American horror doesn't always suck

Rating: Null/10 (24 October 2002)

Producer #1: So we've got this Japanese movie. Huge hit. Great concept. We could release it in the US with dubbing.
Producer #2: Nah. The American public doesn't like dubbing. Or subtitles.
Producer #1: So we'll remake it then. This would be perfect for David Fincher.
Producer #2: Busy. Already called him.
Producer #1: Hmm. Okay. What about Wes Craven? He'd like it.
Producer #2: Uh, no. Busy.
Producer #1: Well, okay, who DO we have, then?
Producer #2: Gore Verbinski.
Producer #1: You mean, The Mexican guy?
Producer #2: Yeah.
Producer #1: The Mousehunt guy?
Producer #2: Yeah.
Producer #1: [beat] Really?
Producer #2: Yeah.
Producer #1: Hope it doesn't suck.
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And you know what's surprising? It doesn't suck.
Naomi Watts is Rachel Keller, a journalist whose niece turns up dead. She traces it to a videotape, described as "like someone's nightmare". You watch the tape, you get a phone call, and you die in seven days. She starts to research where the tape came from in an attempt to stay alive.
The Ring is really more of a detective story than a traditional thriller. The video is laden with clues as to where the video came from. It's a well-constructed mystery with seriously creepy overtones.
Verbinski nails it. Even from the first scene, he shows a real understanding of how to do suspense. You really get a sense that something is lurking around every corner, behind every door. He shows real promise, which is a lot more than he did with The Mexican
Naomi Watts is great in her role. She always has this wide-eyed look like something is seriously awry. Martin Henderson is pretty good as her boyfriend Noah, who helps her research the origins of the tape. David Dorfman as her son Aidan is a little too reminiscent of Haley Joel Osment in The Sixth Sense, a kid who's a little too precocious, not quite realistic enough. The role requires a little more innocence than he delivers.
Hans Zimmer's score is fairly run-of-the-mill for suspense, but it's capably done. He adds to the suspense and mood well. Bojan Bazelli's cinematography is gorgeous, laden with deep hues and lush colors. Extremely well-suited to the project.
The only problem I really had with the film is the ending. I can't spoil anything for you, as part of the goodness of the film is the way that it unfolds. But the ending isn't quite as emotionally satisfying as one would hope for. It pulls that typical trick of most suspense movies, leaving it too open for a sequel. (Two sequels have been made in Japan, as well as a prequel.) But it's as well-constructed a horror movie as I've seen in quite a while.