Do nybudy hav Ring 2 japaneese version..it has been bannd cz 8 ppl had died after watching that movie..... 
;;
Ringu (The Ring) (リング)
Japanese Movie Review
Written by: Japan-101 Community Member BakaSensei
“A grade school boy took a trip to Izu with his family and they stayed in a cabin. He wanted to go out and play, but there was a TV show that he didn’t want to miss. So, he recorded it on a VCR in their room, but the channels there are different from Tokyo’s. No stations use that channel, so nothing should’ve recorded. But when he played the tape back at home, a woman appeared on the screen and said ‘You will die in one week!’ The kid stopped the tape and then the phone rang. A voice said ‘You saw it!’ and the kid died a week later.”
This short tale sounds just like every other urban legend that exists today. In this case, it is the introduction and premise for one of the world’s top horror franchises. Novelist Koji Suzuki’s creation has spawned 4 Japanese sequels (Ringu, Rasen, Ringu 2, Ringu 0: Birthday), 1 Korean remake (Ring Virus), an American remake and sequel (The Ring and The Ring Two), manga, and even a Japanese TV series. Director Hideo Nakata’s version “Ringu” is a creepy vision into darkness that many movie scribes say is how horror should be done. On the surface, “Ringu” is a different tale that effects you the first time you see it in the same manner “Amityville Horror” or ”The Blair Witch Project” might have. At its heart, this is a story of the supernatural, psychic abilities, murder, and unforgiving wrath from beyond the grave.
The story begins with two teenage girls reciting the legend of the evil tape for laughs. Unfortunately, one of the girls, Tomoko, knows the story all too well. As a matter of fact, Tomoko has first hand experience. It seems Tomoko and a few friends saw the tape on a recent trip a week prior, and the prophecy fulfills itself. As with any genius ghost story, the scares come from the unknown. Tomoko’s demise is not shown, but you are led to the event in a manner that sets up the uneasiness of the film.
Next, we meet Reiko and her young son Yoichi. Reiko was Tomoko’s aunt and is a TV journalist. After getting dresses, the pair go to Tomoko’s wake to pay their respects. This somber scene delivers tidbits of information that puts us on the mystery’s path from different angles. Reiko overhears some of Tomoko’s friends speaking about her death as well as that of 3 friends. After some conversation, Reiko decides to investigate the story of the 3 friends as well as the urban legend of the tape. Also notable is the reaction of Yoichi concerning Tomoko’s room. It seems there could be more at play than a young boy’s curiosity. Reiko utilizes her TV resources, following the story of Tomoko’s friends and discovering that they met mysterious deaths as well. Further investigation reveals the manner in which Tomoko was found by her mother and the common thread which the teenagers shared exactly one week before they died: a trip to Izu.
At this point, a few things should be said about Japanese horror. While you do have a certain amount of gore flicks like “Junk” and “Bio Zombie,” most set out to make you feel off center and uneasy. When your internal balance is off, you tend to be more susceptible to the darker plot threads. Most Japanese horror films share this trait, from classics like “Onibaba” and “Kwaiden” to modern scares like “Battle Royale” and “Audition.” The key is to put the viewer on edge psychologically with dark cinematography, uneven musical scoring, and disturbing imagery, building to the big payoff ending. The “loud noise/big scare” formula familiar to Hollywood horror is not really a factor. The cerebral scare is the goal. Case in point: the video itself.
As the pair of Reiko and Ryuji begin to breakdown and decipher the clues to the tape’s origins, the mystery and true nature of the recorded evil starts to reveal itself. The viewer is bombarded with a series of incoherent images that could only be described as manic. As the tape begins, you see a circle of a swirling dark blue/black clouds surrounded by total blackness. Other images included a woman joyfully brushing her hair, a hooded figure super-imposed on a background of TV static, a war scene, an inhuman eye with a lone kanji in its pupil, and finally, the edge of a wooded area preceded by an old well. Another scene features a swirling torrent of kana and kanji described in subtitle only as “Eruption.” Found briefly during the “mirror” clip is a flash of the darkness to come: a barefoot pre-teen with long black hair wearing a white gown.
The films teases few glimpses and short looks at the main antagonist, which only adds to the heightened sense of fear. The fear of the unknown, or in this case the barely known, can offer more negative stimulation than the over saturation of a guy in a hockey mask. The girl in question, Sadako, never really appears in full “ready to do harm” mode until the end of the movie. By design, this is really one of the best horror villains of all time. Much like Damien in the “Omen” trilogy, we are given a terror in something that is not an everyday concern: a young child. The premise is combined with a “less is more” look. Sadako is not a “10 hours in the make up chair” villain. Rather, the simple look actually adds realism to the character.
As mentioned prior, the film does its best to be unsettling. The first meeting between Yoichi and Ryuki in front of Reiko’s home is uncomfortable. Also uncomforting is the date stamp used to count down days until one week has passed. This is a direct homage to the aforementioned “Amityville Horror” which used the same technique. Even the ending, which is very Japanese in nature, leaves you with questioned resolve. It is common for Japanese films, especially horror films, to not offer a happy “Hollywood” ending.
Finally, mention must be made of the American remake “The Ring.” “The Ring” is actually a respectful remake that is fairly close to the original. It is, of course, Americanized in feel, but it doesn’t detract from the material. Some minor plot threads were changed and others added, but the spirit and continuity remain unchanged. The only minor beef I have with the US version is the “horse” sub plot. After watching both films, you’ll probably find yourself asking what it really added and was it necessary.
FACT #1 – The original sequel to “Rasen” was basically shoved under a rug and ignored after the emergence of “Ring 2” and “Ring 0: Birthday” due to straying far from the original in many aspects. The latter sequels saw the return of the original director Hideo Nakata.
FACT #2 – After losing its original director and tossing a disappointing first script, the American sequel “The Ring Two” found direction in the man responsible for the success of the original series: Hideo Nakata. “The Ring Two” features a new story that furthers the developments in the American remake as well as the entire “Ringu” mythology.
FACT #3 – The success of “The Ring” has led to a wave of Asian horror remakes including “JuOn: The Grudge” and the Hong Kong hit “The Eye.”
;;Ringu (The Ring) (リング)
Japanese Movie Review
Written by: Japan-101 Community Member BakaSensei
“A grade school boy took a trip to Izu with his family and they stayed in a cabin. He wanted to go out and play, but there was a TV show that he didn’t want to miss. So, he recorded it on a VCR in their room, but the channels there are different from Tokyo’s. No stations use that channel, so nothing should’ve recorded. But when he played the tape back at home, a woman appeared on the screen and said ‘You will die in one week!’ The kid stopped the tape and then the phone rang. A voice said ‘You saw it!’ and the kid died a week later.”
This short tale sounds just like every other urban legend that exists today. In this case, it is the introduction and premise for one of the world’s top horror franchises. Novelist Koji Suzuki’s creation has spawned 4 Japanese sequels (Ringu, Rasen, Ringu 2, Ringu 0: Birthday), 1 Korean remake (Ring Virus), an American remake and sequel (The Ring and The Ring Two), manga, and even a Japanese TV series. Director Hideo Nakata’s version “Ringu” is a creepy vision into darkness that many movie scribes say is how horror should be done. On the surface, “Ringu” is a different tale that effects you the first time you see it in the same manner “Amityville Horror” or ”The Blair Witch Project” might have. At its heart, this is a story of the supernatural, psychic abilities, murder, and unforgiving wrath from beyond the grave.
The story begins with two teenage girls reciting the legend of the evil tape for laughs. Unfortunately, one of the girls, Tomoko, knows the story all too well. As a matter of fact, Tomoko has first hand experience. It seems Tomoko and a few friends saw the tape on a recent trip a week prior, and the prophecy fulfills itself. As with any genius ghost story, the scares come from the unknown. Tomoko’s demise is not shown, but you are led to the event in a manner that sets up the uneasiness of the film.
Next, we meet Reiko and her young son Yoichi. Reiko was Tomoko’s aunt and is a TV journalist. After getting dresses, the pair go to Tomoko’s wake to pay their respects. This somber scene delivers tidbits of information that puts us on the mystery’s path from different angles. Reiko overhears some of Tomoko’s friends speaking about her death as well as that of 3 friends. After some conversation, Reiko decides to investigate the story of the 3 friends as well as the urban legend of the tape. Also notable is the reaction of Yoichi concerning Tomoko’s room. It seems there could be more at play than a young boy’s curiosity. Reiko utilizes her TV resources, following the story of Tomoko’s friends and discovering that they met mysterious deaths as well. Further investigation reveals the manner in which Tomoko was found by her mother and the common thread which the teenagers shared exactly one week before they died: a trip to Izu.
At this point, a few things should be said about Japanese horror. While you do have a certain amount of gore flicks like “Junk” and “Bio Zombie,” most set out to make you feel off center and uneasy. When your internal balance is off, you tend to be more susceptible to the darker plot threads. Most Japanese horror films share this trait, from classics like “Onibaba” and “Kwaiden” to modern scares like “Battle Royale” and “Audition.” The key is to put the viewer on edge psychologically with dark cinematography, uneven musical scoring, and disturbing imagery, building to the big payoff ending. The “loud noise/big scare” formula familiar to Hollywood horror is not really a factor. The cerebral scare is the goal. Case in point: the video itself.
As the pair of Reiko and Ryuji begin to breakdown and decipher the clues to the tape’s origins, the mystery and true nature of the recorded evil starts to reveal itself. The viewer is bombarded with a series of incoherent images that could only be described as manic. As the tape begins, you see a circle of a swirling dark blue/black clouds surrounded by total blackness. Other images included a woman joyfully brushing her hair, a hooded figure super-imposed on a background of TV static, a war scene, an inhuman eye with a lone kanji in its pupil, and finally, the edge of a wooded area preceded by an old well. Another scene features a swirling torrent of kana and kanji described in subtitle only as “Eruption.” Found briefly during the “mirror” clip is a flash of the darkness to come: a barefoot pre-teen with long black hair wearing a white gown.
The films teases few glimpses and short looks at the main antagonist, which only adds to the heightened sense of fear. The fear of the unknown, or in this case the barely known, can offer more negative stimulation than the over saturation of a guy in a hockey mask. The girl in question, Sadako, never really appears in full “ready to do harm” mode until the end of the movie. By design, this is really one of the best horror villains of all time. Much like Damien in the “Omen” trilogy, we are given a terror in something that is not an everyday concern: a young child. The premise is combined with a “less is more” look. Sadako is not a “10 hours in the make up chair” villain. Rather, the simple look actually adds realism to the character.
As mentioned prior, the film does its best to be unsettling. The first meeting between Yoichi and Ryuki in front of Reiko’s home is uncomfortable. Also uncomforting is the date stamp used to count down days until one week has passed. This is a direct homage to the aforementioned “Amityville Horror” which used the same technique. Even the ending, which is very Japanese in nature, leaves you with questioned resolve. It is common for Japanese films, especially horror films, to not offer a happy “Hollywood” ending.
Finally, mention must be made of the American remake “The Ring.” “The Ring” is actually a respectful remake that is fairly close to the original. It is, of course, Americanized in feel, but it doesn’t detract from the material. Some minor plot threads were changed and others added, but the spirit and continuity remain unchanged. The only minor beef I have with the US version is the “horse” sub plot. After watching both films, you’ll probably find yourself asking what it really added and was it necessary.
FACT #1 – The original sequel to “Rasen” was basically shoved under a rug and ignored after the emergence of “Ring 2” and “Ring 0: Birthday” due to straying far from the original in many aspects. The latter sequels saw the return of the original director Hideo Nakata.
FACT #2 – After losing its original director and tossing a disappointing first script, the American sequel “The Ring Two” found direction in the man responsible for the success of the original series: Hideo Nakata. “The Ring Two” features a new story that furthers the developments in the American remake as well as the entire “Ringu” mythology.
FACT #3 – The success of “The Ring” has led to a wave of Asian horror remakes including “JuOn: The Grudge” and the Hong Kong hit “The Eye.”
Last edited:
