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If you enjoy reading my Spoiler-Free reviews, please follow my blog. br> It's a brand new year, which means January gets to be the traditional "trash month" once again. In Portugal, it's actually one of the best months of the year since all of the Oscar-contender films are released (late) during these first few weeks. However, it still contains the formulaic action and/or horror movies. The Grudge, a reboot of a remake (because why not. is the most recent addition to the group of horror flicks that no one really understands why they were produced.

I was never a fan of the film series, so obviously, I wasn't expecting much from a reboot of a franchise that always looked like a lazily cheap way of filming a few jump scare sequences with no remarkable storytelling. Nicolas Pesce shows some hints of talent regarding his filmmaking skills with some efficiently suspenseful scenes, but the aspect to blame in this type of movies is always the same: screenplay. I can't remember the last film I saw that treated the audience like the dumbest people alive. It truly becomes disrespectful. It's like the producers thought that the target audience for a horror flick was 5-year-old children. It reaches a point where the movie itself feels like it's being very intelligent in the way it shares plot information. It creates this tense build-up, filled with characters almost dropping a big twist, and then. it's something so evident since the first few minutes of the film. This process repeats throughout the entire runtime. "Here comes a big twist! Are you ready? Watch out! Here it goes. BAM! You didn't saw that coming, did you. br> Yes. We did. Everyone did. Even the theater supervisor who only shows up for a couple of seconds each half an hour was able to figure out everything that was happening. During the screening, I didn't know if I should laugh due to the ridiculously explicit plot points or if I should be frustrated for being treated like I was totally brainless. Everything about The Grudge feels painfully obvious. I try my best not to think too far ahead. I try not to predict what's going to occur or when a jump scare is going to happen. But this movie is so incredibly generic that I couldn't avoid knowing everything instinctively. Story-wise or jump scares, it doesn't matter. Everything that Pesce tries to do, it's surrounded by such an aura of predictability that makes this horror film extremely dull. I mean, that's one of the worst feelings one can have while watching a horror movie, right? How can someone feel bored by a film constantly throwing jump scares and "massive" plot points every five minutes? Well, The Grudge was able to accomplish this miracle. I don't know why The Grudge, as a film series, continues to exist. The first installment, which was itself a remake of the Japanese original, was a surprising box office success. Still, the majority of the audience and critics didn't really like the movie. The consequent theater releases were a disappointment. So, let's do a reboot of the remake, right? Nicolas Pesce seems to be a great filmmaker, he's able to easily generate tension and a dark environment, but such a huge misstep like this can hurt his career. The talented cast tries their best to bring this film to safe harbor, but the absurdly obvious, generic, formulaic, cliche story sunk the movie pretty hard. Its lack of surprising features, the extremely predictable jump scares, and the complete disregard for the audience, treating the viewers like the dumbest people ever, make The Grudge one of the worst horror films of the last few years. Rating: D.

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Az átok háza download free. Az átok háza download free mp3. Producer Sam Raimi brings us a twisted new take of the horror classic. Directed by Nicolas Pesce, THE GRUDGE stars Andrea Riseborough, Demián Bichir, John Cho, Betty Gilpin with Lin Shaye and Jacki Weaver. With a screenplay by Nicolas Pesce and a story by Nicolas Pesce and Jeff Buhler, THE GRUDGE is based on the film “Ju-On: The Grudge” written and?directed by Takashi Shimizu. THE GRUDGE is produced by Sam Raimi, Rob Tapert and Taka Ichise and is executive produced by Nathan Kahane, Erin Westerman, Brady Fujikawa, Andrew Pfeffer, Roy Lee, Doug Davison, John Powers Middleton and Schuyler Weiss.
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Az átok háza download free ringtones. Released in 2000 and celebrated by international- horror nerds via videotapes passed around like viruses, Takashi Shimizu’s Ju-on helped usher in a wave of modern Japanese creepfests that slowly made their way west. The title translated as something like “The Curse”; it would eventually be better known as The Grudge. Along with 1998’s The Ring, the film (and the numerous related series, sequels, quasi-remakes, and brand-name bastardizations) was the most recognizable ambassador for a genre folks dubbed J-Horror. By the time Sam Raimi and producer Roy Lee enlisted Shimizu and noted genre cinematographer Hideo Yamamoto to do the English-language remake in 2004 ? in which Buffy herself, Sarah Michelle Gellar, is stalked by pale-skinned phantoms throughout Tokyo ? audiences were primed for what these films brought to the table. To wit: lank-haired angry spirits, eerie children, technophobia, free-floating post-millennial dread, a stark view of humanity, and the occasional slate-gray fingers mysteriously massaging someone’s scalp from inside the back of their head. That signature image shows up in the new Americanized Grudge reboot/continuation ? you can’t keep a good franchise title down, people ? along with a lot of other familiar sights and sounds. No previous knowledge of either the original-recipe films or the extra-crispy U. S. versions are necessary. In fact, it may be better if you’re going in completely cold to writer-director Nicolas Pesce’s update; you’re less likely to think of this as a greatest-hits reel. And even then, you may still pick up on a vague, creepiness-by-numbers vibe that seems to permeate the whole project from start to finish. The song more or less remains the same: When someone dies in the grips of a powerful rage, a curse is born. Once someone encounters it, it will never let them go. Symptoms may include madness, hallucinations, chronic digit amputations, amped-volume jump-scares, some occasional neat stylistic touches, and too many grasping hands to count. Only the returns have diminished. After a woman living in Tokyo circa 2004 stops by an awfully familiar-looking house, she returns to her family in Cross Rivers, Pennsylvania. Mass murder, unsurprisingly, ensues. Several years later, a cop (Andrea Riseborough) who’s transferred to the town comes across a dead body, decomposing in a car in the woods. This eventually leads her to the cold case involving the aforementioned massacre. It also leads her to the house where it happened, much to the dismay of her superior (Demián Bichir). He was the officer who first worked the case way back when; he also saw his partner (William Sadler), who kept prattling on about some imported ghost-infection or another, lose his mind over it. Naturally, she goes by to investigate the scene of the crime. Bad move. Riseborough’s detective work is only one narrative strand among many, serving as a hub for numerous other tales of rewarmed terror. There’s the original story, which serves as a link to earlier entries and gives us the requisite recurring underage specter (Zoe Fish). There’s the realtors who live next door to them, a married couple played by John Cho and GLOW’ s Betty Gilpin who are dealing with a potential problematic childbirth. And there’s a terminally ill woman (contemporary-horror MVP Lin Shaye, in prime crazy-old-grandmother mode) and her husband ( The Wire ‘s Frankie Faison), who has hired an assisted-death consultant (Jacki Weaver) to help his spouse go gently into the night. Each of them get Grudge -d in various ways, be it via an apparition unexpectedly appearing in the shadows and/or behind them, or having a silent, staring figure suddenly unleash a shriek resembling both a creaky door and two alley cats fucking. The effect makes it feel like you’re watching one of those scary British portmanteau films from the Seventies, or ? more pertinently ? the type of vintage Japanese mix-and-match ghost stories that inspired the late-Nineties wave. (See: Kwaidan, Kuroneko, Onibaba, The Ghost Cat of Otama Pond. ) It also gives you the sensation of sampling various spooky stories without ever having to commit to any of them, or care about much of anything. You can see where Pesce, the bright, young, warped mind behind the Great American Gothic Horror Movie of the past decade, The Eyes of My Mother (2016), is able to add his own touches to the template; a sense of decaying Americana and seedy clapboard-house clutter keeps oozing its way into the frame. (Big up to the production design of Jean-Andre Carriere, who lent a similar rotting mojo to the landmark 2008 French nightmare Martyrs. ) His choice of a final shot, in which stillness is the move, borders on a quiet stroke of genius. But things keep devolving into a sort of “stock beats” catalog of J-scares that goes from déjà vu to dullness to deadening as The Grudge’ s running time marches on. It’s as if the director has been forced to spin an arrow to choose what comes next. Oh, it’s landed on an abundance of flies. Ok, done. Spin. Now it points to someone slowly rising out of a murky tub. Next. Now let’s have someone jolt themselves into someone else’s face and scream. To start as a genre resuscitation and end up as simply generic ? that’s a far more fatal ending than any curse befalling the characters onscreen.

I remember seeing the trailer for The Grudge on TV when I was around 5 or 6, and it terrified me. I had nightmares for weeks and whenever the commercial would come on for this movie Id start to cry and freak out. ? Now. Im a huge horror fan. Az átok háza download free music. Az Ãtok hÃza download free mp3.

Az Ãtok hÃza download free vector. Az átok háza download free game. Not the worst remake but no one asked for it. Some jumps and scares but not worth it. And the timeline didn't add up with the settings. It was supposed to be 2004-2006 and the cars and house decorations/tv were from 1980. Wtf.
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Az átok háza download free software. Az átok háza download free computer. Az átok háza download free torrent. With shooting to begin this coming May, the Nicolas Pesce -directed re-remake of? The Grudge ? will infect theaters on August 16, 2019. Horror legend/ Insidious ?lead? Lin Shaye ?recently came aboard with? Andrea Riseborough, Demian Bichir,? and ?John Cho. “We are so excited about this new adaptation, ” Producer?Sam Raimi recently?said. “We went back to the original source material to deliver a relentless supernatural thrill ride that explores the horrors of American suburbia. ” Based on a script by? Midnight Meat Train ?scribe Jeff Buhler, it’s a new take on the 2004 pic (itself based on the 2002 Japanese original? Ju-on), which starred Sarah Michelle Gellar as a nurse in Tokyo who is afflicted by a curse that created uncontrollable homicidal rage. This will be the twelfth? Ju-On/The Grudge ?film, which also has a video game, two short films, and several graphic novels included in the collection. Co-founded Bloody Disgusting in 2001. Producer on Southbound, the V/H/S trilogy, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily.
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Az átok háza download free hd. The Grudge Theatrical release poster Directed by Takashi Shimizu Produced by Sam Raimi Robert Tapert Takashige Ichise Screenplay by Stephen Susco Based on Ju-on: The Grudge by Takashi Shimizu Starring Sarah Michelle Gellar Jason Behr KaDee Strickland Clea DuVall Bill Pullman Music by Christopher Young Cinematography Hideo Yamamoto Edited by Jeff Betancourt Production company Ghost House Pictures [1] [2] Distributed by Columbia Pictures Release date October?22,?2004 (United States) Running time 91 minutes 98 minutes (Director's Cut) Country United States Japan Language English Japanese Budget $10 million [3] Box office $187. 2 million [3] The Grudge is a 2004 American supernatural horror film directed by Takashi Shimizu, written by Stephen Susco, and produced by Sam Raimi, Robert Tapert, and Takashige Ichise. A remake of Shimizu's 2002 Japanese horror film Ju-On: The Grudge, it stars Sarah Michelle Gellar, Jason Behr, KaDee Strickland, Clea DuVall, and Bill Pullman. Supporting roles are done by William Mapother, Yoko Maki, Ryo Ishibashi, Ted Raimi, Grace Zabriskie and Rosa Blasi. It is the first installment in The Grudge film series which is based on the Japanese Ju-On films. Takako Fuji, Yuya Ozeki, and Takashi Matsuyama portray the characters Kayako Saeki, Toshio Saeki, and Takeo Saeki from the original films. The plot is told through a nonlinear sequence of events, and includes several intersecting subplots. After the success of American remake of The Ring, Sony Pictures had green-lit an American remake of Ju-On: The Grudge, the remake rights of which had been bought by Sam Raimi, who was a fan of the franchise. Shimizu, the writer and director of the original film, was hired to direct the film, from a screenplay written by Susco. Principal photography on the film began on January 26, 2004 and wrapped in July 2004 in Tokyo, Japan. The Grudge was released in North America on October 22, 2004, by Columbia Pictures. The film grossed $187 million against a $10 million budget. On its opening weekend alone, the film grossed $39 million, becoming the first horror film since House on Haunted Hill (1999) to top the Halloween box office and, until the film was dethroned by the Friday the 13th (2009) remake, had the highest grossing opening weekend in history for a horror remake. [3] The film was followed by two sequels, the theatrically released The Grudge 2 (2006) and the straight-to-video The Grudge 3 (2009). A sidequel, also entitled The Grudge, taking place concurrently with the events of this film and its two sequels, was released in 2020. Plot [ edit] The Grudge describes a curse that is born when someone dies in the grip of extreme rage or sorrow. The curse is an entity created where the person died. Those who encounter this supernatural force die, and the curse is reborn repeatedly, passing from victim to victim in an endless, growing chain of horror. The following events are explained in their actual order; however, the film is presented in a nonlinear narrative. Kayako Saeki, a housewife living in suburban Tokyo, is in love with college professor Peter Kirk, obsessively writing about him in a diary. Her husband Takeo becomes jealous as he discovers the diary and believes that Kayako is having an affair with another man. Takeo brutally murders her, their young son Toshio, and the pet cat Mar in violent rage. After Takeo hides the bodies in the house, Toshio's ghost hangs him. After receiving a letter from Kayako, Peter visits the Saeki house only to find both her and Takeo's corpses along with Toshio's ghost. Shocked, he flees the scene and kills himself the next day. The remainder of the Saeki family rise again as ghosts due to the curse, notably Kayako, who appears as an onryō ghost. A few years later, the Williams family from America move into the Saeki house. While Matt is thrilled with the house, his wife Jennifer and dementia -ridden mother Emma feel uncomfortable. Matt and Jennifer are quickly consumed by the curse. Yoko, a care worker, arrives at the house to find Emma alone before she encounters Kayako, who drags her up into the attic. Concerned about Yoko's disappearance, her employer Alex sends another care worker, Karen Davis, to take over the care of Emma. At the house, Karen discovers Toshio sealed up in a wardrobe and later on witnesses Kayako's spirit descending from the ceilings to claim Emma. Alex arrives at the house shortly after and finds Emma dead and Karen in a state of shock. Alex calls the police, with the presence of Detective Nakagawa. In the attic, Nakagawa and his partner Igarashi find Matt and Jennifer's bodies, along with a human's lower jaw. Meanwhile, Matt's sister, Susan, is pursued by Kayako around her office building. At home, Kayako attacks her and she vanishes. While leaving work, Alex is killed by Yoko's jawless corpse. Kayako begins haunting Karen, who informs her boyfriend Doug of the situation. Karen researches the house, eventually confronting Nakagawa, who explains that three of his colleagues investigating the Saeki deaths were all consumed by the curse. That night, Nakagawa carries gasoline into the house in an attempt to burn it down, but is killed by Takeo. After learning that Doug has ventured to the Saeki house to look for her, Karen races there. She finds Doug paralyzed and attempts to flee with him. Kayako crawls down the stairs and latches onto Doug, who dies of shock. As Kayako closes in, Karen sees the gasoline and ignites it. Karen survives and in the hospital, she learns that the house also survived the fire. Visiting Doug's body, Karen realizes that she is still haunted by Kayako. Cast [ edit] Sarah Michelle Gellar as Karen Davis, an exchange student Jason Behr as Doug McCarthy, Karen's boyfriend, who attends the University of Tokyo KaDee Strickland as Susan Williams, Matt's younger sister William Mapother as Matt Williams, who relocates to Tokyo for a promotion Clea DuVall as Jennifer Williams, Matt's wife Grace Zabriskie as Emma Williams, Matt and Susan's mother, who has severe lethargy with mild dementia. Bill Pullman as Peter Kirk, a teacher working in Tokyo Rosa Blasi as Maria Kirk, Peter's wife Ted Raimi as Alex Jones, the director of the care centre where Yoko and Karen are stationed Ryo Ishibashi as Det. Nakagawa, a detective Yōko Maki as Yoko, a Japanese care worker assigned to care for Emma Williams Takako Fuji as Kayako Saeki, a married woman who is attracted to Peter Kirk Yuya Ozeki as Toshio Saeki, Kayako and Takeo Saeki's 10-year-old son. Takashi Matsuyama as Takeo Saeki, Kayako's husband Production [ edit] In early 2000, the unexpected success of the American remake of The Ring is what led to Sony Pictures finally having the confidence to green-light an American remake of Ju-On: The Grudge. That same day, Takashi Shimizu, the director and creator of the original film, was hired to direct the film, with Stephen Susco writing the screenplay, and Sam Raimi through its Ghost House Pictures banner producing the project, alongside Robert Tapert and Takashige Ichise. Shimizu was eager to work on a remake of his own film, as he saw it as an opportunity to improve and fix some of the perceived problems and flaws that were present in the original film. During the test screenings, two slightly different versions of the film were used at the same time. One was R-rated, while the other was rated PG-13. The PG-13 cut, which had toned down some of the disturbing images, allegedly tested better with screeners. The R-rated version was released on home video as the Unrated Director's Cut. Principal photography on the film began on January 26, 2004. Reshoots on July 2004 in Tokyo, Japan. Before filming, the cast and crew went through a ceremony, where they were blessed so that nothing bad could happen to them during filming. Release [ edit] The Grudge was theatrically released in the United States on October 22, 2004, by Columbia Pictures, to coincide with Halloween. Box office [ edit] The Grudge opened at 3, 348 theaters in North America. [4] The film generated $39. 1 million in ticket sales in its first weekend (October 22?24, 2004). Ticket sales declined 43% on the second weekend, earning $21. 8 million, thereby becoming the first horror film to top the Halloween box office since House on Haunted Hill. [5] The film made US$110. 4 million in North America alone and a total of $187. 3 million worldwide, far exceeding the expectations of box-office analysts and Sony Pictures executives. Sony also stated production costs of less than $10 million, making it one of the most profitable movies of the year. [6] The film is recognized as the second-highest grossing horror remake of the past 40 years behind The Ring, but in front of horror films such as A Nightmare on Elm Street, Friday the 13th, and One Missed Call, the former two had successful series, and were expected to be far more successful, whereas the latter is also an Asian horror remake and did far less in terms of box office. [7] It is also second in Japanese remakes, but seventh in the highest openings for an October and fall release, being beaten by family movies. [7] Critical reception [ edit] The review aggregator website Rotten Tomatoes reports that 39% of 160 reviews surveyed critics have given the film a positive review; the average rating is 5. 11/10. The site's critics consensus reads, "There's some creepy imagery to be found, but not much in the way of logic or truly jarring scares. " [8] On Metacritic, which uses a weighted average of critics' reviews, the film has a score of 49 out of 100 based on 32 reviews, indicating "mixed or average reviews". [9] Roger Ebert gave a mostly negative review, awarding the film 1 star out of 4. In his review he writes: "The Grudge" has a great opening scene, I'll grant you that. Bill Pullman wakes up next to his wife, greets the day from the balcony of their bedroom, and then -- well, I, for one, was gob-