The two other storylines of the film are directly related but not told in chronological order. They both follow the exploits of a Chicago girl named Allison Kebbel. Of course the spooky hits the fan, and after a few deaths Allison ends up going back home to Illinois.
Little do her parents know that when they were picking her up from the airport, she had two spectral stowaways. Shimizu, as brilliant as he is, has gone to this well plenty of times.
Does this latest trip work? Yes and no. Thankfully The Grudge 2 gives us some truly original scares along with some of the gags from the Japanese Ju-On 2. This comes as a breath of fresh air after the first American Grudge film.
Yet, when I saw this movie in the theatre, something still seemed a bit off. The film seems more complete. More cohesive. The additional footage brings forth a bit more character development and of course much more time spent with our ghostly duo.
There's also a plot borrowed from the original Ju-on , but cut out for the remake involving a group of high school girls who go to the house to play a prank on a fellow student, Allison Arielle Kebbel , and soon become victims of the grudge.
While this aspect of the film clearly is an attempt to appeal to the widest audience for horror films these days teenagers , it also provides some of the scariest jumps in the film, and is necessary to set up the third story, which proves to be the most interesting of the three.
Also, it allows the film to devote a good amount of screen time to school girls in uniform, not an unwelcome sight among the male audience members, I'm guessing. What works best in the film, however, is the part of the story which revolves around the residents of an apartment building, who seem to be gradually succumbing to the effects of the curse.
The unsettling nature of the storyline is set up in the opening scene of the film, but then abandoned while less engaging threads are followed. Set in Chicago, the plot centers on two children dealing with the introduction of a new step-mom Jennifer Beals. The revelation of how this is all related to the curse is saved for the climax of the film, and isn't lessened too much by the fact that it's utterly predictable. The scenes with these characters almost feel like an entirely different movie, and a much better one.
If only the filmmakers hadn't felt the need to tether the story to the previous film, and made this the centerpiece of the sequel. That's a movie I'd want to see. Takashi Shimizu, who directed both Ju-on and The Grudge , returns to the helm here with the same bag of tricks -- the Japanese style of horror is more subtle and more direct at the same time than the kinds of scares Hollywood traditionally provides.
But with all the remakes that have come and gone in an effort to capitalize on the success of The Ring , the novelty has long worn off. There is little that is new here, but what is new works well. There're plenty of scares and some genuinely chilling moments, but the film quickly becomes a game of guessing when and how the ghosts will show up each time a character is left alone.
Despite the problems with her segments of the film, and a leaden script, Tamblyn is always an endearing presence on screen. She gives the film an emotional weight it might not otherwise have. The rest of the cast is serviceable, but could have used a few more Asian faces. It almost seems as if the ghosts just hate anyone who speaks English.
Theatrical Version is 2,5 seconds longer As Eason and Aubrey look through the diary the Theatrical Version as a little longer in the beginning. Theatrical Version is 9,5 seconds longer As Eason reaches for the phone to call the expert the Theatrical Version is longer as well. While Eason talks to the expert over the phone and makes an appointment Allison looks around Karen's place.
The Director's Cut only focuses on Aubrey. Theatrical Version is 1,5 seconds longer Longer shot of Eason watching a photo of the house in front of which the ghost appears in the darkroom. In the Director's Cut Eason goes down. The ghost completely crawls out of the basin and towards Eason. Then the DC fades out. In the Director's Cut she comes up with an excuse. Director's Cut is here 10 seconds longer. In the Theatrical Version there's a longer shot of Jake entering the room of Allison. The Theatrical Version begins with Aubrey taking out her cell phone.
The Director's Cut begins with the mother being awakened by the ringing phone. Director's Cut is here 15,5 seconds longer. Chicago As Jake finds the dead father there's a longer shot of the man in the flash light. In the Theatrical Version there are only scenes of Aubrey and the murderer.
The Director's Cut presents numerous flashbacks to the murder of the first woman from Part 1 - parallel to the events during Abrey's murder. Shipping to: Worldwide. No additional import charges at delivery! This item will be shipped through the Global Shipping Program and includes international tracking. Learn more - opens in a new window or tab. There are 1 items available. Please enter a number less than or equal to 1. Select a valid country. Please enter 5 or 9 numbers for the ZIP Code.
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