| Film Review | Dana Place |
The
Ring 2
Naomi Watts
Simon Baker
Elizabeth Perkins
Directed by: Hideo Nakata
Plot: Rachel Keller (Naomi Watts) and her son Aidan
(David Dorfman) leave Seattle and move to a small town to
escape their actions from the end of the original film. When
someone in the small town dies from watching a copy of the
tape she made, Rachel tries to destroy the film and in doing
so releases Samara. Samara takes over the body of Aidan and
Rachel Keller has to find out how to stop her.
Review: This movie makes no sense. I say that up
front because that is my first response to watching this
movie. After the opening sequence, the film completely
abandons the idea of watching the tape and waiting 7 days to
die, the premise of the original film. Which would be fine,
if I could figure out the point of the new premise.
The original movie was a mystery where the why and the how
led you through the movie to it’s surprising conclusion.
This movie takes an entirely different approach wherein
absolutely nothing is explained and you just follow along
until the end, oblivious to why anything is even happening.
I don’t think you are supposed to know why anything in
particular happens and why it may or may not be important.
There is a scene with a herd of deer, no explanation, just
deer that start attacking their car. And for some reason,
while Samara is in Aiden’s body (did I mention that she
takes over Aiden’s body), they can only communicate with
each other when they are both sleeping. The movie takes
about 10 minutes of the entire running to try to convince
the audience that there is some kind of reason to all of
this. And even that seems like an afterthought. Supporting
characters make random, out of place statements that are
meant to lead you in the direction of the next completely
unexplained event. And then it is over as quickly as it
started. Sitting here after the fact I can’t help to not
only wonder the how and the why of the film, but more
importantly why they felt they needed to make this movie at
all.

