How tall are you?

5' 7" or 5' 8". I've never really picked one.

I think she was on crack, rude, and pointless.

Seriously. It's a movie. He did it for a role. It was the nature of the character. Get over it.

5' 7" or 5' 8". I've never really picked one.

Skeletal is related to height. He's listed at 6'2. On him, the weight is as skeletal as I'm even slightly comfortable considering.

Signed,
Not Seeing The Movie For Reasons Of Discomfort But Doesn't Think That Makes It A Bad Movie.

I don't think that's a fair thing to say at all, let alone without seeing the movie.

In Sean's defence, he didn't call anybody a moron. And I don't think he intended to personally insult anybody by making a generalization on 'mainstream' critics inability to enjoy some thinking movies.

As far as not seeing the movie yet, perhaps he should have used the original's title when putting in his two cents. But it is his understanding that The Grudge was shot so fairly indentically to the original, that I guess he felt comfortable enough to make a judgement call.

Signed, Not Seeing The Movie For Reasons Of Discomfort But Doesn't Think That Makes It A Bad Movie.

Leaning towards that myself. Will probably end up seeing it anyway.

But it is his understanding that The Grudge was shot so fairly indentically to the original, that I guess he felt comfortable enough to make a judgement call.

Dude, if that were all it took, Gus Van Sant's Psycho should have been a masterpiece.

Must. Own. This. MUST, I tell you!

Jilli, you'd freakin' love it (if you don't already).

As far as owning it, get it sent overnight from Facets: [link]

Here's Facets' review:

Guy Maddin (Tales from the Gimli Hospital) brings his unique vision to Bram Stoker's archetypal novel and creates one of the finest cinematic adaptations of the classic vampire tale to date. An ode to silent cinema shot entirely in black and white with injections of red, the film successfully transposes the Royal Winnipeg Ballet's interpretation of Dracula from stage to screen without losing a drop of the dance's eroticism, subtle humor and lush, stylized movement. "Victorian sexuality and melodrama are brought together in a shadow world of expressionistic images and an athletic, almost rabid, choreography" (Bruce Diones, The New Yorker).

And here's a review from High Hat contributor and all around cineaste George Wu: [link]

Dude, if that were all it took, Gus Van Sant's Psycho should have been a masterpiece.

I think you're confusing quality/style with construction in that. And Hitchcock didn't direct the remake of Psyco, Takashi Shimizu did direct the American version of Ju-on.

I think you're confusing quality/style with construction in that.

I think I misunderstood your point. I've read in several places that The Grudge is essentially a shot-for-shot remake of Ju-On, and I thought that was what you were commenting on.

I've read in several places that The Grudge is essentially a shot-for-shot remake of Ju-On

That's my understanding too. And that is sort of the point I was trying to make about Sean's comment, about The Grudge jumping around and critics having to follow it and think. Even though it was the same director making the movie, Eastern and Western styles of filmmaking are very different. And those influences might not have been taken into account, as far as quality of creepiness goes. That also has a lot to do with the performers as well as the director. I imagine people would be thinking less of The Grudge if it was done by a different director.

But that's neither here nor there, I'm just happy to be having a nice conversation on the board. It happens so rarely.

Guy Maddin (Tales from the Gimli Hospital) brings his unique vision to Bram Stoker's archetypal novel and creates one of the finest cinematic adaptations of the classic vampire tale to date. An ode to silent cinema shot entirely in black and white with injections of red, the film successfully transposes the Royal Winnipeg Ballet's interpretation of Dracula from stage to screen without losing a drop of the dance's eroticism, subtle humor and lush, stylized movement. "Victorian sexuality and melodrama are brought together in a shadow world of expressionistic images and an athletic, almost rabid, choreography" (Bruce Diones, The New Yorker).

Oh, that.

That's been on TV here a kabillion times.

This is me, as well. Things that get under your skin insidiously. I don't particularly like being startled and I dislike gore, but I love being spooked, the kind of spooked that makes me remember that particular moment in the film days, weeks afterward and do a full-body shudder.

I'm the exact opposite. I'd rather be startled, let out a girly scream manly bellow and then be fine once the adrenaline rush goes away than spend a long period of time with a feeling of dread, staring at every shadow and odd noise.

Though if given a choice, I'd rather not be frightened at all.