Grudge Review: 2020 version is a scary shock for the nihilistic era

It's a trend almost thought of as a Marvel movie in May or a romance movie in February: The first weekend of every January releases a shocking new movie. Strangely enough this barren weekend is set for its resort colony. But in some cases, movies have also been good – or at least respected at the lowest levels of January movie history. Sometimes those renewed values are refreshing following the era of blockbusters and bail awards. Movies like last year Survival Room or 2018 Odd: Last Key effective for small genre photos.

Anger, the newest American genre of Japanese horror film 2002 Ju-On, is not the best horror movie of January of recent years. But it might be most January. It doesn't sound cheap cheap; if anything, its coordinates are well maintained and maintained compared to the fear-avoidance equipment. Instead, this version of 2020 for Anger feeling tired, despondent January afternoon. You have no ice or air, but director-writer Nicolas Pesce (My Mother's Eyes) It uses a distinctive but shiny color scheme, whites that blend in, and deliberately use decoration to give the movie background a beautiful visual support.

This gray feeling extends to the leading characters: Most recently the widow of Detective Muldoon (Andrea Riseborough), new to the town with her young son and a familiar paper containing how the start will turn out for them, looks tired before she investigates the origin of the long-haired corpse. His new partner, Detective Goodman (Demián Bichir) smokes and smokes in an urine, in a room with lots of light.

a man in a car arrives while a zombie lays his hands on his window in The Grudge (2020) — “It will not fail. Every time I wash my car, I get a vengeance. ”

Investigations into the corpse among them is an expanded line of this version of Anger. But just like the 2004 US remake and its 2006 sequel (both of which seem to continue, which happened largely in those previous release years), the new movie uses the story of intersectionality multiple times to look at the typical ghost-revenge ghost story from an angle. different. There is an old couple (Lin Shaye, from Visible series, with Frankie Faison) seeking the help of a suicidal assistant (Jacki Weaver), and a young couple (John Cho and Betty Gilpin) who are faced with difficult choices in their pregnancy. They are all connected to the house where the ghost is, to choose a favorite toilet There are bathrooms, a tub, and a sink, reminiscent of a scene from a real mid-2000s film.

Related stories are all consumed by grief and loss, contributing to the movie's inferiority complex. (Although there is a lot of laughter that alleviates the misery, the clown who left the character collecting his suitcase, intends to get the hell out.) Agab it was also an unpleasant story, but it was part of the waves of PG-13 Japanese horror movies that most of the atmosphere was ripped off. Pesce has been given the right of R rating, which he uses primarily to make every dead or uneducated body as dead and rotten as possible. Even though the bullets survive, they are physically marking their potential, as a heavy man with a gunshot wound to the face was healed by twisted scars. The film is not terribly scary, but it has a brilliant, existential, well-crafted ensemble that is impressive.

Woman lying in bed terrified by woman over him in The Grudge (2020) — These new organic watches are the worst.

However, it is still unclear what all this sadness is actually meant for, or the likes of Cho, Riseborough, Bichir, and others. "This is never going to end," warns one of the characters you know well on a trend that lasts for years. They talk out loud it's less than any horror run that works, especially the second-site concerns Agab

proverb. But the film does not connect that idea to the visual characters. Pesce doesn't seem to have much to say about parental decisions, life conflict, or the hopelessness of grief.

This latest pile of all-out complaints is just Grudge's food, which is especially surprising as the way the movie puts the ghost's origins on the screen: A ghost / demon is summoned when someone dies in a fit of rage. But because this ghost follows a single character back in Japan when the movie premiered, that initial outrage (whether it was based on previous films or not) is not supported, it is not linked to other characters' stories.

So Anger skip straight to despair, sometimes bordering on nihilism, and Pedce's style is not enough to embody the spirit of the bone. It's not uncommon for a horror movie to reach its unique conclusion, tucked in between a desire to solve issues and leave some tension in store for fearful viewers. What Anger it feels worse than usual in this case, it may have to do with the issue of the release date beyond the control of the film. Pesce may not have written or directed this movie in the mind of January 3. But intentional or not, the movie sets a glum tone. It's almost like we say: When you go to a new movie in January, you have to be in a bad place – or you want to get to it pretty quickly.

Anger it is now in the theater.