The grudge 2020

The Grudge 2020

Twenty years ago, a new wave of Japanese supernatural gothic thrillers brought fresh tropes of dread to a genre that was sorely in need of them. The sinister intersection of technology and the afterlife; the presence of ghosts that looked like rotting versions of demons out of Japanese folklore; the assertion of a feminine rage that burst forth like a scream across time — all of this put J-horror, a genre named (at least in the States) to sound like a category of indie rock, on the cutting edge of 21st-century fright cinema. Yet the movies, for all their shivery viciousness, could be hit-or-miss. “Ju-On (The Grudge)” (2000), one of the most popular, was also one of the most middling — a haunted-house saga no less corny or obvious than “The Amityville Horror.” The American remake, starring Sarah Michelle Gellar and released in 2004, was even worse.

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