Noroi

Kobayashi is a documentary filmmaker who is fascinated by the paranormal. Always looking for new cases to document, he and his cameraman begin investigating a series of freakish events that are seemingly unrelated. To say that he finds more than he bargained for would be an understatement.

Rather than Blair Witch, this one reminded me of The Last Broadcast due to all the different footage involved. There's a sinister atmosphere from the start, but the film manages to be quite funny at times through it's use of stupid variety show footage. If you're familiar with these shows, you know how ripe for lampooning they really are. The storyline itself is quite complex, particularly for the hand-held sub-genre. There are multiple strands and a deep mythology to interpret. It also isn't your typical Asian horror with long-haired ghosts, thank goodness. Instead, we get some legitimate scares through mood and build-up. When we see the flier that says a key character has gone missing, it's enough to give you a chill all on it's own thanks to what we've seen beforehand. There are also a few choice scenes that will stay with you. The two scenes that got the biggest reaction out of me both revolved around Marika, a likable actress who gets caught up in the occurrences through an on location TV shoot. The first involves going back to the tapes and catching something in the frame with her, the second has her losing control in Kobayashi's house as pigeons smash into the window.

The mystery at the film's core is intriguing to watch unfold. At 115 minutes, the film is never boring and it doesn't feel too long. Big compliment, as hand-held horror typically works better when it's short and to the point.

NOROI follows a documentary filmmaker, Masafumi Kobayashi, as he slowly uncovers something mysterious and evil that's leaving a trail of dead bodies in its wake. After interviewing a woman who claims to hear loud baby's cries coming from the house next door (where there is no baby), Kobayashi heads over to talk to the neighbor. He's greeted with hostility by the unhinged, disheveled woman (Maria Takagi) who answers the door (and promptly slams it in his face) and gets a peek at her 6-year-old son through a window. Strangely, both the woman and her son disappear just days after his visit (leaving behind a pile of dead pigeons on their back porch), and the woman who first complained about the noises, as well as her daughter, are both killed in a mysterious accident not long after that. This piques Kobayashi's interest and he sets out on a quest to find out what's going on. He soon uncovers that those with psychic abilities and extra-sensory perception seem to be tuning into something sinister, unexplainable and possibly even apocalyptic. Well-known 10-year-old clairvoyant, and TV celebrity, Kana (Rio Kanno) seems to think we may all be doomed, but she mysteriously disappears before she can be of much help. Another female psychic/actress (Marika Matsumoto) becomes involved, as does Mr. Nori, a mentally unstable kook/psychic who wears a hat and jacket made of aluminum foil and thinks people are being eaten by what he refers to "ectoplasmic worms." Clues eventually lead back to the site of a small village that's now covered by a lake, and the legend of an ancient demon known as Kagutaba...

Unlike many other hand-held horror flicks, this one depends just as much on the plot as it does reactionary first-person scares. Thankfully there's something of a storyline here, a very interesting and intricate one at that, so it doesn't rely on glimpses of horrific things through spastic camera-work every once in awhile to keep your interest. The way Masafumi travels around following leads in search of the truth - with well placed jolts along the way - reminded me somewhat of THE OMEN in its pacing. The film also doesn't entirely consist of footage shot by the documentarian, but weaves in news reports and television variety shows as if what we're watching is an already completed documentary. That helps to break up some of the monotony usually associated with films shot in this particular style. The performances are good enough not to harm any of the realism of the 'actual' footage either. Overall, it's a well-made horror film, with lots of plot shifts, some suspense and quite a few genuinely creepy moments, that's well worth checking out. My only real gripe is that it could have used a little trimming here and there and seems to go on a bit too long. Otherwise, pretty good stuff.

Released at the tail end of the J-Horror boom, Noroi is not quite a masterpiece like Ringu (1998), Kairo (2001), and Ju-On (2002). Nonetheless, it is a rare example, and almost certainly the best example, of a found footage movie from the heyday of Japanese horror in the late 90's through mid 00's.

Noroi is a remarkably intricate mockumentary about a journalist's investigation of a series of strange occurrences linked to a folk demon called Kagutaba. In fact, it may be a little too intricate for its own good, and the stream of eccentric characters and disparate video clips threatens to overwhelm us viewers. But critically, Noroi manages to carefully build the creepiness factor and unleash some truly hair-raising scares when the time is right. These scares are mostly of the "supernatural events that are only visible when reviewing video camera footage" variety, and although that is one of the more ridiculous clichés in modern horror, it is extremely effective in the right hands, as it is in Lake Mungo (2008) and here in Noroi.

My only real criticism is that about 50% of the plot is explained in a few perfunctory sentences of narration right at the end, inserted as if the filmmakers had finished the movie and then realized that almost nothing was satisfactorily resolved or explained. I don't necessarily mind baffling movies (Kairo for example is almost completely incomprehensible if you haven't seen the inferior American remake), but as Noroi is based entirely on the investigation of a mystery, I feel like it kind of dropped the ball a little bit right at the end, even with the shoehorned narration.

Found footage seems to be a particularly personal thing when it comes to being terrified; millions (including me) consider The Blair Witch Project (1999) the most frightening movie of all time, while millions of other people think Blair Witch is some kind of joke, and Paranormal Activity (2007) is where the real scares are. Whether Noroi will scare the crap out of you or not is hard to predict, but there is little doubt that this is good stuff. Worth any horror fan's time.

"Noroi" is a found-footage horror film that follows the story of a documentary filmmaker who becomes increasingly obsessed with a mysterious cult and paranormal phenomena. The film is known for its unsettling atmosphere, eerie imagery, and slow-burn approach to horror. The film's controversial found-footage style adds an extra layer of realism to the already tense narrative, making the viewer feel as though they are part of the story.

If you know that you can handle the unconventional "found footage" narrative, then you're in for a treat. With its use of sound and visuals, the movie successfully creates a sense of tension and dread. The film's central mystery of the cult and its sinister dealings is both intriguing and chilling, keeping viewers glued to the screen until the very end, as long as they are okay with this format.

I, for one, absolutely loved this movie. A progressive and experimental approach to horror.

It is not a "typical Asian horror" where you would see a gruesome looking ghost (usually a woman) that is going around scaring people. You barely see any ghosts for a majority of the film, but the way this movie keeps you interested in the plot and characters is genius.

This is not the movie for you if you're into gore or jumpscares, but this movie has an underlying "creepy" factor throughout the entire movie which I loved.

Don't let the documentary-style of filming turn you off (why should it?). It is on par, if not superior, to the Blair Witch Project - it really feels like you're watching something that you're not supposed to be seeing.