![]() The key theme here is distress, not anything workable. Director Nicholas Pesce, who also crafted the film’s story, piles on the emotional pain for not just Muldoon but the assortment of victims he has accumulated. Not only does Muldoon feel like a plot device, used to wake the dead, but her grief is marginalised by demoting it to the role of ‘just another haunting’. Building up from the gruesome sight of a rotting corpse, the film escalates by looking back, never moving forward. ![]() While most conventional horror films try to use a conventional mystery plot to space out the revelations or scares, The Grudge jumps around through time based on a moments severity. The first case she gets is the mysterious death that leads her to a house with a murderous past and as she investigates closer she is haunted by visions of the people who have fallen victim to the force that has infected the house and the community around it. Gone is the sensitivity towards characters who are clearly wounded, these people are exploited in a film that is structurally incoherent and diabolically paced.įollowing police detective Muldoon (Andrea Riseborough) who after a tragic loss moves to a new town with her son Burke (John J Hansen). A less successful sequel followed and the franchise drifted off until it was unnecessarily revitalised this year with a film that seems intent on creating pain for the sake of entertainment, not for any reason outside of titillation. When The Grudge was remade for an American audience back in 2004 it paled in comparison to its Japanese counterpart but it proved to have grit through a message of the transferable effects of trauma. ![]()
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