lightness of touch that wasn’t present in the original film. It’s perhaps Shimizu’s channelling of such a visceral, distinctly Japanese tradition that first resonated with his audience.Kiyoshi Kurosawa – Shimizu’s mentor at film school and already a notable genre voice due to films like The scares from the original shorts are both recycled here but, given the additional context, take on a deeper meaning.
The concept remains the same in the new film; it revolves around a vengeful curse erupting from someone’s death initially triggered by rage or sorrow. Nicolas Pesce, director of The Eyes of My Mother and 2019’s Piercing, was brought in to write and direct the new Grudge film seemingly giving the franchise new life. Learn more super-cool facts at www.cjlines.com. The decision to retain Takako Fuji as Kayako is a shrewd one as she continues to unsettle, but it’s hard to escape the feeling that this is a diluted version. Bellow out one last sorrowful By subscribing, you agree to receive email communication from Bounding Into Comics.The Grudge Review: A Franchise Gurgling to ExtinctionCopyright 2018, Bounding Into Comics. Frankie Faison and Jacki Weaver deliver the best performances in The Grudge, but that’s like saying you’re that top layer of hardened skin in a cracked bowl of rotting guacamole.Disappointingly enough, The Grudge is flat out boring. The fact that this ending offers no hope or even explanation to a lot of the film’s mysteries makes it all the more macabre.The deaths here are more imaginative as Shimizu gives Kayako and Toshio almost infinite power to make themselves giant, melt into ceilings, turn themselves into household objects and warp people’s minds and bodies in whatever way they see fit. The Grudge 3 was the first film in either the Japanese or American franchises not to be directed by Takashi Shimizu, with Toby Wilkins taking over.


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