out of
Have you ever seen a movie so well made, so beautifully filmed, and so creepy, but you can't get over the fact that nothing in it is actually worth spending the time to watch it? The Ring is one such film. After all the seat-grabbing scenes, after all the jump-and-scream moments, after all the twists and turns, you stand, leave the theater, and pretty much forget all about it. Sadly, this is the case here. For all the uneasiness held within the film, there are so many unanswered questions (which, unfortunately, have no answers). It's frustrating, to say the least.
Not that it's a complete loss. Up-and-coming actress Naomi Watts (who's amazing performance in Mulholland Drive makes up for her appearance in Tank Girl) carries the film without missing a beat. Writer Ehren Kruger (mostly known for penning the final Scream film) manipulates the plot skillfully to mesmerize you while you wait (and wait) for the answers. And director Gore Verbinski floods the picture with vivid imagery. All in all, it's a well-crafted film that comes far too short of being... well, anything really.
The Ring begins with the mysterious death of a young woman. No one can offer up any explanation. "Her heart just stopped," explains one character. Not quite satisfied with that answer, her aunt Rachel Keller (Naomi Watts) sets out to find the real cause of death. Her son Aidan (David Dorfman) is haunted by the death, drawing pictures of his favorite cousin. His teacher offers a tidbit of creepy information to Rachel: he's been drawing pictures of the girl's death for a week--days before the actual event. Aidan explains his cousin knew she was going to die. Rachel, being the inquisitive journalist that she is, learns that a video tape may be a key to the death. The young girl's death coincided with the death of three of her friends--all of whom spent a weekend at a remote lodge in the middle of nowhere.
At the lodge, she discovers an unlabeled video tape hidden among the small rental section. The lodgekeeper admits there isn't much of a TV reception, so he keeps a collection of tapes around. The tape is filled with strange images--including a ring of light. Moments after the tape ends, Rachel receives a phone call. The caller announces, "Seven days." Understandably spooked, she takes the tape to Noah (Martin Henderson), a professional photographer who may offer some insight. He notes that the footage seems to have been filmed sans camera. Moments later, he receives the same phone call.
Given the mysterious Sherlock Holmes-quality of the film, it would be unfair to reveal any more (I may have already stated more than some people would care to know). Suffice it to say that plot twists abound, and the lives of many are at stake. Director Gore Verbinski (The Mexican) handles the material proficiently, involving the viewer in the story as it unfolds. We care about Rachel, Noah, and Aidan, thanks in part to some substantial character development for the three leads. Verbinski allows for some nice interaction between the three leads, all while building the suspense. Unfortunately, he sometimes resorts to cheap gimmicks, not least of which is counting down the days remaining. He playfully jolts the audience with false starts, which sets the viewer's nerves on edge. This leads to more subtle scares, as our heroine goes into places we know she shouldn't go.
Credit Naomi Watts for that. Watts, who magnificently portrayed a myriad of emotions in David Lynch's similarly mysterious Mulholland Drive, takes the material and plays it as straight-forwardly as needs be. We care for her simply because she's got an innocent quality about her. Much like Jodie Foster in The Silence of the Lambs (a film this one seems to mimic often), Watts gets herself into dangerous situations often by accident. She's aptly supported by two men: Martin Henderson and young David Dorfman. Henderson creates a male lead we actually like, and Dorfman should be credited for following Haley Joel Osment's performance in The Sixth Sense (perhaps, unfortunately, a little too closely, since he pales in comparison). Together, they have us rooting for our heroes without too much fake manipulation.
This all leads to Ehren Kruger, the screenwriter who adapted the novel by Kôji Suzuki (which has actually been filmed at least once before). Kruger, who burst onto the scene with his brilliantly creepy Arlington Road, gives us a mystery we want to figure out. Unfortunately, Kruger has no explanations, and leaves us dangling with many unanswered questions (many viewers left the theater scratching their heads--I was among them). The storyline doesn't make much sense in retrospect, and it all seems to break down when you try to piece it together. After a while, you'll find yourself giving up--not enough information is given to finish the puzzle. With suicidal horses, bloody noses, flies continuing to move on the aforementioned video tape while paused, there seems to be plenty to involve us. As the credits role, however, you'll more than likely find yourself asking a big, "Huh?"
Also worthy of note is this movie seems to be merely pieces of other films spliced together--if you've seen Stir of Echoes, The Others, or even the recent feardotcom, you will notice many obvious similarities. But my God, if it isn't a beautiful film to watch. Taking a cue from The Others, there is plenty of fog and washed out colors. A tree with red leaves is the brightest sign of color amidst the drab surroundings. There is little grotesque imagery, which is a nice change in pace from recent horror films, but after a while, you almost start to wish for a good bloodletting. There is plenty here to admire--my suggestion is to wait for this on DVD and turn off the sound.
The Ring is rated PG-13 for thematic elements, disturbing images, language and some drug references. It's certainly not for children (many of whom were at our screening), and parents are advised to leave them with a babysitter (please, for the love of God, hire a babysitter!). The image of a horse drowning could disturb some sensitive viewers. But overall, this is a scary, suspenseful film that just doesn't add up to anything. You will watch it, you will probably jump at the right times (and then laugh at yourself for jumping), but then you will go home with too many questions to bother answering. My suggestion: check your brain at the door and enjoy the simple pleasure of being scared.
| Rating: out of
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© 2002 Boyd Petrie |