26.3.08
Cast: Joshua Jackson, Rachel Taylor, Megumi Okina, David Denman and Maya Hazen
Director: Masayuki Ochiai
Screenwriter: Luke Dawson
Producers: Roy Lee, Doug Davison and Takashige Ichise
Genre: Horror
Rating: PG-13 for terror, disturbing images, sexual content and language
Running time: 85 min.
Helmed established by J-Horror director Masayuki Ochiai (infection), speed looks to gain the attention of tweeners, not wince in his life melodramatic dialogue and morality. Its PG-13 rating and lack of basic gore seem designed to be acceptable, but of course the result of all this combat dispute is a really boring movie.
Similar to other horror fare designed to skirt by critics on the path towards an open mind auds, programmatic speed reprises tired genre tactics. A remake in the history of Thailand ghosts of 2004 with the same name, speed remains a marriage of the brevity of their honeymoon in Japan to photographer Ben's (Joshua Jackson), a large concert in Tokyo. There he meets with his questionable frat-boy friends and torment ensues. Rachel Taylor (in a role that could put in place the next Elizabeth Shue) is cardboard, as the diligent, mystery cracking wife. Really, it should only call a movie Ba B-movie. They do well on DVD these days.
Horror crossover must be a new genre in themselves, and producer Ray Lee has made a name for himself making them. I understand that this remake is stricter than his tocayo, but the basis of thoughtlessness that might still remain. In spirit, so to speak.
As usual, the ghost in question is a woman injured. She beseeches (and not aggressive), the assistance of the wife of Ben, Jane (Taylor), whose job is to find out why the couple is haunted. The haunting largely surfaces through photographs taken by Ben and Jane: Spirit photos are a mode of long life in Japan, and one that hardly think it necessary to fashion that is explained so thoroughly (and repeatedly ) here, but what happens there. With this premise, and its ability to focus on the theory of photography, Ochiai has a golden opportunity to do something lasting and intelligent-the intrigue thinkers in the crowd-and yet, the territory is not addressed. The fact of women in this movie, but its power purchase posthumous speed might be the only lasting thread on the left so that we can discuss.
The rules are fairly static that we have come to expect at least a little creativity of horror scripts, but the best we have in the department are occasional references to other horrors. Moments invoke the memory of crossover Vanishing Nordic, and of course, we are very common invocation of Hitchcock. It's like the horror of semi-illiterate, and if you see it at midnight, it might simply be tired enough to affect them.
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