Shutter (2008/I)

Calificación de los usuarios:

4.8/10   

Director:

Masayuki Ochiai

Guionista (WGA):

Luke Dawson (screenplay)

Fecha de Lanzamiento:

21 marzo 2008 (USA)

Género:

Horror | Misterio | Suspenso

Frase comercial:

The most terrifying images are the ones that are real.

Plot:

A newly married couple discovers disturbing, ghostly images in photographs they develop after a tragic accident. Fearing the manifestations may be connected, they investigate and learn that some mysteries are better left unsolved.

Plot Keywords:

Japan | Car Accident | Photograph | Death | Spirit

Comentarios de los usuarios:

Another unrelentingly boring ghost-in-the-machine remake

US TV Schedule:

Wed. July 15

8:00 AM

MAX

Reparto

Joshua Jackson	...	Benjamin Shaw
Rachael Taylor	...	Jane Shaw
Megumi Okina	...	Megumi Tanaka
David Denman	...	Bruno
John Hensley	...	Adam
Maya Hazen	...	Seiko Nakamura
James Kyson Lee	...	Ritsuo
Yoshiko Miyazaki	...	Akiko
Kei Yamamoto	...	Murase
Daisy Betts	...	Natasha
Adrienne Pickering	...	Megan
Pascal Morineau	...	Wedding Photographer
Masaki Ota	...	Police Officer #1
Heideru Tatsuo	...	Police Officer #2
Eri Otoguro	...	Yoko

También conocida como:

Imágenes del más allá (Argentina) (Venezuela) [es]
Retratos del más allá (Spain) [es]

MPAA:

Rated PG-13 for terror, disturbing images, sexual content and language.

Duración:

85 min | USA:90 min (unrated version)

País:

USA

Idioma:

Inglés | Japonés

Color:

Color

Relación de Aspecto:

1.85 : 1

Sonido:

Dolby Digital | DTS

Clasificación:

Ireland:16 | Singapore:PG | Malaysia:U | USA:PG-13 (certificate #43974) | UK:15 | New Zealand:R16 | Canada:13+ (Québec) | Canada:14A (Alberta/British Columbia/Ontario) | Sweden:15 | Germany:16 | Philippines:PG-13 (MTRCB) | South Korea:18 | Argentina:16 | Australia:MA | Finland:K-15 | Singapore:NC-16 (DVD rating) | Italy:VM14 | Ireland:15 (video rating) | Netherlands:16 | South Africa:16LV | Hong Kong:IIB

Locaciones de Filmación:

Tokyo, Japan

Compañía:

Regency Enterprises

Trivialidades:

Not screened for critics.

Errores:

Errores que Revelan: When Ben and his wife take a picture of themselves in the beginning, the camera is obviously not on.

Conexiones de Película:

Remake of Shutter (2004/II)

Banda de Sonido:

That Kinda Booty

Another unrelentingly boring ghost-in-the-machine remake

Take it as it is. A derivative, leaden, mind-numbingly simplified remake of a superior original. That's not to say that it's genuinely decent on its own merits if you've not already seen 2004's seminal Thai-horror "Shutter" that reignited that country's interest in producing slow burning, luxuriously made horror films. Interestingly, and perhaps even fittingly, the Hollywood machine that devours and regurgitates the recent slate of J-Horror films has turned its sights on "Shutter", which arguably finds its core roots in Japan's horror conventions in its vengeful, waifish ghost girl tormenting the living by manifesting through various electronic mediums. So what Masayuki Ochiai's adaptation essentially becomes is a carbon copy of copy.

American photographer Ben Shaw (Joshua Jackson) and his blonde schoolteacher bride Jane (Rachael Taylor) go straight from nuptials to a working honeymoon in Japan, natch, because America just isn't as scary to Americans as Asia is. Before heading off to Ben's lucrative assignment in Tokyo, the newly minted couple heads to a remote countryside inn when a brief accident derails Jane's constitution and compels her to seek out answers led by a phantasmal presence in photographs and a newly discovered knowledge of spirit photography.

Unremarkably, Luke Dawson's screenplay omits and appends details to its basic premise. The original uses the stark disassociation of city living to intensify the eeriness of isolation, and the idea that we never really see what we think we know. Dawson's script transplants the couple to a different country, ramping up the cultural alienation and exoticism of another culture. It's not dissimilar to what we've already seen in "The Grudge" remakes.

Even as Ochiai's direction is comparatively surefooted and patient with the camera choosing to hang on to a scene instead of ludicrously harping on jump-cuts and eyeball-rattling shots that bounce off the wall, the film feels unambitiously stale. "Shutter" goes through the motions of dourly checking off look-behind-you set pieces and reflections on windows. The plotting and performances are so apparent; you'd find yourself a couple of steps ahead of the film's central faux-mystery. While the bizarre symbiotic relationship audiences have with particularly mediocre remakes of Asian horror films should still live on after this, what remains most terrifying is how textbook simple and undemanding the film-making has become for films of its ilk.