Along the way, they too are challenged to give up their beliefs in exchange for an end to their suffering and the suffering of those they know. Much like the original films, the film is told in a non-chronological order through several different storylines.
the grudge movie 2020 – What ‘The Grudge’ Reveals About Effects Of Western Religion On Horror
Detective Muldoon investigates a string of deaths connected to a house, only to draw the attention of the vengeful ghost within it. Now she and her son are at the mercy of the evil curse. Pesce, who previously directed The Eyes of My Mother and Piercing, is an accomplished horror filmmaker. And so, even though The Grudge’s script and overall aesthetic feel drearily familiar, its director still knows how to keep his audience off-balance. The sounds of the afterlife (weeping, croaking, and creaking) pepper every scene, creating a suffocatingly oppressive atmosphere. He knows to carefully frame his actors so that they’re slightly off-centre, leaving you to obsessively scan the empty space beside them for any sign of danger.
Unfolding across three consecutive years in non-linear fashion, the de facto lead is Andrea Riseborough ‘s Detective Muldoon. The new police officer in town inadvertently curses herself when she connects a desiccated body in the woods back to 44 Reyburn Ave, a notorious home that her partner Detective Goodman ( Demián Bichir ) refuses to enter.
Peter goes to look into selling 44 Reyburn Drive and stumbles across Melinda’s ghost, presuming her to be a lost girl, who is bleeding profusely from her nose. While on the phone with Peter, Nina agrees that they should keep their child. Peter is attacked by Fiona and Melinda’s ghosts before fleeing the house and is quickly corrupted by the curse. The possessed Peter returns to his home, where he kills Nina and their unborn child before he is drowned in the bathtub.
The current remake of The Grudge,” produced by Sam Raimi and directed by Nicolas Pesce, is not so much a reboot as it is a sidequel that runs concurrent with the events that took place in the 2003 American version of the film. A live-in nurse who worked at the cursed house in Tokyo carries the curse back with her when she returns to her home in small-town Pennsylvania. The rest of the film essentially reenacts the same plot line as the other Grudge” films. A bunch of unmemorable characters are killed off one by one, with the requisite amount of blood, gore, and jump scares to keep a rather formulaic story moving along.
When Japanese filmmaker Takashi Shimizu originated Ju-On: The Grudge in 2002, it’s doubtful he foresaw the long life it would go on to have. In addition to several sequels the movie also spawned an American remake which, in turn, produced two sequels of its own. It should therefore come as no surprise that the latest iteration — which has been billed as both reboot and sidequel — has little that horror fans haven’t seen before in this or other similar franchises. But while The Grudge doesn’t reinvent the wheel, indie horror director Nicolas Pesce (The Eyes Of My Mother, Piercing) deserves credit for the occasionally effective utilisation of familiar elements.
Here we are, in the dead days of January. It’s the time of year where studios dump movies they’re not entirely confident about. That doesn’t mean the movies are bad, per se. But it doesn’t they’re good, either. The biggest new release last weekend was the horror reboot The Grudge, which didn’t draw much of a crowd. The low-budget of the film – reportedly around $10 million – ensures that the fright flick will break even, but it still had the lowest opening weekend of any film in the franchise to date.
A sequel was announced in 2011, with a release date of 2013 or 2014. In March 2014, it was officially announced that a reboot was in the works, with Jeff Buhler set to write the script. In July 2017, filmmaker Nicolas Pesce was hired for rewrites, based on Buhler’s script, and to direct the film. Principal photography on the film began on May 7, 2018, in Winnipeg, Manitoba , and finished on June 23, 2018.
Spooked by the bad vibes of the haunted Japanese home, American caretaker Fiona Landers (Tara Westwood) decides to return to her family in Pennsylvania. But too late! She already carries the plague of that place and so infects her big, beautiful house, her bearded husband, and her long-haired little girl. The plot leaps from Fiona’s arrival home to two years later, where a widowed mother juggles parenting her grieving kid and her job as a police detective. The discovery of a rotten and horrifically injured corpse raises questions that connect to a horrid series of strange murders. Fascinated, Detective Muldoon (Andrea Riseborough) sets out to solve the cases.
In 2004, live-in nurse Fiona Landers leaves a house in Tokyo, disturbed by events she has witnessed inside Fiona informs her co-worker Yoko that she is returning to America before encountering the ghost of Kayako Saeki Fiona arrives at her home on 44 Reyburn Drive in a small town in Pennsylvania , reuniting with her husband Sam and young daughter Melinda. Kayako’s curse, however, possesses Fiona, causing her to bludgeon Sam and drown Melinda to death before committing suicide by stabbing herself in her throat.
9. While The Grudge was a remake of the first Japanese film, The Grudge 2 told its own unique story while also incorporating story elements from the first Japanese film that didn’t make it into The Grudge. The feeling paid off. The Grudge was a surprise success, kickstarting a franchise that spawned two more films, with another—whatever you do, don’t call it a reboot—ready to scare the pants off you in theaters now.
In this new version, the story is set in rural America, but it sticks to the original ingredients by centering on a haunted house that infects the doomed folks who enter with the rage of a spirit with long black hair. The Grudge is produced by Sam Raimi and directed by Nicolas Pesce (The Eyes of My Mother) and features the talents of John Cho, Betty Gilpin (Glow) and Lin Shaye, to name a few.
In the meantime, they’ll also tediously wait for something scary to happen – a wound more brutally lethal than anything the curse does in this movie. Almost every set up for a scare or tense sequence ends with a thuddingly empty letdown. Trying to avoid resorting on cheap jump scares is laudable, but Pesce doesn’t devise a better way to pay off his scenes, so each moment deflates rather than crescendos. For a furious murder spirit, the grudge sure spends a lot of time just pestering people for no reason with mild jolts as opposed to actually doing anything – part of the problem with a time-hopping structure that, instead dispersing impactful moments throughout, crams all of the meaningful mayhem to the end with little to hold one’s attention before.
Unfortunately, the intriguingly different — and, perhaps vitally, unspecific — set of cultural myths that drove Takashi Shimizu’s 2004 remake of his earlier work to more than $187 million at the box office has not only long since fallen out of commercial vogue, but also seemingly exhausted its own mysteries.
The Grudge is back! Or, it never really went away. That’s sort of the whole point of the Ju-On curse. You can never shake it. The original Japanese horror movie series kept going while hollywood made The Grudge and The Grudge 2. Now 2020’s The Grudge has a new story with new victims , but the same old curse.
Fans of The Grudge should appreciate some of the new twists on the formula, but viewers who were never into Ju-On may find new reasons to appreciate the latest American version. Don’t get too excited about the new storylines. Whether it’s dementia or a cold case, you already know The Grudge is behind it, but Pesce manifests the curse in effective ways.
It’s a ritual nearly as predictable as a Marvel movie in May or romantic movies in February: The first weekend of every January sees the release of a new horror movie. It’s remarkable enough that this once-barren weekend has been colonized into its own niche horror holiday. But in some cases, the movies have even been good — or at least respectable by the historically low standards of January movies. Sometimes those relaxed standards are a relief following a season of blockbusters and awards-bait. Movies like last year’s Escape Room or 2018’s Insidious: The Last Key are effective little genre pictures.
This time out, the most prominent of the dwelling’s ensemble of victims is recently widowed police officer Detective Muldoon (Andrea Riseborough). As she and her troubled partner, Detective Goodman (Demian Bichir), investigate the death of Lorna Moody (Jacki Weaver), a specialist in assisted suicide, the stories of others accursed by the structure are traced.
Yet it’s never clear what all of this grimness is actually for, or what the likes of Cho, Riseborough, Bichir, and the others are doing here. This is never gonna end,” warns one of the characters who’s well-versed in the years-spanning haunting. They’re speaking aloud the subtext of any long-running horror franchise, especially a second-tier concern like the Grudge saga. But the film doesn’t connect that sentiment to the characters’ vivid traumas. Pesce doesn’t seem to have much to say about parental decisions, end-of-life conflict, or the hopelessness of grief.
Inspired by” Takashi Shimizu’s 2002 Japanese horror film Ju On, The Grudge is a sequel to the 2004 American remake, which was also titled The Grudge. This film begins in Japan partway through the remake’s tale of vengeful poltergeists. In this franchise, agony is a contagion that spreads from the souls of the brutally killed to the lives of those who come after, poisoning them with madness, mayhem, and murder.
Some of that talent is apparent here, particularly in Pesce’s use of sound. (The wittiest moments involve the friendly lapping of a dog and the insistent sputtering of a sprinkler.) The actress Andrea Riseborough also hits some moving notes as a detective raising a son alone after her husband’s death. And there are a few good chills when Jacki Weaver turns up as an assisted-suicide counselor. Because of a nonchronological structure, we encounter Weaver’s character’s corpse before learning how it reached its advanced state of decay.
This dreary and dull reboot of the Grudge franchise is a rough way for horror fans to begin a new decade. A house is cursed by a vengeful ghost that dooms those who enter it with a violent death. A generic but competent reboot-quel enlivened by good performances across the board and some stylish direction. No grudges need be held here, but maybe it’s time to put this franchise to bed.
Pesce directs the whole thing with a handsome austerity that suggests a more thoughtful, reality-based interpretation of this long-running ghost story, and bolsters its seriousness with a cast of considerable acting if not commercial weight. (Gone are the Sarah Michelle Gellar days.) Riseborough wrestles with her role as cop and grieving mother-wife with more energy than the movie probably deserves, while Bichir lends his Sphinx-like stillness to Goodman in ways that are both effective and occasionally maddening.
This is where Detective Muldoon enters the picture. In 2006, Muldoon moves to town just a few months after losing her husband, forcing her to raise her son Burke alone. Her new partner, Detective Goodman, has a few tragedies in his past, too. His original partner, Wilson, became obsessed with the house at 44 Reyburn Drive after investigating the Landers killings, and eventually shot himself (he survived, and is now institutionalized). In addition, Goodman’s mother recently passed away, and Goodman is so distraught that he hasn’t bothered to remove her bed and oxygen tanks from his home.
The increasingly awful Cloverfield films link up in only the loosest sense, united by the presence of a fleetingly glimpsed alien creature (not even the same creature — or the same species!) that often gives the impression of having been stuck into an otherwise unrelated script. The Conjuring tried to sell itself as a franchise in the older mode with the demon-led spinoffs Annabelle and The Nun, but they faltered due to the central support beam of the series being the spirit-hunters played by Patrick Wilson and Vera Farmiga.
13. When Scary Movie 4 spoofed The Grudge in 2006, the film had two actors from the franchise in its cast: Bill Pullman, who played the object of an obsessed Kayako’s affection on the first film, and Beau Mirchoff, who starred in The Grudge 3 as Andy, boyfriend to new main character Lisa.
The Grudge drags with the inevitable. It’s a meat-grinder movie. We get it. There is no hope here. As Detective Muldoon follows in the footsteps of Detective Wilson, we all know her fate even if she does not. Fire ain’t gonna work. Quarantine is the only answer. Wrap the Muldoon household in barbwire and dig a moat around it. Otherwise, anyone, including her cute little kiddo who’ll eventually return from school, that steps upon its flooring will fall victim to its disease.
After receiving a letter from Kayako, Peter visits the Saeki house only to find both her and Takeo’s corpses along with Toshio’s ghost. Shocked, he flees the scene and kills himself the next day. The remainder of the Saeki family rise again as ghosts due to the curse, notably Kayako, who appears as an onryō ghost.
But although the film’s storylines are knit together loosely enough to allow suspense and dread to slip through—even its climax is, well, anti-climactic—this Grudge isn’t completely bland. Pesce’s unflinching eye for humans-as-meat makes for a studio horror movie whose morbidity is more visceral than most, peppered with lingering shots of rotting corpses infested with maggots, a pair of disturbingly bloody deaths by suicide, and a body desiccated into jerky, which push the film squarely into R-rated territory. Pesce also has a talent for creating oppressive atmosphere, and lays it on thick with moody lighting and sharp editing that gives the otherwise predictable material a slightly dangerous edge.
Like the 2020 version of The Grudge, The Grudge 2 takes place between 2004 and 2006. In the earlier timeline, Karen’s sister, Aubrey, travels to Japan to bring Karen home, and ends up infected by the curse — and dying for her efforts. In the 2006 story, three girls break into the Saeki house on a dare. Two die, but another, haunted by Aubrey’s spirit and Kayako, returns to the United States, bringing the curse to Chicago.
Producer Sam Raimi brings us a twisted new take of the horror classic. Directed by Nicolas Pesce, THE GRUDGE stars Andrea Riseborough, Demián Bichir, John Cho, Betty Gilpin with Lin Shaye and Jacki Weaver. With a screenplay by Nicolas Pesce and a story by Nicolas Pesce and Jeff Buhler, THE GRUDGE is based on the film “Ju-On: The Grudge”written and directed by Takashi Shimizu.
There’s nothing fresh, exciting, or particularly unique about Nicolas Pesce’s take on The Grudge. His passion for character-focused drama fails to spark in a barrage of scenes that feel like tedious outtakes from Lifetime movies. The sharp style critics praised him for bringing to The Eyes of My Mother and Piercing is translated through a color palette of sickly yellows, hues of rot, rank, and piss. The slow push-ins of the camera become less creepy and more a slog. He has an incredible cast of heralded actors and a bona fide horror icon. Yet the dialogue he gives them is dry and uninspired. Then the set-pieces he throws them into feel like re-enactments, including the ghostly fingers running through showering hair. There’s no life in this Grudge, and so the terror of death feels redundant.
But Pesce is stuck with certain standbys. This time, John Cho plays the unfortunate shower-taker who realizes mid-shampoo that there is an unfamiliar hand in his hair. And out-of-focus specters who sneak up behind people or disappear and reappear with light-switch flicks are not the stuff of primal terror. The remake remains cursed by a fatally hokey concept.
To find the explanation, you actually need to go back to the 2004 version of The Grudge. Yup, that’s right: The Japanese house where Fiona works in is the same one featured in the Sarah Michelle Gellar flick that kicked off the Grudge franchise (the American version, anyway). In the 2004 movie, we learn that the curse was born when Takeo Saeki learned that his wife, Kayako, was in love with her college professor. In a fit of jealousy, Takeo murdered Kayako and their son, Toshio, creating the curse (Toshio later returned and hanged his dad).
The latest splatter film version of The Grudge,” slated to hit theaters Jan. 3, is directed by Nicolas Pesce and based on the same material as the original film: Takashi Shimizu’s 2002 Japanese horror film, Ju-On (The Grudge).” The American versions came out in 2004, 2006 and 2009, the first of which brought in over $187 million worldwide, according to Box Office Mojo That 2004 remake follows an American nurse in Tokyo, played by Sarah Michelle Gellar, as she unlocks a grisly supernatural and contagious curse.