Dark Water

Divorcée Yoshimi Matsubara (Hitomi Kuroki) and her young daughter Ikuko (Rio Kanno) move into a run-down apartment block where they are haunted by the ghost of Mitsuko Kawai, an emotionally troubled little girl whose body has remained undiscovered since she accidentally drowned in the building's water storage tank two years earlier.

Those who watch Hideo Nakata's Dark Water expecting a real fright-fest might be rather disappointed: it's a slow burner of a film that delivers a relentlessly brooding atmosphere, one of death and decay, but which is surprisingly short on nerve-jangling scares (unless, of course, you're freaked out by dripping water, red schoolbags, or six year old girls, in which case you'll be scared s**tless).

Indeed, for most of the running time, Yoshimi or Ikuko never actually appear to be in any real danger from the film's restless spirit, their problems arising from far less ethereal sources, and it is only in the films closing moments that it becomes apparent that Mitsuko means to do Ikuko harm (so that she can claim Yoshimi as a surrogate mother) and the real horror begins.

Although Nakata's direction is a little too languid in style for my taste, it is technically accomplished, with innovative camera-work and stunning cinematography throughout, and the cast give excellent performances; it might not have left me with the serious case of the jitters I had hoped for, but I had a reasonable enough time with Dark Water, and certainly recommend it over the dreary remake.

The American horror film scene has been getting staler and staler for the better part of two decades. We get the same boring clichés and jump scares packaged under different titles with little originality. That is not to say that there aren't some very good American horror films to be produced since the 1980s but the more Asian horror that I watch the more I see that they have taken up the torch and are producing the best horror movies of the era.

Dark Water isn't necessarily one of the best Asian horror films to come out but it certainly is a good one. The American remake is really indicative of what is wrong with the industry in North America. The story is the same and many of the scenes are very similar but for some reason, some intangible reason, it is of remarkably lower quality. Even with a very talented actress in the lead role it still doesn't shine like the Japanese original, even though it possesses every required ingredient. It is these intangibles that the Asian horror scene has somehow mastered and the American scene has lost.

Dark Water itself is a nice little ghost story. It is a slow-burner with an unsettling tale and reveals itself subtlety. The characters are not throw away fodder as in many modern American horror tales and there are some scenes that had me, a hardened horror veteran, wanting to squint my eyes at the television screen. This is not American horror in the sense that everything is not in your face blood, gore, and knife wielding psychos. This is a much more subtle, psychological tale. It will creep under your skin.

Asian horror is the new standard. I hope that the American industry will learn thing a thing or two from the Asian scene and not just try to emulate it so that perhaps the next generation of filmmakers can bring the torch of horror back to the United States.

My theory of why I responded so strongly with Dark Water is that it's about people that you can relate to. It isn't about a cop who searches for the serial killer leaving cryptic puzzles, nor a lawyer who defends a crazy murderer who may not be the real killer, etc. It's about a single mother who's on the verge of losing one thing she cares for the most - her daughter.

She has to go for job interviews, she has to find a place to live with little money, and she has to see a divorce lawyer to fend off her rather nasty (yet not unreasonable) husband. Life's tough for Yoshimi, and who could not identify with her? I certainly did, and maybe it's the main reason why the movie worked on me so well.

I sympathised her character and her predicament. I cared for her choice. I kept thinking, 'God, please give this poor woman a break.', but as every good movie must, problems keep piling up on her already over-burdened shoulder, and the ghost haunting that old, damp apartment doesn't help her situation.

As many other reviewers mentioned, this is not all that scary. If you are looking for pure Asian horror to scare you s***less, this isn't it. But on some level it worked on me better than, say, Grudge, because the characters inhabit this picture felt real. Natural performances from the little girl were just amazing (except a couple of spots where her acting was just little off), but overall I totally bought her character.

When she says she needs no one but her mother, I felt a tingle of sensation in my eyes - I wanted them to be together as their love seemed so real. Hitomi Kuroki, playing the motehr, nicely underplays her role - she is polite and tries so hard to pull her life together against overwhelming odds. She is the center of this picture in every single sense.

Also consider the characters in Dark Water, they are all firmly grounded on reality. The divorce lawyer for example, when she tells him that she sees a ghost, he calmly examines the apartment and offers the most reasonable advice that any lawyer would give. Even the husband, while nasty, never oversteps the line of a villain. He after all does care for the welfare of the little girl, and concerns that she sometimes doesn't pick up the child in time.

This is a sad, tragic drama that deals with the souls of the children abandoned and lost by their parents. When that yellow flashback plays on the screen, I felt more pity than horror, so much so the last scene where Yoshimi held up that dead child, maybe it all made sense.

Ending perhaps was little weak - maybe because I cared so much about Yoshimi and her daughter, I just wanted them to be happy and together. Not like this. All great movies regardless their genre constructs human drama as its core. While this may not be a great movie, but a damned fine human drama with a streak of horror this is.

In the middle of a difficult custody battle over her 6 year old daughter with her ex husband, Yoshimi Matsubara takes a flat in an old building in order to get some stability in their lives. However the problems start with a constant and spreading leak in the ceiling of their flat and the sense of someone else being around the building. Yoshimi becomes increasingly on edge when Ikuko appears to be effected.

Setting out my stall from the start I really liked Ringu and was happy to see this film from the same director. I knew nothing about it when I sat in the cinema and I think that is the best way to see it (although my plot synopsis about will have spoilt nothing). Dark Water continues Nakata's ability of unsettling audiences with little devices. Here he stays with the child theme from Ringu and it works very well despite being a much simpler plot that isn't anywhere near as clever as the other film. However in terms of delivering scares Nakata builds with shadowy images and creeping effects – the spread of the leak across the ceiling is creepy and the reoccurring image of a child's pink bag becomes increasingly unnerving as the film progresses.

The direction is strong throughout with the camera preferring to turn to see what the characters see rather than having something leap into view or simply be cut to – this turning movement can take seconds where our tension is build by being kept waiting. Again the use of shadowy figures and fleeting glimpses of things is very creepy and it really worked for me much better than all the gore in the world. It is a little ironic that one of the biggest jumps from the audience came from the film's one use of CGI effects, but this worked well simply due to the build up of suspense all the way through.

To compliment this the film uses music and sound very well. On the odd occasional it does the tradition thing where the music builds to up the tension, this works but is not unusual. What works better is the use of music WHEN the creeps arrive! Whenever Yoshimi looks at the leak the music gives it an unnerving quality that may not have existed with the shot alone. The simple plot makes for an effective little ghost story – there is an element of mystery here but it is more about the suspense than the history. This is OK but the ending is a little more predictable than I would have liked (at first glance) and the epilogue didn't really work for me and I felt it needed a stronger close (not necessarily a jump though). I say `at first glance' because it appears predictable but really it changes where I thought the film was going and the whole basis for the creepy scenes – ie I had assumed that the girl was taking Ikuko for play etc – I'll say no more but you'll understand when you see it.

The cast were good. My friend said that Kuroki's Yoshimi was so sappy she wanted to slap her but I actually thought she played it well. She convinced me she was a woman going through an emotionally challenging time and was being pushed. There was an element of her overplaying (maybe? It could be taken as realism) the fear in order to heighten the audience's but really this was benefical to the film as a whole. Kanno's Ikuko is excellent – I can't imagine a child I know being able to cope with that sort of filming but she does it very well and is a million miles from the annoying brats that Western films seem to dig up when required. These two are excellent and have reasonable support characters but the real star is a character you only really glimpse and the creepy atmosphere created by Nakata.

Overall anyone who saw the remake of Ringu (and it was No1 for a while) should ignore the subtitles and go and see this. It lacks the depth of Ringu and the epilogue's search for a greater significance is a little plodding and out of place, but it is still an effective ghost story that is a painfully slow at times but only serves to make it genuinely unnerving and creepy throughout.

This is my idea of a horror movie. No junk, no noise, no random jolts, but plenty of fear, delivered quietly and compactly, without fuss. It's the most suspenseful movie I've seen since "Ring," and I think it's even better. Like that movie, it put my stomach in knots to prep them for the chills, which rose up like waves out of calm water. I thought "Ring" rather like a Robert Aickman story; this is as near as a movie can come. The director has uncanny skill in knowing where to place the camera and how long to hold a shot. And the leading actress gives a wonderful performance. Her face in the elevator...but that would be giving it away. The conclusion is foreseeable--maybe the ends of all ghost stories are foreseeable--but nonetheless satisfying. If you like tales of quietly disturbing dread, this is one for you.