It appears to be an inevitable progression from any degree of success quickly spawns a sequel, and if it sustains even a modicum of momentum, it will progress onto a franchise. Evidence of this is phenomina manifest in a wide varriety of genres but is most pronounced in horror movies. That category of entertainment seems to possess a significant degree of protection from the unavoidable phenomenon known as diminishing returns. Widely accepted criteria can quantify each continuous film in the ever expanding series of movies steadily ddclining spiral as box office returns and rankings in aggregate review sites. The original film of the series, referring to the 2002 American not Japanese variation, was a respectable 71% on Rotten Tomatoes. In 2005 its first sequel, Ring Two go to a Run Tomato ranking of 20%. Finally, 12 years later, the consideration, Rings has plummeted to an abysmal 9%. The priming prospect for those who enjoy quality all movies is that with a budget of $25 million to fill rate in a domestic box office of almost $28 million. Then he seemed like a very slim margin, not really of consideration by the studio, but that does not include global markets and the exceptionally lucrative DVD/Blu-ray sales and licensing arrangements with premium cable networks and streaming video services. Over the past few years, there has been a radical decline in the stigma against movies released directly to video. This method of distribution once stigmatized a film as largely because of that format, once the pariah of cinema, has become a respected venue for independent films. For those who are interested in watching how the premise of the series can reach its fullest potential check out the Japanese versions of the movies. That premise has a certain purity and simplicity within the context of horror. Anyone watching a particular videotape that consists of a string of bizarre images receives a phone call or macabre voice telling them that they will die within seven days. The only way to save your life is to make a copy of the videotape and get someone else to watch it. The back and be done within the allotted period the curse is lifted from you and reset to the new victim.
This installment takes place in the present opening in an airplane on its way to Seattle. A pair of the passengers, Carter (Zach Roerig) and Kelly (Lizzie Brocheré), realizes that they have seen the Samara Morgan’s cursed videotape. They’re coming up upon that crucial seven-day mark of their predicted demise. The hope to out run the curse but the vengeance is Samara was not to be denied. She reaches out from beyond the grave causing the plane to malfunction and crash. A couple of years later college professor Gabriel (Johnny Galecki) purchases are used VCR previously owned by a passenger of that ill-fated flight. On examining his purchase, he noticed that there’s a videotape already in the old machine. The scene shifts to Julia (Matilda Lutz)) were addressing her boyfriend, Holt (Alex Roe), off to college. After a brief time, she becomes a concern when Holt seems to disappear, no longer communicating with her in any fashion. Julie has just come to the decision to investigate his whereabouts. She encounters a young woman in a complete state of panic, Skye (Aimee Teegarden) was gravely worried about Holt. Julie winds up speaking to Gabriel who takes into a rather reclusive area on campus. Then he took her into a room and introduced to a group called the ‘Sevens.' They are attempting a scientific study of the cursed videotape. Part of the protocol of the project is for them to watch the video while filming themselves and then passing it on to the secondary group of people known as the ‘Tail.'
Although the harsh reality of the precipitous plunge in quality is one aspect of the general plot points that have been in desperate need of addressing. It appears that demons have not kept up with modern technology. VCR tapes have been all but extinct for over a decade. Hell is in dire need of a technological upgrade. If you want to see hell as I picture it within the context of the series check out the series on Adult Swim, ‘Your Pretty Face Is Going to Hell.' It depicts the place of eternal torment as run by a bureaucracy consisting of inept; bungling demons who are still using IBM ATs with large VGA monitors. The people setting up the parameters of the investigation have decided to transfer the tape to digital video file format. After all, the point is to get people to watch the film and me for Samara to have her revenge spamming an email or attaching it to various ‘clip-bait online videos’ that can quickly reach a far wider audience. This also comes in handy with a level plot contrivance of additional material added to the video. A quick glance at the file size would inform anyone that the original movie ws altered. It now contains a scene of what happens is Samara after her death. When Skye takes Julia to her apartment to view the video, she is contacted by Holt wanting her against watching the deadly video. She refrains from watching the video, but in the next room, Skye is murdered.
It appears that the format used to produce the script was to write some horror movie tropes and oxides on slips of paper, place them in a hat and pullout plot contrivances until the script size is sufficient for a feature-length movie. The hotel is Samara’s body has been very strange marks on his hands. They turn out written in braille which once deciphered these into a sufficiently spooky location that could very well have been a set left over from the film. It was an introduction to a blind man who knows why the gravesite is missing a body that a flood necessitated moving it. When they get around to electrocuting a person using a falling utility pole any cannot help but recall a substantial number of movies utilizing the same ‘shocking moment.' The time came quickly when a chours of chriping cicaders ae heared in the background. Accompaning this expected contrivances leading to the telegraphed hidden room and sudden pregnacy. Any desparate hope of originality is receeding in your rearview mirror at light speed. What is truly disappointing about this movie is that it contains some notable names containing not only Johnny Galecki coming on for ‘The Big Bang Theory’ and Aimee Teegarden known for among many other things from her starring roles in ‘Friday Night Lights’ and the sci-fi variation of Romeo and Juliet, ‘Star-Crossed.' Lizzie Brocheré is a very talented French actress was in some television series including ‘American Horror Story,'’ The Strain’ and more recently ‘Falling Water.' These are talented artists were repeatedly proven that they are capable of far better performances than given here. It is usually best not to blame the material since many actors have done remarkable things with the flimsiest of scripts. Unfortunately, the disconnected narrative exhibited here ensures that an assembly of the greatest Shakespearean actors ever known to not have saved the production. On one of the most disappointing casting choices was to include Vincent D'Onofrio into this disaster. He has had many decades of being a deservedly well sought after character actor who has proven himself quite capable of handling the spectrum of leading roles. I’m confident that many people would rather watch Samara’s cursed video and have to endure the hundred and two minutes of this flick.