When Japanese filmmaker Takashi Shimizu originated Ju-On: The Grudge in 2002, it’s doubtful he foresaw the long life it would go on to have. In addition to several sequels the movie also spawned an American remake which, in turn, produced two sequels of its own. It should therefore come as no surprise that the latest iteration — which has been billed as both reboot and sidequel — has little that horror fans haven’t seen before in this or other similar franchises. But while The Grudge doesn’t reinvent the wheel, indie horror director Nicolas Pesce (The Eyes Of My Mother, Piercing) deserves credit for the occasionally effective utilisation of familiar elements.
Like Shimizu first envisioned almost two decades ago, The Grudge has multiple interwoven narratives which take place over three years. That gambit allows for an impressive and inclusive cast — John Cho, Frankie Faison, Jacki Weaver, and GLOW’s Betty Gilpin are but a few of the recognisable names who pop up here — but it also makes it difficult to fully connect with the various stories. As such, this is very much a film in which the plot dictates character, and there’s only a limited amount of screen time for most of the actors to turn their roles into something more than two-dimensional. William Sadler fares better than the rest of the ensemble in this regard, making the most of harrowing sequences as a cursed detective. The Grudge is also the latest horror movie to be a little too in love with the jump scare, many of which are predictable several seconds before they transpire. From murky tubs to peekaboo screams, there’s a few too many clichés that are all checked off the horror bingo card in dutiful fashion.
And yet, this is far from just another lazy reboot. The scares may be intermittent but the pervasively bleak atmosphere is anything but, and Pesce’s latest is frequently unsettling. There’s also an abundance of spooky imagery — especially when things get really brutal in the third act — a creepy, at times Halloween-esque score by horror music specialists The Newton Brothers, and a clever final shot that is haunting in its stillness. It’s all anchored by another impressive performance from the chameleonic Riseborough, who makes a number of thoughtfully subtle choices other actors might not have. Here’s hoping that next time, her and Pesce’s skills are in service of a fresher concept.
