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Most contemporary horror movies depend upon a series of sudden jolts, executed with the finesse of a cattle-prod, to keep their audiences awake. The Ring Two offers something far more interesting: A slow but relentless creepiness that might just linger in your mind when the movie is over. A few months after the events of thN
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Most contemporary horror movies depend upon a series of sudden jolts, executed with the finesse of a cattle-prod, to keep their audiences awake. The Ring Two offers something far more interesting: A slow but relentless creepiness that might just linger in your mind when the movie is over. A few months after the events of the first Ring, journalist Rachel Keller (Naomi Watts, Mulholland Drive) and her son Aidan (David Dorfman, A Wrinkle in Time) have fled to a small town on the Oregon coast to get over their awful experience with a cursed videotape. Of course, a copy of the videotape finds its way there, and soon the troubled spirit of a girl with long, face-obscuring black hair is worming her way into Rachel and Aidan's lives by worming her way into Aidan's flesh. As a story with a coherent beginning, middle, and end, The Ring Two is full of holes; but as a series of surreal and evocative images accumulating into a dislocating sense of dread, The Ring Two holds up. In fact, at one point the movie becomes so dreamlike in its flow that it verges on avant-garde. The source of this alluring eeriness is the director, Hideo Nakata, who directed the Japanese Ringu, on which The Ring was based. Also featuring Gary Cole (Office Space) and Sissy Spacek (Carrie). --Bret Fetzer
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