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Disturbing images and a few good shocks don't stop
The Ring from being a hash of half-baked ideas. It's the kind of frightfest you'll watch to set a chilling mood or spook your susceptible friends, but when you try to sort it out, this well-mounted American remake (of the 1998 Japanese hit
Ringu, based on Koji Suzuki's popular novel) collapses into a heap of incoherent parts. The negligible plot follows a Seattle reporter (Naomi Watts) as she investigates the death of her niece, the victim of a mysterious videotape that, according to vague urban legend, causes the viewer's death seven days later. (
Fear Dot Com borrowed the same idea while avoiding this film's lofty pretensions.) The reporter, her son, and her estranged boyfriend view the tape, and the film's countdown structure follows them into deepening layers of terror--all quite effective until the movie attempts to explain itself. At that you're better off shutting down your brain and letting the creepy visuals take over.
--Jeff Shannon
From The New Yorker
Gore Verbinski's film, a retelling of the hit 1998 Japanese thriller, is a cold, arty exercise in scary moviemaking. Naomi Watts, in a strong performance, stars as a newspaper reporter who discovers a videotape that promises death to the viewer a week after it's seen. The movie's nifty beginning-all anxiety and dread-suggests that the audience is in for a fearful ride, but the one-dimensional story quickly runs out of fuel. Verbinski desaturates the film's colors (muddy browns and jaundiced yellows) in a vague attempt at atmosphere. Although he manages to pull off a few spectacular fright moments, the tension never really kicks in. -Bruce Diones
Copyright © 2006
The New Yorker