Chilling, Mature Horror Film of Depth and Emotion

Rating: 9/10 (21 December 2004)

I have always puzzled over criticisms that this film is a soulless cash-in of a superior Japanese horror film, intended for low attention-span teenagers. While the original RING stands as a intensely horrifying ghost story on its own, it is safe to say that the American remake is its own fresh take on the same story, adding to the horror of the original with thematic complexity and penetrating subtext.
The Japanese RING is effective because of the stark realism and dry terror it evokes; the remake takes the opposite route, taking on a nightmarish and surreal atmosphere. While RING steams forward to the final climax with menacing intensity, THE RING creeps forward with a languid, contemplative pace. Criticisms for being "slow" are inevitable, but to those who can appreciate it, THE RING ultimately benefits from the way it languishes on its vivid dreamscapes. One is not likely to forget the shot of the well, bathed in blue, or the leaves lighting up "as if they were on fire." But my real point in writing this review is to praise the excellent adaptation this film is of its Japanese counterpart. Scriptwriter Ehren Kruger adds his own version to the legend behind the tape, replacing psychics with unnatural conceptions, and scandal with tragedy. Kruger also adds layers to the film, introducing arcing themes of parenthood, the nature of children, and empathy.
Parenthood is examined in a number of places in the film. Naomi Watts' character, a crass and insensitive journalist, is also an uncaring mother, not wanting to acknowledge the distance between her and her son. Martin Henderson's Noah is a deadbeat dad, afraid of taking responsibility of the child. Jane Alexander, as the Moesko Island doctor, talks to Watts about her mentally retarded grandson. "We loved him anyway," she says. "It takes work. Some people have limits." She is indirectly talking about the Morgans, whose daughter shows them the worst-case scenario of becoming a parent. The extent to which they go when dealing with their child is horrifying. Aidan and Samara have a subtle relationship in that they are both victims of parents struggling with their role as parents. It is finally the curse that leads Rachel Keller to take full role as a mother, and the empathy she creates with the neglected daughter Samara Morgan's plight ultimately reflects on her own son.
There is a lot more to this film than one would think. The final climax with the television has its own dark edge, even with the superior climax of the Japanese RING edging it out. The final scene brings up a moral dilemma though that rivals the original in resonance.
For added insight, watch the DON'T WATCH THIS feature on the DVD. There is one scene between Rachel and her sister Ruth that should not have been cut from the film: their conversation reflects directly another mother-child relationship and how "involved" a parent should be with their children.
Great film, one of the best horror films in years. 9/10.