Watch: Shutter 2008 123movies, Full Movie Online – A newlywed couple Ben and Jane move to Japan for a promising job opportunity – a fashion shoot in Tokyo. During their trip on a dark forest road they experience a tragic car accident, leading to the death of a young local girl. Upon regaining consciousness, they find no trace of her body. A bit distraught the couple arrives in Tokyo to begin their new life. Meanwhile Ben begins noticing strange white blurs in many of his fashion shoot photographs. Jane believes that the blurs are actually spirit photography of the dead girl who they hit on the road, and that she may be seeking vengeance..
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.
Smart Tags: #revenge #rape #gang_rape #supernatural_horror #rape_and_revenge #revenge_from_beyond_the_grave #japan #newlywed #photograph #photographer #car_accident #spirit_photography #spirit #shadow #picture #ghost #death #vomiting #brooklyn_new_york_city #one_word_title #sex
|5.2/10 Votes: 34,678|
|11% | RottenTomatoes|
|37/100 | MetaCritic|
|N/A Votes: 593 Popularity: 16.487 | TMDB|
A heavy burden.
American remakes of Asian horror films have mostly struggled to win grace and favour with horror fans. Shutter is no exception, it has been met with the usual howls of derision, claims of it being pointless, loosing the horror essence of the original and etc. But what for someone like me who hasn’t seen the original?
I found Shutter to be much like how I found The Ring, the Naomi Watts starrer from 2002, a very effective chiller with a solid mystery to be unravelled at the core. The ghost is creepy – as are the various photographic links, the scares handled professionally by the makers, and the finale pays off with a startlingly chilling revelation that freaked me out; and I’m a middle aged man!
It’s far from perfect, the pace is a bit haphazard, logic goes out the window often, and cast performances are only adequate in the absence of “A” list stars to propel the story onwards. While it’s tough to hang your hat on the two principal players since the emotional empathy hasn’t been earned by them, courtesy of the writing. Yet with no frame of reference to raise expectation levels – or down them as well, this is a safe and sturdy spooker that does its job well enough. 7/10
Shutter takes Polaroid remnants of the original without the stunning flash. This is a peculiar remake. During the towering heights of Hollywood westernising world-renowned Asian horrors, mostly from Japan and South Korea, Japanese director Ochiai opted to alter the story of Thailand’s arguably most famous eponymous horror with American actors, set in Japan. Western audiences apparently wouldn’t be spooked if the ghost haunting the main characters wasn’t a pasty white Japanese girl with luscious black hair and masses amount of eye liner. It’s a cluster of cultures, and whilst the end result isn’t exactly terrible, it’s far from being tolerably good. Because much like ‘The Grudge’, ‘One Missed Call’ and ‘Pulse’, the underlying sense of pointlessness becomes an overburden for everyone involved.
A photographer and his new bride travel to Tokyo where they accidentally smash into a girl standing in the middle of the darkened misty road (bare foot, might I add!). And so, through the ominous power of spirit photography, they become haunted. Specks of mysterious white vapours and the glistening sunlight against the camera lenses, being interpreted as ghostly entities attempting to communicate with the living. “The dead latch onto the flesh”.
Without changing the essence of the overall story too much, just minor details here and there, Ochiai manages to produce various suspenseful moments through the usage of anonymity. The ethereal cries of a haunting girl, the innocent humming of an eerie song and the most intense tonguing since Toad got struck by lightning back in ‘00. The supernatural elements work best when nothing is showed on screen. The dark room sequence when Megumi entered the room, although initially presumed to be Jane, was executed with enough slow-paced tension to become effective. Dropping a splinter of wood into a solution that causes a tsunami into the eyes? Ineffective. Electrocuting one’s self in a desperate attempt to rid the latched ghost? Well, I don’t need to tell you how stupid that is.
Dawson’s script is less than impressive. Masses amount of exposition and one-dimensional development that forced characters to be nothing more than tourists and amateur photographers. Seriously, Jane is the worst tourist. Shouting in the faces of locals exclaiming “excuse me, where do I go!?”. Is she oblivious to native languages? Like, she failed to even attempt one word in Japanese. That’s not Taylor’s fault, who isn’t the most talented actress in existence, but managed to bring out some surprising emotionality towards the film’s conclusion. Jackson on the other hand? Ehhh. He’s the kind of guy you want to slap for acquiring no personality. Just bland. His character’s best friends are pointless and sadly resorted to expendable deaths that suffered from no build-up.
The central mystery that powers the narrative does captivate, even if Ochiai’s direction made certain twists obvious due to extensive foreshadowing, and that’s the primary element for preventing this remake from venturing into the realms that we do not speak of. I’m looking at you ‘One Missed Call’ and ‘Pulse’!
So yes, Shutter is fine. As a film, it functions by itself with enough flash for the uninitiated. However, for those who have watched the original, you’re bound to find disfigurement within the composition of this photographic remake.
Take a Ghost-Picture, it’ll last longer!
Unfortunately I didn’t manage to catch the 2004 Thai original before this American remake premiered at the annual Belgian Horror and Fantasy Festival. I didn’t bother to see it when it initially got released because there already was an overload of Asian Ghost movies at that time and I really couldn’t cope enduring another dull and scare-free imitation of “Ringu”. After seeing the US remake I’m definitely interested in checking out the original sooner or later. The basic idea of restless spirits trying to communicate through photography is remotely original, but the elaboration (at least in this remake) remains somewhat tedious and predictable. Immediately after their marriage, Jane follows her photographer husband Ben to Tokyo where his friends arranged a splendid job for him. Jane, but soon after also Ben, suffers from visions of a deceased girl and all the pictures they make are ruined by ghostly images of this same girl. There’s more than obviously a link between this girl and Ben’s past days as a bachelor, but Jane only gradually learns the truth of what happened exactly. To my knowledge, this is the first and so far only Thai film to be remade by a Japanese director but with American funds and cast members. Talk about an international co-production! Masayuki Ochiai previously directed the incredibly atmospheric and uncanny hospital-horror film “Infection”, so he definitely knows how to build up suspense and terror through suggestion. The main problem here is that the ghostly subject matter is too “soft” and doesn’t lend itself to provide some genuine shock-moments. We’ve all seen too many (Asian) horror movies already in which white-faced spirits spontaneously appear & disappear again, and the mystery is always build up towards a point where the script can’t possibly fulfill the audience’s anticipations anymore. In “Shutter”, you rather quickly figure out that Ben knows than he tells, so you can easily guess each and every plot twist far in advance. There are a very limited number of sets and exterior locations. Why didn’t the film take advantage of the wondrous city of Tokyo, like for example “Lost in Translation” did? Rachael Taylor is certainly a promising actress with a lot of growing potential, so I hope she’ll get offered a couple of better screenplays in the near future. Thus far, she only has horror rubbish like “See No Evil” and “Man-Thing” on her repertoire and those things won’t get her noticed. Neither will “Shutter”, for that matter.
Only good Japanese remake since THE RING (2002) that I have seen
I’ve had to endure a lot of American remakes of Japanese horror films. I loved the remake of THE RING. Gore Verbinski got it right. However, since that movie featured haunted video cassettes that kill after 7 days, we’ve seen haunted cell phones, haunted cameras in this movie and there will probably be haunted toasters, blenders and dishwashers before the cycle burns itself out – and there is no sign that it will anytime soon. This film has a plot and kind of stays on track for the most part, unlike a lot of the others. It keeps things manageable with a smaller number of characters you can keep track of and best of all, it actually has some pretty effective scares. There isn’t much more I can say about it without revealing anything and you should check it out for yourself. It actually satisfies, unlike a lot of these things. I don’t know how the Japanese version stacks up but this is actually a pretty good little film. I was pleasantly surprised.
Original Language en
Runtime 1 hr 25 min (85 min), 1 hr 30 min (90 min) (unrated) (USA)
Genre Horror, Mystery, Thriller
Director Masayuki Ochiai
Writer Luke Dawson, Parkpoom Wongpoom, Sophon Sakdaphisit
Actors Joshua Jackson, Rachael Taylor, James Kyson
Country United States
Production Company N/A
Sound Mix Dolby Digital, DTS
Aspect Ratio 1.85 : 1
Camera Arriflex 535B, Cooke and Angenieux Lenses
Laboratory DeLuxe, USA (prints), Imagica Corporation, Shinagawa-ku, Tokyo, Japan
Film Length N/A
Negative Format 35 mm (Kodak Vision2 250D 5205, Vision2 500T 5218)
Cinematographic Process Digital Intermediate (2K) (master format), Spherical (source format)
Printed Film Format 35 mm (spherical) (Kodak)