ザ・リング
The Ring
Reżyseria:
Gore VerbinskiZdjęcia:
Bojan BazelliMuzyka:
Hans ZimmerObsada:
Naomi Watts, Martin Henderson, Brian Cox, David Dorfman, Jane Alexander, Lindsay Frost, Amber Tamblyn, Rachael Bella, Daveigh Chase, Shannon Cochran (więcej)VOD (4)
Opisy(1)
Zaczyna się tak jak każda opowieść – chodzą słuchy, że po mieście krąży straszliwa taśma wideo. Każdy, kto ją obejrzy, umiera siedem dni później. Kiedy czworo nastolatków umiera w tajemniczy sposób właśnie tydzień po obejrzeniu takiego wideo, dziennikarka Rachel Kelner (Naomi Watts) odnajduje taśmę wideo, żeby ją obejrzeć. Przepowiednia spełnia się, zegar nieubłaganie wybija kolejne godziny. Rachel ma tylko siedem dni, żeby rozwikłać tajemnicę Kręgu. (Imperial Cinepix)
(więcej)Materiały wideo (2)
Recenzje (11)
Genre-wise, it's one of the best psychological horror films of the decade, a very successful remake of the original Japanese version, which is stylistically more appealing but less digestible for the Euroamerican viewer. In terms of gradually building atmosphere, it is very well executed both in terms of direction and screenplay. Overall impression, 90%.
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An excellent horror, just the behavior of the characters at the beginning was a little strange. Verbinski layers up atmosphere, combining unpleasant chill with several very effective shockers. The investigation into the origin of the video tape drives the story nicely forward and several scenes are wonderfully surreal - the horse on the ferry, falling into the well, Samara’s emergence. Very good.
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There are some excellent scenes, and a few compositionally clever shots, but after it finished I told myself “Is that it?”. I don't know what it was that didn't work, but I just wasn't scared, which is a pretty serious problem with horror. The Ring just fizzled through my head. I have quite a problem with remakes of Japanese horror movies.
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Though The Ring doesn’t come up with anything new in the context of clichés and the screenplay has some lapses in logic, it is so brilliantly made that it can only be praised. It’s a razor-sharp horror flick with bleak cinematography, a terrifying soundtrack, a perfectly cast little boy and, mainly, the beautiful, natural and spontaneous Naomi Watts.
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After more than ten years since the creation of the film, I am surprised how much the audience is fixated on Kruh as a devastating horror. And yet it works much better in its thrilling suspenseful dimension. Verbinski's move with the endless delaying of all the scary moments evidently succeeded. It then leads the viewer towards death through suspenseful scenes (watching the tape, discovering its images in the real world, the horse, the old Morgan) right to the literal edge of the well. You don't want to hurt anyone, do you? - But I do
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