After the Eyes of My Mother (2016) and Piercing (2018), Nicolas Pesce, who was launched as “one of the great children of independent horror / thriller”, was not long taken to take the studio train. This story, which has been going on for a long time in Hollywood, seems to continue to include many young directors who set off with the dream of autism. I don’t know what Pesce was thinking when stepping into the already lost Grudge universe, but I can summarize how this universe is heading towards a big mind-keeping, whether it brings money or not.
Having nine full lengths, two spin-offs within the borders of Japan, this Garez was crowned with two short films for those who did not understand the subject bet curse in nine films. The creator of the series, Takashi Shimizu, was showing 2004 for years when he did not break the invitation from America and directed his own film re-translation. The film’s 10-million-dollar budget increased to 18, bringing two sequels that grossly grew. At the point we have reached, this movie of Pesce, which is the re-cycle of the cycle, is also the 15th ring of the series! It is such a great pride and persistence that my brain is burning.
We are in an endless spiral because it is based on the principle of “cursing the man who enters the cursed house, moving the curse to another destination even if he leaves the house, passing the curse to someone else before Hakk’s grace.” Well, can Pesce make a special touch with this wrapping? He is trying to ‘do it’ with the best intentional approach.
According to the predecessors of the atmosphere, darkness and shadow plays have spread throughout the movie. The combination of the color palette in sepia tones, which has been taken care of to look dirty, with countless traumas in the film brings depression and melancholy. The original non-linear fiction of Grudge is valid here, but the excess character has almost turned the film into an anthology of horror. The police investigation procedure, set up to track how the characters who have already died die, blends the zucchini taste we love so much with the taste of rotten squash.
Our monitoring of how the curse has shifted over time is condemned to news clippings, photos and countless Google searches. While it is relatively meaningful that the detective, who has obsessed the research process, is a mother with a newly divorced single child, the poor complement of the horror sequences, each of which ends with almost fiasco jump moments, we do not care about the other characters and everyday life troubles attributed to them.
The biggest problem of The Grudge; the fact that we already know that he can get a sense of curiosity from the storyline that guessing is child’s play. The director leaves nothing to the audience’s imagination, insults patience and intelligence. Every event that has completed its cycle returns to the starting moment we watched just 20 minutes ago ‘Did you understand? Look, I’ve already explained it here! ”He gets hit on our face, scratching our ears with victory numbers.
Wide plans, on-the-scenes, deep silence preferences used by Pesce in the intersection and closing sequences remain as symbols of independence that have been thrown into a hollow studio movie. Unfortunately, the result of the director’s style never matching what is expected of him is ‘eliminated from freaking out’. This experiment, which cannot be explained by the traumas he is trying to explain, results in his own career trauma. As long as his next directorial is not the 23rd film of any series, there is a possibility that he will recover himself. Let this conclusion be based on the authority that the skill I believe has in him.
The Grudge (2020)
Directed by: Nicolas Pesce
Starring: Andrea Riseborough, Demián Bichir, John Cho, Betty Gilpin, Lin Shaye, Jacki Weaver, Tara Westwood, Stefanie Sherk, Frankie Faison, Junko Bailey, Stephanie Sy, Nancy Sorel
Screenplay by: Nicolas Pesce
Production Design by: Jean-Andre Carriere
Cinematography by: Zack Galler
Film Editing by: Ken Blackwell, Gardner Gould
Costume Design by: Patricia J. Henderson
Art Direction by: Bruce Cook
Music by: The Newton Brothers
MPAA Rating: R for disturbing violence and bloody images, terror and some language.
Distributed by: Sony ScreenGems
Release Date: January 3, 2020
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