Movie Appraisal: Apartment 1303 3D (2012)

The original Japanese Apartment 1303 was the Japanese horror movie that made me dislike Japanese horror movies for the better part of a year. Formulaic and incredibly basic in terms of plot and characters, I was more annoyed with it than anything else. It really represented the bottom of the barrel in Japanese horror films, being completely unoriginal and not trying anything new or different. I dislike the movie even to this day. And now I watch the American remake, and ask myself, "Can this be worse than the Japanese movie I already didn't like?"

No, actually, it's a much better movie. Well, let's not go that far. It's better in some ways and worse (so much worse) in others. Overall I enjoyed it much more even though it is not even close to being a recommended movie. So, upfront, I'm telling you to avoid watching this movie if you haven't seen it already. And if you have, well, uh... that certainly was a movie, wasn't it?

The acting isn't good. I can't overstate that enough. It's really not good- from anybody. The filming is mediocre and some of the make-up effects are quite good, but the acting is so bad that it makes the film hilarious rather than scary. And it's not just one actor doing a bad job here. No, it every single actor. None of them can deliver their lines. None of them seem to have any passion for doing a good job. And none of them seem to care about this movie at all. I'd have to blame the director, Michael Taverna, for this, but the directing (other than the acting) is competent. So, I don't know what to think. Maybe the actors were all just sleepwalking and looking for a paycheck. That's what it seemed like anyway.

The story here is miles more coherent and miles less creepy than the original. Calling this a horror film would be a stretch. But even saying that some of the effects (CGI and make-up effects) are quite well done. They come off as more like good ideas in a forgettable film though than as spooky things in a spooky film. And as a ghost film, you'd expect scares to be on the top of the priority list when in fact the top of the priority list here are really weird moments and nonsense character pieces. I like how there is a focus on character, sure, but none of it means anything. It's all so flat because of the acting that it's impossible to take seriously.

If you want a summary of the plot, just look at my review of the original and take out all of the mentions of groups of characters or possessions. This ghost in this movie doesn't possess. She turns into a cloud of gassy smoke stuff and pushes people a little sometimes. She's incredibly not scary even though she somehow kills three people in the course of the movie- mostly by accident it seems rather than on purpose or for any real purpose.

And the deaths are so lackluster that they're just plain stupid. The ghost must have some kind of sense of humor or something. Because seriously, the last death in the movie just made me guffaw with laughter. And that should never happen. Not in a movie billed as a horror movie.

The plot follows the same premise from the original, but tends to be a bit more focused, which I appreciate. The characters are more defined, but all the scares in the movie are literally taken out in favor of- of- I don't even know what. I found the film boring more than anything else. It made me sleepy. I kind of wished I could stop watching it. I never really felt anything for the characters and with the exception of a few well done moments, the movie is completely lackluster, although not quite the absolute mess I was expecting.

I like the homage to the original Japanese film with the Japanese store in the apartment complex. That was something that made me smile at least. And the setting of Detroit was also something I appreciated even if it was all for naught in the end.

I wish I could say more, but this little revenge(!?) ghost film fell flat for me. It gave more bores and laughs than anything else. And the acting was horrific with everybody butchering lines left and right. I didn't like the movie very much, but there's not enough there to hate. I'd call it mediocre, forgettable, bland, and unapproachable.

Don't watch it.

B-Movie Appraisal: Dementia 13 (The Haunted and the Hunted) (1963)

Francis Coppola? Francis FORD Coppola? Seriously, you did The Godfather and Apocalypse Now, but started out with this? I admire that. I also think it makes a ton of sense (since I dislike most of your movies), but I really do respect that. I think all great filmmakers should start with sci-fi or horror movies. They're simple to make, but incredibly difficult to make well. They hone skills that can be valuable in much more complex movies, are good for up-and-coming filmmakers to chip their teeth on, and will never be critical darlings so most will have free reign or a good amount of control on their project. These are all positives and one of the reason why so many GREAT directors started with horror or sci-fi movies.

Anyway, Dementia 13 was written and directed by Francis Coppola, his third movie directed and first real "actual" movie. I guess his first two "movies" were skin flicks or nudie flicks or whatever, but I've never seen them nor heard of them before I read about them existing for this review. It goes to show how far somebody can go to become one of the best known directors of all time. It also goes to show that he had some talent directing even in his early days. Because yes, this movie had definite talent behind it, even if it isn't the best flick there ever was.

I guess I should start out saying that this is an early 1960s movie, and, as such, is largely not very scary at all. Mostly it comes off as a rip-off (of a sort) of Psycho, which was made just a few short years before. Since Roger Corman produced this flick, I would have to say that it was definitely meant to cash in on this new-found and, at the time, newly popular genre of movie. That being said, as a cash-in, it still is a fairly solid slasher-lite B-movie with a bunch of hiccups that work against the feel of the movie but serve the obviously limited budget and production costs... and most notably the censorship that this movie also very obviously had to work around. Let it be known that while it was on its way out the Hayes Code was still strictly in effect. And yet the movie works around those codes very decently, creating a disjointed movie, sure, but an enjoyably disjointed movie. One of the biggest hiccups is the actual flow of the story and plot. The editing is odd, barely showing a coherent plot throughout, with a greater focus on jumping around in the narrative and showing more psychological elements of the characters. At least I think that was what was going on. The film's stiff attitude towards progression in the story is the biggest issue that holds it back from being either memorable or "good" in any modern sense of that word.

I know that this movie probably very mixed in both thoughts and feelings about it. To me it was a highly mediocre film with some good moments, especially considering when it was made. The fact that characters, fleshed-out and interesting characters, die both early and often is enough to convey that the movie is interesting and also a Psycho rip-off. I have to point that out because it is so obvious. (Also because it is historical record.) I don't have all that much to say about this film either. While it is well-directed, with every shot looking nice and leading up to something, the disjointed nature of the jumps of scenes and the character movements left me feeling very confused at times and, honestly, a little bored as well. That's never a good thing with a horror film. And it's especially bad for a film that seems to have a great deal of somewhat ridiculous filler already.

The plot of the film is simple: three brothers come back to their ancestral castle-home to reenact the funeral of their little sister who died years ago. Their mother insists upon it and refuses to let anybody else but herself and her three sons come to the ceremony. Things go awry early when one of the brothers (John) decides to go boating with his wife Louise. They are having a heated conversation about his mother's will, mocks his wife, then promptly has a heart-attack and dies. Louise disposes of the body and acts like nothing happened but John being called back home on business. As the movie progresses, Louise is intent on gaining the mother's fortune, trying to trick her into believing her daughter's spirit still roams the halls of the castle. She is found out and killed. Then a grubby little man-hunter finds her body and is killed as well. Louise was at the center of most of the first half of the movie, but her death, reminiscent of Janet Leigh's death is Psycho begins the disjointed narrative issues.

Having no central character left the narrative begins to follow four different characters: the two remaining brothers, Richard and Billy, the family doctor, Dr. Caleb, and Kane, the engaged of Richard. Watching them all try to figure it all out is a confusing mess. The focus is on Richard being the killer for most of the second half of the movie, even though Billy seems to be having flashbacks of the day his sister died, which psychologically implicate him. There are subplots with a grave at the bottom of a pond and a wax dummy of Kathleen that both serve as clues or weird pieces of evidence, but neither really is all that important.

Dr. Caleb figures it out, places Kathleen's dummy out in the open, lures Billy who attempts to kill Kane who wants to touch the dummy really badly for some reason. Billy is then shot dead by Dr. Caleb the hero of the story, and that's that. I mean, simple enough, I guess... or really odd, confusing, and overly complex at times.

I did like how the killer could have been either of the two brothers even if it was fairly obvious who it was from fairly early on. Of course it would be the troubled brother, without anybody in his life, who obvious has some psychological issues who would be the one to be the murderer. Obviously. Still, there were moments when I thought it would all be a huge misdirection, and the silhouetted killer was obviously in shadow to show that it maybe could have been either of them. I liked how that worked even with the obvious nature of how it all turned out. There was tension there, maybe not the greatest tension, but tension nonetheless.

I had issues with the idea that there really isn't a main character, just a collection of side ones. While Dr. Caleb kind of comes off as the main character towards the end of the film, he doesn't even appear in the first half at all. It was difficult to connect with the characters as well. None of them were people. They all very much came off as characters in a play, which was disheartening.

It's not a bad movie, not a good one either though. And yet, I'm not certain whose product I'm seeing on screen. Did Corman cut the production to his specifications? Or did Coppola have basically full control? The movie, while a mess, is both well shot, and very odd in the way it cuts to different (and sometimes inexplicable) scenes at the drop of a hat. The focus on characters and their faces is interesting, but also clearly ripped off of Psycho. I think the movie is ultimately an interesting mess of a movie.

But still I have a few questions. Why is it called Dementia 13? Does the title mean something I don't understand? I don't think I see dementia at all in the film. Nor the number 13. So... yeah, the title is incredibly flawed. Okay, and here's the biggest and most important question at all: why do the brothers not have Irish accents? It takes place in Ireland. They were supposedly raised there unless I missed something important. So, why did they all talk like Americans? It was incredibly distracting. They had the castle and had lived there as young children, it seems, but no accent. Man, that was a problem for me. I just couldn't look past it, specifically because other character have very strong accents. Wow.

So, I have a middling opinion about this movie. Check it out if you like old horror movies. If you don't just forget about it and try something else. I can't really recommend it as anything more than an interesting look at an early slasher movie, and not a particularly good or interesting one at that.

Movie Appraisal: Retribution (Sakebi) (叫) (Scream) (Shriek) (2006)

Well, that was a movie I did not enjoy. While it is the fourth movie in the J-Horror Theater series of movies, and it is directed by Kiyoshi Kurosawa, it just does not do enough to be interesting. I was quite fond of 2001's Kairo but this movie just does not deliver on many of the same fronts that other better horror movies have. I found this movie to be very slow, something I usually like, but also just kind of odd in places. It was so slow as to become very dry and somewhat boring, and it never really did anything. The shots were sterile, the plot was fairly dull and predictable, and the acting, something I usually praise, was subpar.

The confusing plot did not help this film. And it's not as if the plot isn't spelled out either, but the confusion is more about why everything is happening the way it does. Why does the lady in red's ghost seem so powerful? She's so powerful that she can bring about the deaths of everyone? I mean, that's the point, right? That's ridiculous. I know it's also the ending, but even before that, I found little about this movie to like.

Most of the characters do not work for me. They never feel real or emotional. They never feel like people. They feel like set-pieces and window-dressing. The acting made me bored out of my skull as well. I'm not looking for overly complex screaming and emotional acting, but there has to be something more than what was given. The shots of the actors were so sterile and separate from the movie as well that I found it very hard to relate to those characters. It was incredibly disappointing because I went into this movie with a great deal of hope for something compelling.

Anyway, the plot is basically about a detective following a murder case (and eventually a string of murder cases) that involves drowning in sea water. It is very procedural, trying to find the suspect, and the detective being his own prime suspect for a while, which just kind of goes nowhere and is really dumb. He eventually starts seeing what he thinks is the murdered girl's ghost, but it isn't. It's just another girl in a red dress who happens to be a ghost. It just feels very silly and very uninteresting.

The movie is never scary. The red dress ghost is simply kind of goofy looking. She never looks like she belongs in a single scene. It doesn't work, whatever they did in the shooting of this film, and it makes the whole premise not only ridiculous but really bland as well. You can tell that they wanted to create a new horror icon about a creepy girl, but a ninety pound young woman will never be scary, okay? Horror movies, do you understand that? Young women are not scary by themselves just staring or saying weird things. You have to have more than that. Give me some tension or show me less or something.

I simply want to sigh and stop talking about this movie. I did not enjoy it in the slightest. I think others might, but for me the plot and the premise were too silly for me to take seriously. And without any scares this is hardly a horror movie. I've seen others place it in a mystery movie category, but even that's not right because so much of this movie isn't mystery so much as "Oh, we forgot to tell you major plot points!" I mean, the detective's girlfriend just happened to be murdered six months previous despite her having appeared in three-quarters of the movie seemingly perfectly fine. Why even do that? It just makes the whole thing needlessly complex. I get that the whole movie is basically an apocalyptic scenario over collective guilt or whatever, but it's so badly portrayed. It doesn't work on so many levels. And while I tend to like slow-burning horror, this movie has so many convenient excuses for plot that it bordered on actual bad plot writing.

I think many people might enjoy this one, but I certainly did not. I wholly do not recommend this movie, and would actively tell people to avoid it. There are some decent scenes here and there, but nothing interesting enough to recommend the whole movie. The music (and lack thereof at times) is fairly well done. And... I guess I really did like one scene, when the detective's partner disappears or is dragged into a bowl of water. It was well done. And it was perhaps the only scene that was.

It's disappointing to me because I found Kairo so compelling. It was a movie I remembered for years and years, and this movie will go down in my mind and my review as a forgettable and jumbled mess.

Movie Appraisal: Hidden (Skjult) (2009)

Well, here's a movie that had a lot of promise, but ultimately gave up very little. Movies like this suck to review mostly because they have the POTENTIAL to be very fun rides, but end up being less than they should be. And it's not like they're terrible either. They're just okay. Mediocre. In some crazy middle ground between amazing and awful. Sometimes it's a bad script, sometimes it's a bad plot, a bad actor, a poorly thought-out character, a director who has no idea what they're doing, and sometimes it's simply how things work out. Hidden (or Skjult for Norwegian readers) is exactly a movie that should be more. It has so much going for it: a very well-done premise, good actors, a compelling story, and a plot heavily hovering in the realm of psychological horror. It's a movie I should LOVE, but instead I find it incredibly mediocre. Maybe it's simply that I've seen this all before and have become cynical. The movie feels lazy. And that's the problem.

Hidden begins with a car accident. A boy's parents are killed in the cold open. The boy survives (maybe), but the reason for the deaths of his parents is another boy running across the road and causing a semi truck to crash into the parents' car. You get the feeling that the first boy (who seems to be Peter) is going to be our lead character, but that turns out to not be the case (I think). The protagonist of our story is KK (Kai Koss), the boy who had run across the road and caused the accident. Apparently Peter disappeared after the accident and was called dead after shoes were found near the scene and underneath a waterfall long after.

The problem is that KK looks EXACTLY like what Peter would look like when he grew up. The boy has long blond locks. KK has the same. While the young KK has a shaved head. The older Peter (if he is Peter at all) has a shaved head as well. It's weird. I feel like it was probably done on purpose, but I can't say for sure it was. It's a movie that explains very little, which I like a lot, but the things it does explain turn out to have really idiotic explanations (I think). And that's the problem. The movie did do a lot very good, but other parts were baffling. I personally think that the original KK was killed by the abusive and disturbed mother after he escaped. Eventually Peter, who later became KK, in this case the second KK, after the mother caught him, came back to the town after his "mother" died. I mean, that's what I think, but I can't say anything for sure. The movie doesn't hit you over the head with it, so it's really up to what you want to think.

You can see my confusion here. I'm sorry. Parts of this movie made little sense. There is a dark-haired woman who I'm pretty sure isn't real. I don't know if she's a random singer or something? I'm told she speaks in Swedish, but I have no idea what that means. Maybe she was the original mother of Peter? Or just an actress? Or maybe she was just an imaginary friend he made up for company in the darkened hole he lived in for years. Again, I don't know.

The funny thing is, while I wasn't happy with the ending of the movie when I first saw it, it's something I'm liking more and more as time goes by. I actually like the movie more now (a few days later) than when I had originally watched it. Maybe I'm the crazy one. I still don't like how KK and Peter are somehow the same person and the murderer, but I'll probably get over it someday. (Read: I will never get over it. It's really dumb. I disliked it, and it should have been better.)

I found parts of the movie interesting. Why was KK looked at with such scorn by basically everybody? Only Sara seemed to like him and give him any benefit of the doubt. And she seemed to like him a lot. All of the men in town hated his guts. Why? Did I miss something? Was there some kind of history there? I have no idea. It was weird. I have no reference for anything and have no idea how to interpret it.

I mean, KK is the killer. It's obvious. Maybe that's why nobody likes him.

Sorry, did I say that too abruptly? It was abrupt in the movie too. KK is said to be the killer. Some kind of weird fugue state probably. Maybe he dissociates? Maybe he knows he's doing it? I have no idea. It's probably brought on by his old house. But man, it makes no sense. Maybe it's not supposed to make any sense. I would've preferred if he weren't the killer... but maybe it makes the movie better if he's both Peter and the killer. I don't know. I just don't know. I don't so, but maybe I'm not who this movie was made for.

The best part of the movie are the psychological scenes though. They're not scary, but their simple weirdness is enough to enjoy by themselves. The phone calls, the odd scenes of KK just by himself and thinking or whatever, and the weird interactions between characters- these are all reasons to see the movie. Just expect to find yourself baffled if you do watch it. I mean, I put a halfhearted recommendation out there. If you REALLY live for psychological horror/thriller, then watch this. Otherwise... it's not required watching, but it's not bad either. I enjoyed most of it. Just remember, it's not scary. There's very little gore. In general, I would think of this flick as much more of a suspense or thriller with psychological elements than anything else. And those always seem a little "eh," I guess.

Pål Øie directs, and does a pretty decent job. I think the long periods without dialogue are some of the best pieces of the film. They work incredibly well. They add to the confusion, but those long moments of suspense and confusion could be small beautiful movies on their own. The dialogue and the writing are mostly not as good. And this being an indie horror film from the After Dark Horrorfest 2010, I was expecting good things. I usually enjoy them, although they usually have some issues. See my review of Autopsy for details. 

Honestly, I liked the film, didn't love it. Kristoffer Joner as KK, Karin Park as Miriaim, and Cecilie A. Mosli as Sara are the breakouts here. I tend to like these Eurpoean horror movies. They do a good job at hitting what I like. This one wasn't quite as great as some, but I was okay with it. I wish I could say more, but I don't really have anything else to say.

Movie Appraisal: Love Ghost (Lovesick Dead) (Undying Love) (死びとの恋わずらい) (2000)

"I love you to death."

Junji Ito movie adaptations, why do I keep coming back to you like some kind of ex-lover bent on winning you back? What is wrong with me that I keep expecting quality in these movies when all there is is... uh... Wait... just give me a moment to collect my confused and befuddled thoughts. I just finished this movie and... Love Ghost isn't bad...? Are you serious, me? Did you seriously think it was... (Dare I even say it?)... good? Did you actually LIKE it?

Okay, this movie is not precisely what I could ever call "good," but it's better than many of the other Junji Ito film adaptations I've seen. It's better than Kakashi or Marronnier without any single doubt in my mind. Hell, it may even be on par with Uzumaki, although I'm not sure how much that is worth exactly. See, Uzumaki, although a fun movie to watch is not even close to being a horror movie. The manga in that case was actually horror, but the movie was more like a comedy with a few horror overtones maybe-kind of. Love Ghost (or Lovesick Dead, Undying Love, or Shibito no koiwazurai) is a pretty interesting film when compared to Uzumaki, with incredibly different tones throughout the movie and a great deal done differently. Where Uzumaki is goofy and kind of fun to watch, Love Ghost is handled pretty seriously. I had once heard the argument that Kakashi was the serious Junji Ito movie equivalent of Uzumaki in terms of quality and story, but I'm going to disagree with that and instead say that Love Ghost should be the equivalent.

It is a fairly well made movie when all is said and done. No, it's not perfect, and no, it's not a very good adaptation of the original manga, but it works in its own convoluted and odd way. I actually enjoyed a good majority of this film, only finding the last third or so of the movie truly mediocre. The rest of it enjoys some great acting, some really decent directing, some fitting musical cues, and some great settings. While I will never give this movie an award for being amazing, it works quite well for what it is, an adaptation of a really good manga.

Now, Lovesick Dead (the manga) is probably one of my favorite Junji Ito stories. It is four volumes and works quite well at both tension and a creepy factor. The movie changes a great deal from the source material, with the plot, characters, and ultimate ending all being very different. In the manga, the main character is Ryuusuke, a sixteen year old boy who moves back to the town where he grew up ten years after he and his family left it behind. It goes into Ryuusuke trying to fit into school and eventually meeting up with an old friend of his, Midori. Midori is the main character of the movie with her character ultimately taking the place of Ryuusuke in the fish out of water plot, but not in plot importance really.

Over the course of the manga, Ryuusuke finds himself angsting over whether he should tell Midori that he believes that he was responsible for the death of her aunt by giving that aunt a bad fortune while he was in a rotten mood when he was six. Yeah, the guilt of this boy runs really deep. It runs so deep, in fact, that somehow through a bad fortune and the ill-fated death of Midori's aunt, a doppelganger of  Ryuusuke emerges from him, stalking the streets of the town they live in, giving terrible fortunes to young women, and causing them to ultimately commit suicide. This is complex, isn't it? Anyway, this doppelganger is named "Intersection Bishounen" and is wildly popular with the young women of the town, who seek him out for both love and fortune, and fear him for the same.

These young women play a game called "Intersection Fortune Telling," or Tsujiura in the film, which involves standing in an intersection, putting something over your face (like a book-bag), and telling your troubles to the first person who comes there, hoping that they'll give a happy fortune to you. This game is the focal point of the entire plot, being the reason why Midori's aunt committed suicide and the reason why the doppelganger preys so easily on the young women of the town. It is also the sticking point of the movie plot as well although it is nowhere near as important in the film.

The story progress with almost all the young high school women falling to this "Pretty Boy." A rumor goes around that Ryuusuke is the Bishounen, but since that isn't precisely true he denies it... The girls pursue him anyway, believing the rumor. Midori sticks by him through thick and thin, believing him and helping him throughout the story to figure out the mystery and make everything right in the end. This being a Junji Ito story though, the two of them fall for each other, but Ryuusuke pushes her away because he's afraid of his guilt and of his feelings for her. While he begged her not to play the game, eventually her curiosity and brokenhearted feelings at Ryuusuke (who had told her of his role in her aunt's death) gets the better of her and she plays the fortune game, meeting the Bishounen and causing both of their downfalls. Midori goes insane with rage and hatred for Ryuusuke, tormenting and torturing him both physically and mentally until she finally commits suicide, which breaks Ryuusuke, who had loved her. Ryuusuke eventually sacrifices himself to a mob of crazed young women to make everything right, ending the Bishounen's reign of terror and becoming the "White-Clothed Bishounen" who gives good fortunes instead.

Uh... yeah, this movie is not that plot though. Simply enough, while some similar plot threads run through both, the movie only goes through two girls who play the fortune game. Ryuusuke is both a ghost and the Bishounen character, even if he has no reason to be at all in this storyline. And you know why he has no reason to be the Bishounen here? He doesn't give bad advice or have guilt or a dark side. He instead dies at seven to a crazy lady who wanted the fortunes that Midori told to be true so she could be with her lover. Midori had, before meeting the woman, foretold that Ryuusuke would die the next day in a refrigerator with his tongue cut out... as a joke... because that is what seven year old children joke about. The tattooed woman, who doesn't come in until the end of the movie, carries traits from Midori's aunt from the manga as well as a crazy woman in the manga who stalks both Ryuusuke and Midori when they decide to be helpful to her. The tattooed woman in the manga eventually kills her lover's child to gain his love back... which is basically what happens in the movie as the main plot. She kills Ryuusuke to make Midori's fortune seem more true, asks for a fortune, gets Midori telling her she will never find love, then kills herself by stabbing and immolation in front of Midori. This is probably why Midori is insane, come to think of it... Oh, I'll explain that statement, just give me a few sentences.

So, Ryuusuke is dead and a ghost. Midori sees him despite the fact that he's a ghost. They're in love for some reason despite him being dead and her being... we're getting there... but there's this added plotline of a tall jockish kind of guy falling for her while all the girls around him are crazy for him and commit suicide because they can't be with him because he likes Midori despite knowing her a single day. And it gets confusing. I'm already confused. There's a body in the wall of Midori and her mother's house, and it turns out to be the mother's lost husband. There's no intersection fortune telling... it's now fortune telling around a creepy shrine. Oh, and Midori is crazy and escaped from a mental institution. Yeah. It kind of pops up out of nowhere.

Adding to this, Midori's mother is actually Ryuusuke's mother who is posing as Midori's mother, and she's also quite insane and from the same facility as Midori. They escaped together posing as mother and daughter for some reason even though Ryuusuke's mother seems to have no idea who Midori is half of the time.

The whole institution plot caught me off-guard, I have to admit. Nothing like that happens in the manga, and it seems needlessly complex for an already needlessly complex story. The last half hour is weird and nonsensical, mirroring Midori's own insanity. I didn't like the plot-twist and felt it took away from a movie with a pretty solid premise. Previous to that last half hour, I was enjoying myself immensely, liking the adapted story for the most part despite myself and itself. That last third of the movie killed a bit of my enjoyment of it, relying on cheap tricks and overdone plot points to tell its ghost story.

In the end you have to wonder if Midori is dreaming or dead as she lies upon her insane asylum bed. And you also have to wonder if the filmmakers even understood the actual point of the well put-together manga. I was more disappointed than thrilled by this adaptation, but that is seriously exactly how these Junji Ito movies always go. Always, seriously. Well, at least this wasn't Kakashi...

As for the more technical aspects of the flick, most of the film is incredibly competent. While there are times of inappropriately loud music and Foley effects that are missing or too faint to hear, most of the sounds and music are actual quite fitting. The visuals are muddy at times, but you could actually tell that the director, Kazuyuki Shibuya, knew what he was doing for the most part. The framing of most shots are quite well done, with only a few hiccups from time-to-time, mostly in regards to focusing on a particular face or expression for way longer than is needed. The actors' expressions are sometimes hard to read as well, particularly Ryuusuke's, although that might have been the idea even though it was awkward to see within the movie proper.

One of the down sides of this movie is that it relies on tropes that are seen time and time again in these Japanese horror films like a character never being able to tell anybody the way they feel if they like another character. Then there's the typical Japanese town and walk to school that seems to be in absolutely every Japanese movie, manga, or anime ever made that involves school children. There's also the fact that nobody seems to understand anything about what liking or loving people means, and this point blank refusal to accept defeat in love gracefully without committing suicide or dying in some horrible way. Also there's that unfailing trope of a ghost that doesn't seem to be a ghost until a character realizes much later that it is a ghost. This one also involves the trope of the ghost being a student and seeming absolutely real despite being a ghost. Now, I know Japanese ghosts are different than western ghosts, but this is silly. Aren't there records for these kids in the school? I know this means much less in this movie because of the crazy Midori and maybe Ryuusuke is kind of in her head and comes from her maybe, but there are plenty of other movies where this happens, and it's ridiculous.

I also want to talk to Suzue, a character in the film for one moment here. Call this a public service announcement to her and characters like her. Let me just say that, Suzue, jock-dude told you point blank he liked Midori. Don't start thinking he'll magically start liking you AFTER he revealed to you he liked her. That's ridiculous. I understand that a pretty ghost boy thing told you to think about yourself, but jock-boy TOLD YOU POINT BLANK HE LIKES MIDORI. How dumb can you be, Suzue? Oh, dumb enough to put your blood in the dude's food so that he can taste your love for him. I'm sure that's not something he's going to freak out about especially when you tell him while he's been eating it. That is... just... wonderful. No, Suzue, stop repeating "I love you" over and over again. That is not helping anybody or your love, especially when you are putting a blade up to your throat. Look, suicide is not the answer. if you wait just a few days, Midori will be insane again and dead/sleeping... and you can seriously probably have the jock dude all to yourself without anybody caring at all. It's not as if Midori was interested in him anyway. But no, you had to crazily and creepily repeat it over-and-over again and then kill yourself in front of him. That's really the best way to go about winning him over, isn't it Suzue? And now you're probably dead. What are you going to do now?

While all of that is very Junji Ito of the plot to do... I find it also very indicative of Asian horror movies in general... and I hate it oh so much. Again, this movie is not bad, just kind of mediocre and standard. While the source material is all kinds of creepy and awesome, this film is fairly bland. There were many times I was simply bored at the progression of the plot, or tired of the characters, or just kind of wishing it would all be over. While I don't dislike this movie, it really is incredibly forgettable, especially with an awful name like Love Ghost. There is no horror here, no real scares, and no real interest. While I liked it sort of a bit for where it came from, I think this movie should be avoided even by hardcore Junji Ito fans. There's simply not enough good stuff here for me to even think about recommending it.

Movie Appraisal: Kakashi (案山子) (Scarecrow) (2001)

 "We co-exist with death here."

Despite the overlong introduction this movie delivers in its atmosphere. Kakashi is both moody and well directed by Norio Tsuruta, even if the story and characters are rather flat. I had a good time watching most of this movie, but I did find it, as I've found many of these movies over the last few months, predictable and without any real horror, even boring at times if I may be so bold. The terror, the horror, the fear... they kind of didn't exist in this movie. I found any kind of scariness literally lacking here, which was a disappointment on the interesting premise of this film. Again, most of these movies have great ideas, but they are simply executed poorly. Kakashi is better than most, but it still has the exact same flaws even if they aren't quite as apparent. One of the biggest flaws is that this manga story "Kakashi" or "Scarecrow" is a much better story than this film version to the point where I don't see why that unsettling idea was scrapped in favor of this story.

Kakashi is based off of Junji Ito's manga short story named the same as mentioned above. Ito also helped to write the screenplay of the film. The manga is quite a bit different, with the scarecrows being kind of an accidental thing after one is placed in a graveyard by a father to try and scare away a young man who was in love with his daughter who died. In the manga their sentience is also questionable at best and it is left open to the reader to decide whether they were "alive" at all or just projections put on to the scarecrows by the people who lost their loved ones. Overall the manga is a much better and more effective story, but is quite a bit shorter and with even flatter characters overall. Boy, oh boy... what I wouldn't give for a strongly characterized horror movie. It's bad when all of these movies have such archetypal and flat characters. I can't stand it. I can basically just predict what's going to happen and what characters are going to do. It's actually kind of boring. Horror movies should not be boring. That's really bad.

Anyway, the movie starts off with a girl, Kaoru, looking for her missing brother, Tsuyoshi. Kaoru is your standard quiet Japanese girl. She is quiet. I mean, REALLY QUIET. Almost unsettling so. She asks some questions and does eventually get a little pissed off, but is mostly ineffective and just too quiet throughout the film. I never could identify with her as a main character, never could say, "OH BOY, I LOVE SCENES WITH KAORU!" She was simply boring. Boring. Boring. And a little uninteresting to boot.

Anyway, it seems that another girl named Izumi has sent a letter to Tsuyoshi, telling him to come to her town to meet her. Okay, interesting premise, I guess. Tsuyoshi goes missing and Kaoru feels the need to look for her brother, which makes sense. The beginning of the film is actually effective. It has very little dialogue and relies on the atmosphere to tell the story. Kaoru goes through a tunnel to the out of the way town and her car breaks down, eventually leading her to the creepily quiet village and some strange people who all are carrying around scarecrows. She also sees a young woman who was thought to be missing named Sally, but the woman disappears before she gets a chance to talk with her.

Eventually Kaoru ends up talking to Izumi's parents, learning that there is something wrong with her. Izumi is an old classmate of Kaoru who seems to have had some sort of relationship or feelings for Tsuyoshi. The stilted dialogue between every character works at making the movie feel unsettling, but also works against this moving at slowing the pace down quite a bit. There is never really any intensity to the dialogue, and I honestly found myself nodding off a few times during the movie, which is never a good sign.

The way that Izumi's mother seems to detest Kaoru and Izumi's father seems sympathetic if a little gruff does work well, even if it seems like another standard trope. Izumi's father (played by Kenzô Kawarasaki), who seems to run the clinic, is easily the most sympathetic character in the movie and he is also quite probably the best actor here. Kaoru ends up staying a few night at Izumi's parents' house and has some pretty intense nights, either because of some pretty odd dreams or because her brother and Izumi are doing some pretty strange things at night. It's hard to tell what's fact and what's fantasy at this point in the film. A quotation that happens fairly often in the film is "Is this a dream? Or a fantasy?" and it really does pick up on the idea that the film and the town itself seem to take place somewhere outside of any reality. It's a pretty neat idea, but it's execution is a bit spotty.

Anyway, eventually we get into the meat and potatoes of the movie: the zombie scarecrows. Yeah, it's kind of silly, but also strangely effective in a boring and kind of average type of way. I'm reminded of other towns that are made up of weird people like The Shadow Over Innsmouth and "Children of the Corn." It's a worse story than either of those, but the sentiment is still there, which I appreciate. So, these zombie scarecrows try to stop Kaoru from leaving the town, but they're scarecrows. I mean, seriously? Nobody's thinking what I'm thinking? Scarecrows are not strong; they're made of straw and clothes. It's not like they have muscle or whatever. If you have a match, you are going to win. Hell, if you have a hand you'll win. It's a scarecrow. Made of straw. I'm pretty sure you can fight it off, Kaoru. But no, Kaoru is an idiot and seems to have trouble fighting off men made of straw. Sigh.

Then Kaoru finds herself in her car, trying to start it up to leave the zombie scarecrows forever, but... seriously... one of the zombie scarecrow evil townspeople things is the mechanic who worked on your car, Kaoru. Stop trying to start it up and run. The evil mechanic didn't fix your car. They all lied to you. He specifically lied to you. The policeman lied to you. Stop trying to start it and... finally you run. Jeez. It took you long enough, you crazy broad. So, then Sally becomes one of the main characters, and Kaoru seems to feel the need to save her as well. All right, all right. I get it. It's cool.

What isn't cool is reading someone's private diary. That's not cool at all, Kaoru. You have committed the grave sin of invading somebody else's privacy, and that's terrible. Anyway, I'm going to stop being silly. Kaoru finds and reads Izumi's diary and learns that Izumi had a HUGE thing for her brother, Tsuyoshi, but Kaoru already knew that and... well, she kept t from her brother, actively trying to shut down any romance before it could get started. That's not very nice Kaoru. That's really not cool at all. It seems that Kaoru wasn't a very good friend. Not helping Izumi... no, actively making sure that Izumi had no chance with her brother... eventually causes Izumi to go a little crazy, cursing Kaoru and in the end killing herself. Izumi pulls a perfect "all work and no play make jack a dull boy" type of thing in her diary with the repetition of Kaoru's name over and over again before you kills herself though. That's pretty cool, almost unsettling. That's one reference to a better horror film. Then there's another reference as Izumi speaks of the jealousy that Kaoru has for her relationship with Tsuyoshi. Izumi pulls the reference from Invasion of the Body Snatchers (1978) when Izumi opens her mouth and screams at Kaoru, exactly like what Donald Sutherland does in that movie. I rolled my eyes and was flabbergasted. It was a pretty blatant reference... both kind of were. And the rule of thumb is that you never reference a better movie in your film. Kakashi referenced at least two better movies.

So, the movie is moving along. The townspeople are reviving dead relatives through scarecrows. Izumi's restless spirit who is seeking revenge on Kaoru is kind of messing up the entire town though, causing a kind of dark energy to spread across it even into the zombie scarecrows. I like the idea of this, but it never really comes out after it's mentioned. I mean, yes, both of Izumi's parents are killed, but it's never really tense. It never feels as dark as it should. I think I might feel intimidated by some creepy zombie scarecrows, but it mostly feels kind of boring. They shamble a bit and there kind of is a chase... kind of... but really they're wasted... really, really wasted.

I will admit though that the best part of the movie is the ending. It gets kind of a little creepy maybe and stuff actually happens finally, which are always pluses in a horror movie. I like the way the scarecrow policeman gets up. That was pretty creepy, kind of unsettling to see a person move so unnaturally. Then... OH NO DIRT.... um, don't know where that came from... Oh boy, is this movie almost over? I kind of want it to be over... Again, the ending is good, but the movie is so slow and dull that I just want it to end already.

Eventually Kaoru finds her brother and grabs Sally. They all go off to leave the town but get sidetracked somehow to where the scarecrows are set to come back to life... conveniently. Izumi comes back to life and calls Tsuyoshi to her who uses a flare to burn them both up while they embrace. The burning effect is not well done, but sentiment was beautiful. I really liked it and thought it was pretty effective.

Eventually Sally and Kaoru run through the tunnel from the beginning of the movie, but Kaoru hears her brother calling her and decides to go back to the town as Sally escapes. It's a standard ending and kind of works, but I have questions and thoughts about this movie. And I shall list them.

1. What is Kaoru's relationship with her brother? It seems more than sisterly. Maybe it's just a Japanese thing, but seriously Kaoru seems either extra clinging or it seems like she may have an incestuous relationship, or at least incestuous feelings, for her brother. Maybe I'm wrong or reading too strongly into it, but it seems pretty apparent to me. It changes the dynamics of both characters if this were true, showing Tsuyoshi's coming to the town to be a way to get away from a sinful relationship with his sister, and Kaoru's pursuit of him to be basically showing that she is indeed the villain in this movie, not Izumi, who seems to be the biggest victim of all, a victim of Kaoru and her clingy ridiculous behavior. Now, even if there is nothing sexual or incestuously wrong with Kaoru's relationship with her brother, she's still wrong and terrible, basically refusing to live out her own life, giving it up rather easily just because her brother is that important to her. It's rather offensive to the senses.

2. I  like the living scarecrows, the shells that take in the dead souls. I think the original manga is much better put together, with the scarecrows accidentally taking on the faces of the dead and the souls never really coming back to life. It seems creepier that way, certainly more unsettling, and less explainable. I don't like the town with a dark secret type of thing, certainly not if it's supernatural like this movie was. The original manga just had more mystery and a better feeling to it. This film seemed really boring despite its short length. It just didn't have the power to be scary or effective or even really well done. It was an intensely mediocre film, one that I couldn't recommend to be watched even if it isn't necessarily an offensive or terrible film.

3. The tunnel seems to show a transition between life and death. I liked this idea quite a bit, but have seen it in other movies, most memorably in Spirited Away, where it was done SO much better. The transition between the living world and the world of the dead is a meaningful one and one that Kaoru just can't accept in the end, which I think is absolutely interesting, but really it's too little, too late for this film.. All of those people in the village cannot accept death and so live side-by-side with death, but once you leave the village, you leave death behind you as well. You move on, finding life instead of basking in death. It's what makes Sally's decision to leave such an important and strong-headed decision whereas Kaoru's decision to stay in the village is instead a weakness on her part. She's essentially a very needy, very weak character who has no choice but to look back when her brother calls, who has no choice to leave the land of the living because she doesn't have the strength to go on alone. You don't look back to death once you leave it behind you. You never look back. Orpheus taught us as much. Sodom and Gomorrah taught us as much. Salt, anyone? But Kaoru did look back, and of course it damned her. The ending might be the creepiest part, and the most thought-provoking as well. It certainly was a reference to those works and I thought it was very effective, even if it kind of destroyed Kaoru as the heroine and as a strong character... but she was never really strong, was she?

Kakashi is not a great movie. It has some moodiness to it and its atmosphere is well done for the most part, but it ultimately fails as a horror movie because it's never really scary. And it fails as a normal movie because it's never really all that interesting. It could have been a good zombie film, but it lacked the zombie bits. It could have been a good ghost revenge film, but the revenge really never comes. Kaoru both "wins" and "loses," but Izumi seems to basically cease to exist, thus never finding happiness with the, I assume, reborn Tsuyoshi, and never finding happiness in finding revenge against the girl she hated so much. It's a wishy-washy film, one that never really seems to do anything at all, and it ultimately fails because it could have been so much better if it had tried to be something definable, something scary or interesting. Instead it never really is anything at all.