SnoReptilePlenty Memorable, crazy movie

GetPapa Far from Perfect, Far from Terrible

Joanna Mccarty Amazing worth wacthing. So good. Biased but well made with many good points.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Graham Greene By now, most audiences will be fairly familiar with the Japanese series of films known as Ju On: The Grudge; the phenomenally successful saga that began with the straight to video projects Ju On: The Curse, parts 1 and 2 - in which jealousy and adultery in a quaint Japanese suburb leads to an awful murder that marks the house for anyone who subsequently enters it - right the way through to the larger-budgeted Hollywood remake of the film and it's equally glossy sequel. Subsequent films following on from The Curse have taken the initial murder as their starting point and created around it a film of loosely connected horror vignettes, mostly in which a series of hapless characters end up in the film's iconic haunted house and then find themselves marked for death by the two most prominent apparitions of the story.If you have already seen the American re-make of The Grudge with Sarah Michelle Geller then there's a good chance that this follow up to the Japanese original will come as something of shock. Unlike its US counterpart, this grudge features no real central character and has no real plot development (at least, not in the traditional sense). I personally don't see this as a bad thing, as it allows director Takashi Shimizu to concentrate on crafting a number of scenes of gripping high tension - as the collection of disparate innocents (this time a TV crew shooting a horror film based upon the events of the original film) who unknowingly come into contact with the infamous house and then must come to terms with the unexplainable horror that is happening all around them. However, viewers who look for things like narrative closure, explanations of plot developments and something approaching a hero that they can root for might be sorely disappointed.As I mentioned above, this version of The Grudge instead strings together a series of inter-woven scenes that establish the significance of the curse whist setting up a number of fantastic, edge-of-your seat moments of haunted house horror. This isn't a gritty gore-fest with annoying, smug, ultra-cynical characters (as seems to be the trend with much contemporary horror - think Wolf Creek, Hostel, Cabin Fever, The Hills Have Eyes remake and 28 Weeks Later) but rather, the kind of horror that should appeal to anyone who has had to walk home late at night through an empty park and felt the presence of someone (or something) following closely behind. Your heart starts racing as you quicken your step and become convinced that you can hear footsteps rapidly approaching from the left of your shoulder! When you finally pick up the courage to turn around and look, you realise your mind has been playing tricks on you, but the thrill was still heart-stopping regardless.I prefer this kind of horror, which is why I'm such a huge fan of the horror films coming out of Japan, China and North Korea; great works like The Eye trilogy, Wishing Stairs, Abnormal Beauty, Premonition, Infection, Chaos, A Tale of Two Sisters and Takashi Shimizu's own Grudge-follow up Reincarnation. It's slow moving and slow building, almost ambient even; often coming at you from the rear speakers rather than full and on in your face, which for me, really creates a great, eerie atmosphere that works perfectly if you're watching it at 1:30 AM and have to pause for a toilet break and to let the dog out to stretch her legs.Unlike a lot of his American contemporaries, Takashi Shimizu realises that horror isn't about what you see, but what you don't see, and with this in mind he saves any prolonged glimpses of our ghostly antagonists until right towards the very end. He also manages to create a wonderful feeling of isolation, alienation and hopeless emptiness; not only from the haunted house so central to the story, but even in the brightly-lit suburban streets, schools, office blocks and apartment buildings that our characters inhabit. The film is also shot very simply and traditionally, with none of the hyper-cutting and frantic camera movements of western horror, which again, gives the Grudge a more believable and authentic feeling that only heightens the senses of horror and tension. This is also helped by the wonderful performances of the cast who manage to ably convey the right sense of fraught emotion without descending into screaming histrionics.For me, The Grudge 2 is easily as great the first instalment; although some viewers may find the more outrageous elements of the closing scenes to be a little too much (I'm guessing the planned third instalment will pick up on and explain some of these ideas, but we'll have to wait and see). This is horror for those who want chills rather than spills, and those who like to invest some serious time in something that is slower, more deliberate and more dramatic than the usual stalk and slash type stuff (not that I don't love that kind of horror as well, but it's nice to have an intelligent alternative). As mentioned previously, there will be some viewers who won't want to invest their time in such a film that has no obvious sense of narrative and no single identifiable character, but at the end of the day, that's their decision. But they're clearly missing out!

Claudio Carvalho While driving on the road, the pregnant horror movies actress Kyoko Harase (Noriko Sakai) and her fiancé have a car crash caused by the fiend of Toshio, and Kyoko loses her baby and her fiancé stays in coma. Kyoko was cursed together with all the television crew when she hosted a show in the haunted house where Kayako was brutally murdered by her husband. While each member of the team dies or disappears, Kyoko is informed that she has a three and half month fetus in her womb."Ju-on: The Grudge 2" is a very creepy and scary horror movie, based on a Japanese legend, and disclosed in a non-linear screenplay. In the beginning of this sequel, the explanation of the curse is presented again. When a person is killed in a violent way, his or her death generates a curse that will stay in the place where the crime took place. If another person visits the haunted place, he or she will be chased by the fiends till death generating another curse.Like the first one, this movie impresses because there is no bloody scene, only a tense psychological exploration of the inner fear of human beings for the unknown. The story is very simple and low paced, there are very few special effects, a great use of sound, no gore, but the creepy atmosphere is really frightening. I startled many times while watching this film. My vote is eight.Title (Brazil): "Ju-On, O Grito 2" ("Ju-On, The Scream 2")

Scarecrow-88 Eerie, very effective sequel to Ju-on has Takashi Shimizu returning as the director. The film follows several characters and how their lives never are the same once they enter the cursed home of the original. A horror actress loses her husband to a coma after a horrible car crash thanks to the ghostly boy from the original film(he grabs the steering wheel in a spooky framed shot). It appears as if she loses her unborn child but she meets the ghost boy who touches her belly mysteriously. Later she finds that she in fact is three months pregnant. Question is with what kind of child? And, how come does people around her suffer the wrath of the ghosts of Kyoko and Toshio and not her(even her mother perishes)? Others who fall prey to the curse include members of a film-making crew making a documentary regarding the supposed cursed house and it's history. The director, a make-up girl, a reporter and her lover..all these unfortunates never could've imagined what lied in wait for them the moment they entered the residence of a horror house of two vengeful ghosts. As our heroine begins trying to understand what the deal is with everyone around her dying or vanishing, she makes some scary discoveries such as the fact that the woman who died in that cursed home has her name! You have to ponder, why does Toshio seem to stay around Kyoko the actress a lot? The film uses the Pulp Fiction non-linear formatted screenplay having the characters effected by the curse alternating around each other from segment to segment(Like in the original, Shimizu frames segments titled after each main character effected by the curse and how each story often overlaps the other). The film has very imaginative, spooky special effects where we see the two ghosts appear all over the place from windows, copier machines, a pool of blood on the floor,& from the video screen. You just never know when these two will pop out at you or when they will attack their prey. You can see much more inspired direction from Shimizu here in his native japan than in the two American films he made where the same ideas are often recycled and not-that-scary.I'd have to say this was one of the best I've seen from the new Japanese new wave of horror. That ending should give you the willies once Kyoko finally gives birth.

Aaron1375 Granted you saw the little boy rather early, still I thought this was going to be a totally differing movie from the first one. Mainly because the box the movie came in didn't really feature mother and son on it. Well it is a sequel and it moves in all sorts of directions as did the first, however, I actually thought this one was a bit easier to follow than the first one even though it is disjointed as well. That may be in part due to the fact I have seen the first one so I knew what to expect this time around. Basically, people are getting killed or mysteriously disappearing and through the unique storytelling we get to see why. A couple of interesting deaths to behold as that hanging was different, and some of the stuff that is nothing really new ala the first movie. This one has a rather disturbing ending that has some shock value and you have to feel bad for the guy who survived the segment named after him, he just shouldn't have involved himself further. Of course, as with any movies of this type the final ending made he go "Huh?". However, that was not enough to diminish the rest of the film.