I enjoyed this movie. I rented it because it had Parker Posey in it, but enjoyed all of the characters. Maybe because I've had jobs like that before : the sense of "us vs. them" and the wacky little things that the characters did to get through the day to 5:00. I would rather watch a movie about these four girls than most movies readily offered to me. Watch the movie. Enjoy it. There aren't that many great movies where the female characters aren't just there to give a guy character some depth.


Many of you have posted comments on "Clockwatchers" as a portrayal of "Office Life"... Not true!! It is a movie based on each of the 4 main characters personal "Identity Struggle" and nothing more than that. Watch it again and "Forget" that they are in an "Office" setting, focus on the personalities you see in each of the 4 main characters.

I'll give you a hint, Lisa Kudrow's character has Bulimia Nervosa.

Guess who has OCD?

"Never ignore the Obvious and Never over-look the Obscure"

A great Movie! 10 "stars"


That is exactly what I did while watching this movie. I watched the clock, hoping it would end soon.


This is a very bleak film...if you're looking to unwind from work, this is exactly the wrong movie to watch. The characters are dull, the plot is dull, the temps are so helpless and constantly humiliated that it becomes painful to watch. Toni Collette's narration is annoying, precisely because it is obvious this is her coming of age story. Her big revelation at the end of the film is to dupe a superior into signing a recommendation letter as a favor to a friend. That's her big breakthrough after an hour and a half of being very mousey and shy. The four temps who look so playful and happy on the box cover are miserable in the movie, partly because they're temps and partly because they don't possess the ambition or skills to be much more than that. I was expecting a comedy, at least a black comedy, but this was a very bleak story of hopelessness and despair with the friendships evaporating due to mistrust of one another.


Could call this four actresses in search of a story.I felt bludgeoned with the message of helplessness in the workplace. Maybe it would work in a job satisfaction seminar, but for a Saturday night , give me a break.


This film is about the minutiae of office work as experienced by four female office workers.

It is a film without a single redeeming feature. It was so bad and so boring, that it was fascinating. For all those that believe office work and office life is largely pointless and the ultimate in tedium and boredom, this film will confirm it.

Why was it made, and how did its makers ever raise the funds?


Even if it is the last movie in the video store and the vendor offers it to you free, do not waste your time. Between catching up on my sleep and counting 'z's, I painfully watched 4 self loathing women in an office space taking full advantage of whatever thinking that it will improve sometime, even if all we do is watch the clock. Terrible waste of time. You could strap me to a chair, perform a root canal without freezing and blast Kenny G... instead of torturing me to watch this awful movie again. Videostore owners... do not put a satisfaction guarantee on it, my wife took the film back to Blockbuster and demanded a credit!


The four leads are very effective as the disaffected temps, pariahs in a generic office. They are ably supported by veterans such as Stanley De Santis and Bob Balaban. For its first forty minutes, Clockwatchers effectively creates a Twilight-Zonish office hierarchical atmosphere with our heroines as the office pariahs. Then it spends its last hour expounding upon the fragile and transitory nature of office friendships amidst corporate backstabbing for advancement and survival -- especially among temps. After the first hour, it is the viewer who is the clockwatcher as it winds down with no additional insights, humor, or surprises. I'd give the first half a 7, and the second half a 1, which leaves me with a 4.


I have never worked as an office temp before, but after seeing this movie, I have a very clear image as to what it must be like. The film does a perfect job of making the viewer feel like part of the office community (which isn't always a good thing to want to feel). After the movie was over, I felt somewhat void and numb - and very tired. That is the exact effect that this film should have. The business world allows for no individuality or creativity - instead, it silences one's spirit.

Toni Collette is wonderful as Iris. I have known so many people like this character - quiet, shy, someone who lets life go by without making his/her mark. I have also known many people like Margaret (Parker Posey) - people who need to be seen and heard at all times. And this one of Parker's greatest performances. She goes from a bouncy free-spirit to an aggressive troublemaker to an outcast without warning, and her transformation is fascinating to watch. Lisa Kudrow, too, gives another great performance (and this was before her scene-stealing role in "The Opposite of Sex") as the possibly compulsive liar Paula. The fourth actress, Alannah Ubach, I have not seen in anything else, but she is absolutely a delight to watch. Smaller roles by actors such as Jamie Kennedy, Bob Balaban (Posey's costar in "Waiting For Guffman"), and David James Elliot are also performed with perfection. If you appreciate a movie about interesting characters in everyday situations, then this is a movie for you. Many people have complained about the slow pace, but I have never found this to be boring. The slow pace is effective in making viewers feel as desperate and unimportant as the temps. 9/10


Funny women Posey and Kudrow star in this popular indie film about office temps in the city and the none-too-bright future they have in this increasingly paranoid and indifferent job field (if it can even be considered one.)

A lot of cute office shtick in the beginning (though nothing you haven't seen done better in "Clerks" and "Office Space"), but the climatic story of the office-snitch is what killed it for me. Completely cliché and predictable. If you don't know who it is the moment the drama starts you have seen very few movies in your day and the character herself (no I won't spoil) is a tried and true trite stereotype that is more plot device than any character at all.

Still both an amusing and somber look at this joke of a job "opportunity" that awaits many a young woman. The cast is very good, I wish the story would have been better written. I disagree with the critics, "Party Girl" was a much better showcase for Parker Posey. That film had me laughing from start to finish and without rolling clichés in the plot.


For some reason I'd been resisting seeing this film until a friend thrust it into my hands and said, "C'mon, Toni Collette and Parker Posey, how can you go wrong?"

Maybe I was resisting because I didn't want to see my life up there on the screen. Currently working in a temp job (where I am typing this review), "Clockwatchers" is terrifyingly familiar. It's not a hilarious comedy, although it is quite funny. Certain moments threaten to veer into David Lynch-style self-conscious surrealism, but the director reigns these moments in, in the nick of time.

It's a film about small things happening in an enclosed space, and the friendships that grow between the most unlikely of people, due mostly to proximity. The mood of paranoia that emerges in the second half of the film is perfect - turning trivialities into monumental acts of anarchy and betrayal. The office becomes a sealed microcosm where the theft of a tiny plastic monkey becomes the end of the world.

Not everyone is going to understand this film - it's not "Office Space", which is more accessibly 'wacky'. You're not going to chuck it on with your mates and have a good laugh. It's much more sombre and serious and ultimately quite sad. And it's made me quit my job (so perhaps I should have given it 10 stars, just for that).


This was clearly written by someone who has gone through the mind numbing, soul snatching experience of being a temp. It captures the self-worthlessness perfectly and also the stupidity of modern corporate America today.


"Clockwatchers" is a very funny little film that sheds light on the frustrations of spending eight hours a day in an entirely unexceptional environment where every action has been reduced to routine. The main characters are four women who entered the working world with hopes of making a life for themselves that would set them apart from the rest of the rat race, but had their dreams dashed when they realized that in today's crowded job market they had to take what they could get. They ended up with desk space in a sterile, faceless office where they depend on their sense of humor and respect for one another to get through the day.

This is a story that depends strongly on dialogue and character development to keep the viewer interested. It largely works, with a lot of amusing moments and sharp dialogue throughout, as well as keen observations about the humdrum existence too many of us lead. The always likeable Parker Posey has a terrific performance as the most rebellious and plainspoken of the group. There's also Bob Balaban playing his usual fussy nebbish character, this time as a meticulous number cruncher who can't let go of his pencils. In its second half, however, the story surrenders to the pessimism it tries to battle; the tone shifts from `Dilbert' to Kafka, and some of the characters suddenly become cold and unsympathetic. Nevertheless, it remains insightful and entertaining, something to which the average working stiff could relate.


I've been reading the comments and I'm not surprised that others find this movie boring. It's not for anyone with a limited attention span. I don't have one of those and I thought this was a very interesting, if not somewhat sad look at the world of employment whether it be temp or permanent. I guess everyone wants to fit in-whether it be your job or school. If you can find some little niche that you do belong in enjoy it because sometimes that fit never lasts. I think that's what happened in this movie. The 4 main characters fit in with each other because they were temps and had that little thing in common. But what else they had in common is not clear and I think it wasn't enough to hold the little group together. Sure, we can blame it on the thief plot but in the long run relationships like that don't last because they have very little in common. As for the new girl Cleo I actually felt sorry for her-she was such a lonely soul and it seemed she tried to make friends with those 4 but they didn't want to include her in. She paid Iris a compliment and also said hi but all she did was stare back at her-funny coming from those who complain about being ignored by the permanent workers because they were temps. She stole the things from everyone because it gave her a part of them since she didn't make friends with anyone.I can really feel for the Cleo character. The four main characters are a case study in themselves. But they were a hoot and so much like those that I've come across in life. And that's why I like this movie-the characters are real.


I have been an office temp, and this portrays the way I felt all too well. As others have pointed out, it is more than a Dilbert spinoff, however. Sprecher does an excellent job of capturing the sense of floating and disconnectedness, to use Margaret's words, in modern society. We have a bittersweet, ironic story of an individual 'coming of age' as her group of friends breaks apart. Parker Posey's sassy and cynical character pulled me into this movie. Toni Collette at times could be mistaken for a less annoyingly neurotic Ally McBeal. Lisa Kudrow's role is familiar, yet tragic instead of comic. Alanna Ubach's character is less developed, as she seems to present an alternative -- she trades her current unhappiness for the traditional misery of a poor marriage.

At the end Iris manipulates the barren work environment to her advantage. Perhaps there is hope for us after all.


Transcendently beautiful in moments outside the office, it seems almost sitcom-like in those scenes. When Toni Colette walks out and ponders life silently, it's gorgeous.

The movie doesn't seem to decide whether it's slapstick, farce, magical realism, or drama, but the best of it doesn't matter. (The worst is sort of tedious - like Office Space with less humor.)


"Clockwatchers" surprised me in many ways. At first I thought was just going to be a quirky comedy about resentful temps, I was wrong. There were many things in this satire that came unexpected. I was surprised with it's meticulousness, every scene looks like it was arranged to resemble an office to the slightest details. You can strongly feel that dry and dead air, and the way everything seems to move without any change, in a monotonous pattern that will slowly but surely kill you're personal energy. I never knew that an office could feel so oppressive, and this film portrays it was successful accuracy. Another thing that surprised me was the unexpected seriousness, I actually found myself thinking about some of the character's observations on careers and goals, how sometimes we can totally lose our identity when all we try to do is to please others and maintain a decent salary. When "Clockwatchers" was over, I actually found myself depressed, and menaced by the possibility that my life could turn out like the characters'. But, bleak elements aside, this was also a pretty funny film as well. Parker Posey delivers a juicy performance, her pessimism never ceases to entertain. The other actresses are also good, and most of the scenes they share together are enjoyable to watch. The only thing that could of used some fixing was the film's last half hour, it dragged on with the whole "new girl" plotline and the final conclusion was too vague to satisfy. But still, "Clockwatcher" is a good film, a unique blend of snappy humour and depressing accuracy that usually succeeds.


I thought I'd do a quick review. Actually I didn't really ever plan on watching this movie. Frankly the words "Lisa Kudrow" and movie just make shudder, but a friend who's taste in movies is just a bit different then my own suggested it so when I saw it playing on TMN I thought I'd watch it. The movie Office Space came to mind on more then on occasion while watching this. I do give Office Space a slightly higher rating, but the two movies are not that unalike in their styles. Both are subtle, intelligent comedies that challenge the viewer. I've said this about other movies and it applies here too, if you want to be spoon fed your laughs rent Ace Ventura. If you've ever sat in an Office with nothing to do for 8 hours, rent this movie (it only takes 2).


Evocative, funny look at four women stuck in temporary employment, and not all that thrilled at being there. Solid ensemble work from the four leads, with Posey (as usual) stealing scenes from her costars. The only flaw is that the film verges on becoming boring sometimes itself, which is really just a tribute to how well it is presenting its subject, and possibly the point.


Watching this film was like reliving the jobs I had in my 20's - waiting for 5 o'clock, looking busy, trying to impress people who didn't give two hoots about you, and the dreams...ah, the dreams...

This is a very believable study of working life for the bottom rung female. How they band together, then fall apart. It's ultimately a sad story with some hope for 2 of the characters. But it's as close to life as it gets.

Wonderful performances by all 4 actresses. And small roles by some big character actors make this a good film.


Finally, I got to see this legendary masterpiece on TV. When I first heard that there was an Arabian movie featuring the Western icon "Hopalong Cassidy"(William Boyd) and the Gothic icon Boris Karloff, the idea sounded like a disparate joke. (Actually, Karloff only plays a brief, minor role, being new to the silver screen at that time.)

The script is very original. The shooting is excellent for the times. And the acting is so well done, you feel what the characters feel, and can easily read the actors' lips for practically every line. Unlike many silent-era films, you get the sensation that you are in this one.

The comedy starts right from the opening scene, and I will describe it only to illustrate the unexpected silliness of William Boyd: He is in a night battle in World War I, and drops into a shell crater to avoid German gunfire. His 1st Sergeant, a bully and a brute whom he despises, had just fallen in before him, and is unconscious. Boyd tries to revive him until he sees who he is, and starts slinging mud on the Sergeant's face. He revives and they immediately jump into a fistfight in the mud. When a flare illuminates the night sky, they look up and see the hole is surrounded with numerous Germans with bayonets. The enemy was having a time watching them fight each other! It is an eye opener to see the future Hopalong Cassidy in a real cut-up comedy role, back when he looked like a very young cross between Marlon Brando and Jack Haley.

I was very impressed with the nitty-gritty reality in this film about POW's of World War I, in an era when glossed-over heroics and reality-denial dominated war films. Moreover, there is often a timeless feeling, especially during the POW camp scenes, which gives the viewer a sense of closeness to the people of that era; and the understanding that people have at all times in history been, in their own way, "modern."

The dual-based plot, (survival and escape, and later a pursuit of romance), rolls steadily through ever-changing backgrounds. The factors of comedy, action, danger, and romance blend harmoniously throughout. The relationship between Boyd's and Wolheim's characters develop from utter hatred, to enduring animosity, to forced survival cooperation, to mild mutual suspiciousness, to amorous competition, to strong friendship.

Though this is a silent film from 1927, centered on World War I in Europe and Turkey, I have never had such a modern and timeless feeling from a silent movie. This results from the cool, timeless acting and characterizations, and the excellent directing and shooting.

This is the first silent drammatic film my kids have thoroughly enjoyed, (until now only preferring silent comedic standards by Keaton, Chaplin, and Harold Lloyd.)


TCM came through by acquiring this wonderful, silent, comedy/drama for television. Until recently it had been locked away in an achieve somewhere. It premiered on TV for the 1st time since its theatrical release in 1927. Two Americans fighting in World War I (William Boyd and Louis Wolheim) are hiding in a defensive position with German soldiers advancing. They however are fighting with each other and working the nerve of one-an-other. They of course are caught, but after an inventive escape they are taken on a whirlwind adventure in Arabia, with all the humor you might find in an Abbott and Costello movie. Very funny and sometimes even touching. A great silent picture and winner of an Academy Award for "Best Comedy Direction". Directed by Lewis Milestone.


TWO ARABIAN KNIGHTS has been restored by Flicker Alley and TCM after being unavailable for decades. The film is the only recipient of the "Best Direction of a Comedy Film" Academy Award that was only given out in 1927-1928. William Boyd and Louis Wolheim are two feuding G.I.s that are both captured by the Germans in World War I. The film is more of an adventure/comedy rather than a straight comedy. They have a suspenseful escape from their prison camp, only to be recaptured and sent to Turkey. They end up being stuck on a train, and a ship, as well as well as being marked for death by an Arab suitor. A very young and beautiful Mary Astor is a veiled woman who boards the ship and is a target of romantic advances by both men. Look fast to spot a very young Boris Karloff as the ship purser. Louis Wolheim has a face only a mother could love, but he is perfect in his part as the gruff sergeant.

I'm not sure how this film could have beaten out Chaplin's THE CIRCUS, Keaton's STEAMBOAT BILL, JR. and Harold Lloyd's SPEEDY for the "comedy direction" Oscar. Still, it is a fun, sophisticated, and exciting film that is well written. I particularly liked the scene where they escape from a jam with a little help from God (or Allah). If you like silent films, you won't be disappointed.


Like TWO ARABIAN KNIGHTS, a couple of American soldiers attempt the daring rescue of a Middle Eastern princess from a loveless betrothal.

Producer Howard Hughes became a Hollywood power with the very successful release of this, his third motion picture. Thought lost for decades, this wonderful silent comedy has recently been rediscovered & restored and given a splendid orchestral score by Robert Israel. Directed with verve by Lewis Milestone and greatly benefiting from William Cameron Menzies' art direction, the high jinks & high adventure of this antique buddy film are once again ready to delight the viewing audience.

Clean-cut private William Boyd and plug-ugly sergeant Louis Wolheim battle Germans, Arabs and each other across Europe, the Mediterranean and into Palestine. They make a terrific comedy duo, constantly involved in one-upmanship and dangerous exploits whether in a POW camp, on a prisoner train, aboard a tramp steamer, or in a Moslem souk and emir's palace. Wolheim, with his hilariously expressive face, has a slight advantage in the scene stealing category, while Boyd has the upper hand in the romantics department.

Mary Astor, as the endangered princess, is the willing recipient of Boyd's attentions. Her role doesn't give her a great deal to do except look lovely & alarmed, but these she carries off admirably.

In the supporting cast, Michael Visaroff is the black hearted ship's captain who comes into conflict with Boyd & Wolheim; look fast for Boris Karloff as his purser. Dashing Ian Keith nicely plays the young Arab chieftain who will stop at nothing to make Astor his bride.

At various points throughout the movie the viewer will notice the deterioration of the film stock, showing that TWO ARABIAN KNIGHTS was indeed rescued, like the princess, just in time.


Enjoyed viewing this 1927 Silent Film from the past and seeing great Classic actors like Mary Astor, William Boyd and Boris Karloff. The film depicts two soldiers fighting in the trenches of WWI and wearing gas masks against the Mustard Gas that the Germans were using to kill the American Forces in Europe. William Boyd,(Pvt W. Dangerfield Phelps),"Hopalong Cassidy",'49 TV Series, was a green horn to fighting in the muddy trenches and meets up with a veteran soldier, Louis Walheim,(Sgt.Peter McGaffney),"The Sin Ship",'31, who gave Pvt. Dangerfield a very hard time during half of the picture. The two soldiers meet up with Mary Astor,(Anis bin Adham/Miraz),"Hush...Hush, Sweet Charlotte','64, who wears a veil over her face and charms the two soldiers into paying for her fare on their voyage. If you look real close, you will see Boris Karloff,(Purser)"Targets",'68, who was the purser on the ship and was just starting his career with a minor role in this Army life comedy, at the age of 40 years. Howard Huges produced this picture for UA and was the first film to win an Academy Award for its direction. If you want to see a great Silent Film from 1927, you will definitely enjoy this CLASSIC!


Turner Classic Movies showed this silent, B&W flick today (Aug 29, 2007) on TV.

Solid classic adventure story, complete with all of the key ingredients: exotic plot locations, a beautiful woman in peril, a pair of dauntless and resourceful heroes (one of them handsome, the other colorful) grossly outnumbered by badguys, sprinkled with comic relief. Great costumes and sets; as good or better than those of current movies. Surprising variety of camera craft and directorship; pans and zooms including overhead angles, and closeups of key characters and objects. In this regard again it seems like a modern movie! Actions convey the story very well; without the benefit of a soundtrack. Of course, this entails a considerable degree of live type acting (similar to that seen in plays), but I did not get a feeling of melodrama like is all too common in most silent films and early sound movies.

The most enjoyable performance is played by Louis Wolheim as the rough edged but colorful Sgt. Peter O'Gaffney, who was *perfectly* casted for the role; considering both appearance and skill.

There were at least a few peculiar facts about Muslim society that I had previously learned over the past several years, which added to my appreciation of the story in the area of historical accuracy.

My favorite scene was when the heroes are fleeing a swarm of dangerous, sword wielding Arabs through the narrow streets of a busy Muslim city. Suddenly though the chase is interrupted by an oblivious imam who pops out onto an exterior balcony to announce that it's time for afternoon prayer. Everyone out on the streets (except for the heroes) religiously obeys Islamic law and momentarily kneels down, which allows the heroes to escape. That scene was just one example of the film's many expressions of originality.

After seeing this movie I better realize how extensively modern movies contain rehashed ideas that were pioneered decades earlier.


The third movie produced by Howard Hughes, this gem was thought to be lost. It was recently restored and shown on TCM (12/15/04). The plot is a familiar one - two WW I soldiers escape from a German prison camp (guarded by an extremely lethargic German shepherd, who practically guides them out of the camp), stow away on a ship, and end up in "Arabia", where they rescue the lovely Mary Astor. The restoration is very good overall, although there are two or three very rough sequences. The production is very good, and there are some very funny scenes. And did I mention that Mary Astor is in it? The film won an Academy Award for the now-defunct category of "Best Direction of a Comedy".


Not very many movies come to my mind that covered as much geography as this one.

Naturally, being a Hollywood product, there is not a whole lot of realism here, but there is a whole lot of entertainment, and a whole lot of talent.

Louis Wollheim apparently never became a household name, but his performance in this film would indicate he should have.

In one priceless scene, when, without inter-titles, the Bill Boyd character whispers the explanation of a word (often found in the Bible), Wollheim's expression almost makes the whole movie worthwhile.

Lewis Milestone's direction is another plus. This was still early in his career, but his use of inventive angles and a moving camera showed brilliance.

Ian Keith made a superb suave villain in one of his best roles.

Being a silent film, "Two Arabian Knights" probably won't be shown even on Turner Classic Movies very often, but I urge film fans to grab any opportunity to watch it.


William Boyd and Louis Wolheim are the "Two Arabian Knights" referred to in the title, humorously. The pair start out as U.S. POWs trying to escape from the Germans during World War I. Eventually, they find themselves on board a ship bound for Arabia. While tripping out to the Middle East, they rescue an Arab woman, Mary Astor, who turns out to be a Princess; and, of course, becomes a romantic interest for the "Two Arabian Knights". No points for guessing who wins the veiled Ms. Astor!

The film is very well photographed and directed; Lewis Milestone has wonderful sets, and stages scenes beautifully. Of the performances, Mr. Wolheim stands out - he creates a character so understandable you can almost hear him speak, trough the film is silent. The story isn't as strong as it could be - there are some events and sequences which had me wondering how and why the characters' locale changed. The last looks, exchanged between one of the stars and an extra, is an example of something I didn't understand. Perhaps these were comic bits which had a particular appeal for the time.

The film is damaged in several places; but there is enough preserved, in even these scenes, to allow your mind to fill in the visual blanks. Boris Karloff appears as the "Purser"; watch for his big scene on ship, when Wolheim goes into a room with him for some money (what actually happens is a mystery). Early in the film, there is a long scene with a lot of naked men shown from the waist up (or, thereabouts); they are POWs being herded to the showers. Director Milestone uses parades of soldiers moving to great effect; this "shower" scene is different in that several of the men don't look as Caucasian as you might expect - maybe not as many Caucasian men would agree to appear nude?

******* Two Arabian Knights (9/23/27) Lewis Milestone ~ William Boyd, Louis Wolheim, Mary Astor


This is a very strange film that was long thought to be forgotten. It's the story of two American Army buddies, William Boyd (aka "Hopalong Cassidy") and Louis Wolheim, and their adventures as they manage to escape from a German prison camp during WWI. However, as this is a comedy, the duo manage to make the most round about and stupid escape--accidentally boarding a train to Constantinople to be placed in a Turkish prisoner of war camp! On the way, they manage to escape once again and end up in quite the adventure--meeting sexy Mary Astor along the way.

As far as the film goes, it was a rather funny script and despite being a silly plot, it worked rather well. The chemistry between Boyd and Wolheim worked and the film managed to be quite entertaining. Oddly, however, the film managed to beat out Harold Lloyd's film, SPEEDY, for an Oscar for Best Direction for a Comedy (a category no longer used)--as SPEEDY was a superior film in most ways (it's one of Lloyd's best films). Still, it's well worth a look--especially if you love silent films.

By the way, director Milestone and Louis Walheim would team up just a few years later for another WWI picture, the great ALL QUIET ON THE WESTERN FRONT--a film that is definitely NOT a comedy.


I admit, the great majority of films released before say 1933 are just not for me. Of the dozen or so "major" silents I have viewed, one I loved (The Crowd), and two were very good (The Last Command and City Lights, that latter Chaplin circa 1931).

So I was apprehensive about this one, and humor is often difficult to appreciate (uh, enjoy) decades later. I did like the lead actors, but thought little of the film.

One intriguing sequence. Early on, the guys are supposed to get "de-loused" and for about three minutes, fully dressed, do some schtick. In the background, perhaps three dozen men pass by, all naked, white and black (WWI ?), and for most, their butts, part or full backside, are shown. Was this an early variation of beefcake courtesy of Howard Hughes?


A funny version of the classic comedy based on the 1978 foreign film extravaganza "La Cage Aux Folles" that was then made into a Tony Award winning musical in 1983 of the same title. The great Mike Nichols takes the helm with the help of a off the wall script from the multi-talented Elaine May. The film stars Robin Williams, in a rare straight comedic performance, as a father who finds that his son is getting married and has to transform has male lover, (Nathan Lane) who is convinced he is a she anyway, into a he to appease his fiance and her parents, including an ultra conservative politician played by Gene Hackman. When the two families get together, it equals nonstop laughs thanks to the out of this world performance by Golden Globe Nominee Lane as Albert. It doesn't have the polish and timing that the foreign classic has, but if foreign films aren't your game, then this one is good for you and it works for me. Diane Wiest co-stars.


Watching this movie after seeing the French original is like reading wikipedia summary after reading 'Romeo and Juliet'. Robin Williams as Armand is the only actor who is playing his role somewhat close to satisfactory. He can't quite match the charm and manners of Ugo Tognazzi, though. But Nathan Lane as Albert is a disaster. You can clearly see that he is a man occasionally trying to play a gay person. It's all in the makeup and even that does not always help. When he is rehearsing a song you can't tell he's gay at all. But if you look at Michel Serrault's original performance, it's nothing short of outstanding. Every movement, every expression tells you that he's a woman in man's body. Basically, a witty script and superb actors' play make me watch the 1978 "La Cage Aux Folles" original over and over, while bland adaptation with weak acting of "The Birdcage" spoils the brilliant script. I have no clue what was the point in making this remake. Replace french lawmaker with a senator? Just go get the original. Then you can watch this remake and see if you agree with me. (BTW, if you liked Schwarzenegger's "True Lies", you might want to watch the French original, "La Totale". They have the same plot, and, surprisingly, they are both good, just shot differently!)


The only film which I'd consider Unintentional Horror is this it because I may explain the plot is about Lies and deception -- it's all in the family when a man must convince his future in-laws that he's as uptight as they are. Armand and Albert have built the perfect life for themselves tending to their gaudy Miami nightclub. But their pastel tranquility is shaken when Armand's son announces that he's getting married to the daughter of ultra-conservative Senator Keeley . . . and they're all getting together for dinner! Can Armand and Albert transfer transform themselves into Mr. -- and Mrs. -- Family Values in time? It'll take the performance of their lives, but they'll do anything -- and everything -- to pull the chiffon over Keeley's eyes! now the Alien movies didn't scare me The Strangers didn't scare me Trick r Treat didn't scare me Final Destination 3 and 4 didn't scare me but the drag scenes made me squirm in my seat

Rating: 1/10


This movie has to be the most offensive movie to raging conservatives to ever come out of Hollywood. It is about all things gay. It's over the top and silly, but funny and enlightening in a way. What would happen if the daughter of a Republican Senator who was part of some sort of conservative coalition was marrying a man who's father is gay and lives with a cross dressing diva. That's the setup of The Birdcage, an Americanized version of the French film La Cage Aux Folles, and becomes a fun look at how some members of the gay community have to try to straighten themselves out in the right circumstances, and how difficult that really is. Robin Williams plays Armand Goldman, a Jewish gay man who had a one-night stand with Christine Baranski (he just wanted to know what all the fuss was about) and had a son, Val (played by Dan Futterman). Futterman's performance is a highlight in the movie, an understated, confused role that carries the sanity in the movie. Armand lives with Albert, who's stage name is "Starina," played perfectly by Nathan Lane. The shrieks, the clothes, so much over the top comes from Lane's character that it's hard not to laugh. Val comes home, as he's about to marry his girlfriend of I guess 45 minutes, both are extremely young, played by Calista Flockhart, before her Ally McBeal days. Her father is the conservative Senator, played with a self-important whimsy by Gene Hackman. The problems come from the big dinner where the parents finally meet, and the real mom is late. This means Albert needs to become Val's mother, and we find out all of that cross dressing was worth it. The manic action that takes place when they try to first turn Albert straight, then as a woman carries the movie. It is all setup through the first half of the film. The second half has all of the comedic fireworks and is what makes the film memorable. That, and Hank Azaria's character Spartacus, a flamboyant Greek housekeeper for Armand and Albert. Azaria has said he used his grandmother as a model for this role, and it shows through. Little jokes are what make the movie, so keep you ears open, and your toast un-pierced.


It is said that any true art allows the viewer to interpret it in his or hew own way. There is no right or wrong interpretation. What I found most compelling about Last Call were the following 2 things: That like Henry James' The Turn of the Screw you are not really sure if this is all actually happening, all taking place in a single mind or as part of a collective consciousness among the people in the bar/home. And, the exploration of all forms of desire among a group of "not so young" patrons. The concept that even at this age, people can still maintain, grow and explore all forms of sensuality and sexuality is very appealing - kind of makes me feel that there is sex after 50! Clearly the actors were treated so well and with much love - it comes through in the film.


Amazingly perceptive. I think the director must have peeked into the lives of so many of my single friends (of any age). He's captured their sense of lossnot so much lack of sex as the absence of companionship. Just loneliness, pure and simple. And as shown here, it's the lengths people go to reach out to others that makes LAST CALL so poignant and unforgettable.

Insightful as it is, I also found the film's bittersweet realism a bit unsettling at timeslike watching a sneak preview of "Sex in the City-30 Years Later." In less-skilled hands, this might have been a snide sitcom or soppy soap. (It's not at all.) From yet another perspective, its surprisingly surreal elements, both in direction and camera work, lift it into that rarefied ozone layer of a classic Art film (in English but with a Gallic sensibility).

Despite the short length, LAST CALL achieves what standard features rarely accomplish in over twice the running time. I was tremendously moved. You will be too


I had the opportunity to see this and meet the director at the New Orleans Film Festival. Of all the movies shown which ranged from documentary, sci-fi, drama, romance and comedy this one really stood out for me. The style and cinematography were incredible. The story is witty and will make you rethink your views of the social scene and even love. It is the stories great concept that really challenged me to look at things differently. I won't give away any of the story. It's something you just have to experience to fully appreciate the work and talent put into this. David Drach brings a unique and interesting flavor that has been void in many movies today back to the big screen. I can't wait to see what's next for David Drach.


This film won't take you very long to see, but it will leave a lasting impression. It's bright, witty, and reflective of the realities of today's society with an edginess and sophistication that tells you you're in the hands of a master filmmaker.

The actors are fabulous and the script is sharp and witty. The ending is unforgettable. I loved all the little lines and nuances that made it worth watching twice. It's a compact piece that looks like it was fun to shoot and yet has all the impact of a much larger project. I particularly liked the colorful costumes and the way they brought the innovative set to life. I thought the actors were amazing and had the pleasure of meeting several of them at the screening.

I can't wait to see this writer/director's next story.


This film takes you on a pseudo-sexual journey through the eyes and minds of several virile seniors. What you think you are getting at the beginning is not with what you will leave. Kudos goes to the director and his creative staff for approaching this heavily debated topic with such fearless creativity. A quality film should evoke the thought process and possibly release repressed fears and anxieties. The surprise ending should leave the educated viewer questioning his or her own personal views on the plight of the aging in America. If this is a 15 minute journey, I cannot wait to take a full-length journey with this man.


Right from the first frame, Mr. Drach displays his vivid imagination, sparkling style and a splendid sense of irony, together with a socially aware attitude that transcends the usual clichés about age. His film is fun, rousing and a startlingly humanistic look at what might be, if we all shared a generous, more enlightened view of the generations that came before our own.

The look of the film belies its modest cost which testifies to a close collaboration between the director and his cinematographer for intention and effect are wedded seamlessly, a gift to both the film and its audience. Not many short films are able to so quickly make their point and arrive at that point in so entertaining, lively and surprising a fashion.

One wishes for more from such a fresh viewpoint, so we can only hope that this brilliant filmmaker can find the means to continue on his chosen path and that we can join him as he constructs each film signpost along the way.

Have a look and then a second; it's well worth the time. Just be careful with the bubbles.


One wishes for more for more talent in such a film! The actors looked like they're fresh from acting class! Amateurish! Come on, the filmmaker could have done better. Apart from some rare funny seconds, I thought this film was a bore. I didn't find it refreshing but rather stiff and stale like old bread. When a user said ' the filmmaker is brilliant"? Come on, this is a bit much! I find it rather ironic that someone would call this film brilliant. Is this a joke? or people have lost their minds? I saw a lot of good films at the festival but this one didn't do much for me. The title intrigued me at first but it should be really named: " last call for no much to see" !


i was at the new Orleans film festival and saw this horrible movie. I'm not sure who directed it and seeing all the user comments, i'm wondering if these guys are just friends of the filmmaker. This is not a witty movie but rather boring and slow- paced. The story is really not compelling and I never believed in the characters. Rather, i was looking at my watch. The visual is "artsy' and 'pedantic". Just a waste of my time, really. This is not a comedy! People think that the story line is witty, I guessed all the twists and plots ahead in advance and I'm pretty gullible usually. But this film didn't do anything for me and I totally forgot about it after I left the theater. I guess it's a bad sign. Two thumbs down.


A sparkling, incisive, progressive-minded comedy-drama that leaves much of this genre looking exactly like the disguised condoning of tradition it really is. One can only begin to imagine how entrenched thinkers in Korean society would react to this honest, observant, level-headed look at four late-twenty-somethings for whom life provides obstacles in both career and love that neither regressive-collective cultural thinking nor parents - who barely figure into the plot - can solve. Nan (Chang Jin-young), is a wide-eyed fashion industry drone busted down to Chilli's manager by her sexist middle manager. The shift stings, but also points out realities she's not entirely uncomfortable with. Into her world comes Seo- hoon (Kim Ju-hyeok) a decent-fella securities trader who clearly wants to pursue a relationship despite her reservations. Meanwhile, her best friend Dong Mi (Uhm Jeong-hwa), a web company employee out of work thanks to her own sexist superior, shares a flat with old pal Joon (Lee Beom-soo, in a 180 degree turn from his creepy role in OH! Brothers), who's as unsuccessful at removing himself from bad relationships as she is successful at bringing home a long string of bad boyfriends. That both of these couples should end up together is a given. That the film provides no easy resolutions yet plenty of optimism for these truly modern Korean women is the year's most pleasant K-cinema surprise: it allows the protagonists an honesty and resolve in deciding their own fates that many recent K- comedies seem hell-bent on denying similar characters. Here, marriage to a handsome man and financial success - long the expectations of many young Korean women - are not depicted as an absolute guarantee of security and/or happiness, and turning 30 without being defined is hardly the end of the world, particularly for Korean women who remain adaptable to the changes happening around them, rather than being pressured to fit a mold as their ancestors were. Fine acting across the board, anchored by Chang's captivating, believable performance, raises this far above the low-brow antics too often seen in these kinds of films (CRAZY FIRST LOVE immediately comes to mind). Almost needless to say, but the production design and cinematography are sterling, with warm and inviting environments (including an absolutely gorgeous Seoul) a veritable extension of the optimism with which these characters ultimately face their uncertain future. Must-see contemporary Korean cinema, and easily one against which all similar Korean romantic films should be measured. 10.


Synopsis: "Na Nan has known best pal Dong Mi and Jung Joon since childhood, and now the trio shares the ups and downs of their turbulent single lives together. But everything turned on end when Dong Mi and Jung Joon end up in bed! Na Nan has a job offer and a marriage proposal from the Charming Soo Heon to consider, and her twenties are fast coming to end. What's the generation of soon-to-getting-older youth to do?" I liked this movie a lot. The plot was light hearted and funny, and characters were well developed and are people you can relate to. Na Nan especially shone light on what it means to be single and fabulous (well, not gracefully).


I saw this movie for the first time at the Philadelphia Film Festival in 2004 and I was amazed at how funny this movie was. It is a dramatic comedy where three friends are trying to figure out what to do with their lives and each other. The characters are all in their late 20's and the main character is about to turn 30 and is dealing with a lost job and newfound love. Ah what to do, what to do. As friendship is a key element to this story there are plenty of moments of humor and awkwardness that will perhaps be familiar to many. Without spoilers thats about all I can say, but trust me it's worth the watch. Its very hard to find the DVD, but you CAN find it region free online, but takes some searching.


Released amid a horde of Korean romantic comedies following the success of "My Sassy Girl", Singles--I found--was not simply another manufactured commodity. It broke some major clichés that are risky for any studio film to deviate from. There was realistic acting of genuine human behaviors underneath the surface of light-hearted humor, which may I add, is very funny! I would even consider this film to be a great painting of the common people. A lot of films take the escapist approach to deviate its content from real life; in my opinion that is a perfectly legitimate way to make films, and while Singles certainly has its share of over-the-top moments (which are highly enjoyable), I found it to resemble life more than most genre films. And, if art is to imitate life, then I consider Singles to be a successful work of art. It's great to see films incorporating both wild entertainment AND something meaningful that we can take away from.


This movie was a well filmed work of art based on a Japanese novel. It was a hit in the Korean Box Office. There were some funny moments, but not that many. I have to say, this movie reminded me of Madeleine. However, this Romance movie was quite unusual. It wasn't boring, and yet, there was no solid resolution. The story line was very interesting and original. The acting was okay, and the OST was great. If you are a fan of Korean Drama, you'll probably enjoy this little flick. Odd Film


I'm pleased that you all like the show. I love "Static Shock". It is indeed (or at least was) one of the better toons on TV. Though every now and then, it appears to go a little over-board with the whole racism awareness biz, the show was definitely an anchor point for individuals who felt that they were not equally represented in the pool of superheroes that we know of today.

However, I must bring forth the fact that Static is not a new character. He isn't the first African  American superhero either. In fact, his character was taken from an earlier DC character named Black Steel.

Also, FYI Green Lantern, Cyborg, BumbleBee, Herald and HotSpot are all African American  in addition to Static.

But I agree with all of you  Bring Static back! Induct him into the Justice League  as a matter of fact, BRING BACK THE JUSTICE LEAGUE!!!


in my opinion of the show's fate, i think that warner brothers officials were wrong to cancel this show... although it lasted 4 seasons it could've been at least 3 more seasons until the did what they did... as for this whole comic book movie battle between DC and MARVEL, i think that DC/WARNER BROS. should make a live action version of static shock and bring it to the big screen. nobody knew who blade was until marvel came out with that movie and it spawned into 3 movies because of it's success. so in the end, if DC wants to redeem themselves for this HUGE mistake they need to bring static to the big screen


An incredible person suggested me and my brother to watch ''1 Giant Leap'', saying that the movie would be very inspiring for us. I started watching the documentary expecting something nice, but what I got was something beyond that: I found the documentary VERY good, and I felt happiness and joy after watching it, like a sensation of inner peace.

With so many people collaborating with it, like artists, performers, writers and philosophers from different parts of the world,''1 Giant Leap'' is a project of two musicians (Jamie Catto and Duncan Bridgeman), showing different topics of everybody's life, like '' sex'',''religion'', ''Confrontation'', ''happiness'' and so on. Each person gives their sincere opinion and idea about a subject, and we see how so many people in different parts of the world are connected, even in a non voluntary way.

Even people who are not into ' spiritual' themes will probably enjoy to watch this DVD. In my opinion it is a beautiful work of art, and I watched it 3 times only in the first 2 days having the DVD.

I am not surprised to know that this documentary was nominated for two Academy Awards in 2003.Such a pity that it didn't received any award, because for sure it deserved!


In addition to being my absolute favorite CD last year, 1 Giant Leap is an extraordinary cinematic achievement. It is an ambitious project that travels the world collecting inspirational music, images and insights from musicians, poets, writers, philosophers, etc.

The contributors include some of my all-time favorite artists - Michael Franti, Baba Maal, Brian Eno, Speech, Michael Stipe, among others. If you are a fan of world music and the blending of ancient and contemporary sounds, this is a can't-miss.

This film is really unlike anything else I've ever seen before and it opens up a whole new genre of documentary/performance film. I am so impressed with the vision and execution of the two producer/director/composer/editors who made the film, they are truly talented individuals.

My only criticism would be that the film is not edited in a seamless way from beginning to end, so that at certain points in the film it abruptly goes to black until you select the next DVD chapter. That said, it shouldn't discourage anyone from exploring this intriguing DVD... and don't forget to check out the soundtrack.


I came upon 1 Giant Leap after looking up what films that Ram Dass has appeared in. I love the way the passion for creativity shows up in the swirl of colors, images, music, poetry, and love of human diversity that this DVD projects. I rated it a 10 for that and its energy. Some have criticized it because of "slow" parts. I liked the balance of very energetic parts versus the time taken to contemplate the beauty and peace that surrounds us. I would have liked even more diversity to be included, Amer-Indian, Caribbean, Chinese, Arabic, Indonesian, Japanese, Finnish, North African, etc. That said, this is one DVD that can be watched time and again. I would rate this a must see. If you have an interest in spiritual side of existence, I would recommend seeing 'Fierce Grace' with Ram Dass.


This international collaborative effort between musicians, artists, performers, writers and philosophers, titled, '1 Giant Leap', palls in sections, then blows you away with the power of music and words: "We want to show, through the diverse fragments of music, spoken word and imagery, that despite our surface level differences, the things that divide us are far outnumbered by the humanity which unites us."

Western collaborators include Tim Robbins, Neneh Cherry, Brian Eno, Dennis Hopper, Kurt Vonnegut, Michael Stipe and Robbie Williams.

As someone with considerable affection for Australia, I was cringing under the seat when it came to the section titled, 'Confrontation'. Nine minutes in which to comment on confrontation in the world, and most of the time was given up to a song intercut with a general montage, and commentary, but two long minutes were devoted to Fred Reid balancing a sickening speech by David Oldfield (of One Nation infamy, in case you've somehow managed to erase him from your mental list of villains). Mr Oldfield asked with all the assurance of the unquestionably loopy what stone age people can offer the 'rest of us' today.

I would have liked to hear from more women, but those that were there were fascinating. In the sex section, Cosi Fabian, a 'sacred prostitute', was beautiful. She had a sensitive take on the world, and appeared to feel able to be honest, and that people were honest, 'soft', with her.

This movie is a celebration that transcends the medium. The energy and sincerity of those involved more than compensates for any limitations. Nowadays one suspects one should somehow preface remarks regarding notions of hope and peace with some self effacing gesture, so as to mark one's recognition that such notions are somehow unsophisticated and breathlessly idealist. But this movie really does imbue one with hope, and it is a brave hope at that. A hope that can be expressed without need to cringe or caper. I hope you watch this movie too, and enjoy the diversity these collaborators have brought together.


1 Giant Leap was nominated for two Academy Awards in 2003 and should have won. It is a unique creation specifically originally made in non-sequential chapters for DVD (ie not a plot-linear movie transferred to digital format). The music is stunning (world genre), and the visuals are exceptionally special. It is not a rehash of Baraka or Koyaanisquatsi but if you were impressed by either of them, and/or if you love world music, you need to see 1GL. It also carries some very interesting and pertinent comment on many political/philosophical themes. My only criticism is it's a bit over-respectful perhaps of specifically Hindi spirituality.


This work of pure art, in its' sounds, visual beauty, global heart, and the recognition of spirit and soul is just so awesome that it just takes your breath away. The music is universal and so in tune with the life's' spirit that you cannot help but to be moved and move to its' message. It is possible that the only thing I could say to the negative is that it could have included many other cultures and been another 2-3 hours longer. Also I want the sound track. But the bottom line and the message that we seem to constantly forget is that; We need to always be aware that we are all from the one family of LIFE and that we are all on the same journey in or on this one minute little speck of terra, atmosphere and water, and that we all share the outcome that is put into action. Very bottom line is that we either ALL stand together or we ALL will fall.


1st watched 04/10/2007 - 7 out of 10(Dir-Jamie Catto & Duncan Bridgeman): Thought-provoking musical montage covering almost every important subject in life disguised as a full-length music video from artists around the world. This movie is packed with ideas but doesn't expect you to buy into any of them it just presents them. This is the modern way and this movie has a very modern all-world perspective on life that is refreshing. We get to hear from Christians, Jews, Atheists, Buddhists, and a host of other people from different regions and cultures all over the world between and during the songs. In a nice touch, we're treated with the names and the places where all the contributors are from at the very end. It's nice to match up the names with the faces and hear where they preside from and we get to see how diverse the movie's contributors are. This documentary won't make a lot of money, because documentaries usually don't but it definitely keeps your interest from the beginning to end. For any movie, to me, keeping your interest is the mark for a good movie and this movie hits that mark.


1 GIANT LEAP play this video Director: Jamie Catto Director: Duncan Bridgeman

It is increasingly rare to come across a project that genuinely defies description, where no pigeonhole will do.

The members of 1 Giant Leap, while pushing the cutting-edge technology of the 21st century to its limit and utilizing their own fierce intelligence and consummate musicality plus a list of collaborators ranging from Michael Stipe to Kurt Vonnegut, Asha Bhosle to Dennis Hopper, have done just that.

Others taking part include Stewart Copeland, Brian Eno, Baaba Maal, Tom Robbins, Maxi Jazz from Faithless, Neneh Cherry, The Mahotella Queens, Speech from Arrested Development, Andy Summers, Eddi Reader and Linton Kwezi Johnson.

1 Giant Leap are Jamie Catto and Duncan Bridgeman, who first met at a mutual friend's flat in Brighton and found that they shared a deep love for two universally influential albums: David Byrne and Brian Eno's My Life in the Bush of Ghosts and Peter Gabriel's Passion, the soundtrack to Martin Scorsese's The Last Temptation of Christ. They talked about music, technology, travel, the universe and their mutual dream of travelling the world, recording and filming as many of their heroes from the areas of music, art, science, literature and philosophy as they could find, seeking out the unity in the diversity. Luckily Palm Pictures boss Chris Blackwell shared their vision and offered them a contract.

Catto and Bridgeman did not draw their impressive list of collaborators from their personal address books; rather, they were forced to became "world champion cold callers." Dennis Hopper was so enthused by the project that he immediately got on the phone with Harvey Keitel and Meryl Streep to get them involved.

1 Giant Leap is a unique project for the 21st century which fuses words, sounds, rhythms and images from across the globe to celebrate the creative diversity of musicians, storytellers, authors, filmmakers, artists and thinkers from cultures around the world. The results illustrate breathtaking artistic and cultural diversity with a clear message of unity running throughout.

This project is the first of its kind, both in its immense terms of reference and its revolutionary use of cutting-edge technology. Having taken their backing tracks with them, the musicians were able to not only collaborate on 1 Giant Leap songs, but also to hear the sounds previous collaborators had been inspired to lay down. For instance, a sarangi player in india could play to the grooves laid down a week earlier by Ugandan drummers. Thus each track grew and developed as the duo circled the globe.

Catto and Bridgeman's adventures served as the basis for their 12-chapter film and accompanying album. Each film chapter corresponds to a track on the album, exploring themes such as "Masks and Roles," "Death and Change," "Freedom and Innocence," and "The Shadow and Inspiration." Containing footage from the streets of New York to the jungles of Ghana, the mountains of Nepal to the deserts of Rajsthan, 1 Giant Leap represents is a completely new genre of filmmaking somewhere between documentary and pop video, a music-based time capsule of the planet earth at the turn of the 21st century.

About the the members: Jamie Catto: musician, film director, editor, photographer and creative catalyst

As founder member and art director of the hugely successful dance-pop group Faithless, Catto has enjoyed no fewer than five top ten singles in the U.K., watching two albums go gold and enjoying enormous success around the world playing to crowds of up to 80, 000 fans. In the role of art director for Faithless' cheeky label, Catto has directed videos for all their artists -- each of them to huge critical acclaim -- including the group's stunning sign language film for "God Is a DJ." His photos and designs have also adorned the covers of Skinny's Failure and Faithless' Sunday 8pm.

Duncan Bridgeman: artist, producer, multi-instrumentalist


I had the good fortune of a teacher lending me this in high school. It may be the best documentary ever. Two British film makers traveled to 25 countries recording pieces of music and then fusing them together via laptop, and the results are a stunning fusion of world musics and editing. If that weren't enough there's interviews with artists, scientists, religious scholars, mystics, authors (Kurt Vonnegut and Tom Robbins, actors, activists, prostitutes, people on the street divided into twelve chapters "Time, Confrontation, Sex, Masks, God, Faith, Blasphemy, Unity, Death, Money, Inspiration, and Happiness." Each is broken up into a song, to it's easy to watch in pieces or all the way through. Inspiring music, concepts, and message, should be seen by anyone with an interested in anything. One of the best films ever made.


Wow... I don't know whether to love Sadako or fear her. "Ring 0" completes the trilogy and makes it into an epic. We delve into the complicated and frightening (yet very tragic) character that is Sadako Yamamura. Like "Ring 2", this film continues the enrichment of the Ring mythos. We watch the frightening, tragic story of Sadako unfold before our eyes. We discover a more human Sadako... one that feels love and compassion in spite of her peculiarities, and we are once again frightened as we were in the previous movies. In a way, the terror is more effective here than in "Ring 2" even in light of a movie that feels more like a tear-jerking drama at times than like a horror film. This is a must-see for fans of the first two movies. Watch it. You won't be sorry.. even if some of the introduced story elements seem a little strange. They are carried out beautifully! Sadako herself is beautiful and enchanting.

I'll conclude with one final statement: If you thought a staggering, ghostly Sadako was intimidating, wait until you see her when she's alive and kicking, and more powerful than she ever was as an ethereal presence. Now she has the ability to kill at will rather than with a cursed videotape!

Hmm.. do I sound like I'm contradicting myself about Sadako? I'm not going to explain myself. Just watch the movie and see for yourselves!


After the disappointment of a still decent "Ring 2", "Ring 0 : Birthday" is a return to form. Yukie Nakamo does a wonderful job of portraying the tragic final days of Sadako's attempt at a normal life. The sweet, innocent side of her was never suspected when I first glimpsed the malevolent presence of Sadako in the first installment. Yukie is very moving in her portrayal and evokes sympathy and empathy for the character. Similarily, Daisuke Ban gives a opens up the character of Dr Ikuma from the glimpses we've seen in previous installments. Here we see a tortured and resigned man who genuinely loves Sadako as a daughter, but can't escape from the knowledge of how dangerous she is and the steps he may have to take to prevent her harming others.

Despite the main love story and drama of Sadako's attempt at a normal life, there are still plenty of creepy moments and supernatural happenings. The scenes with the school teacher relating her experiences of teaching a young Sadako are genuinely intriguing and eerie. Indeed the story of the kids swimming in the sea and Sadako's prediction of their fate, is truly gripping, despite nothing actually being shown. The excitng scenes in the woods and cabin show how deadly Sadako can be when her evil side has control. The weird appearance and way of walking from the first "Ring" is seen again here and there's some great bonesnapping moments when Sadako hunts down her final prey. These scenes and the conclusion give "Ring 0 : Birthday" the standout sequences that "Ring 2" never quite managed to sustain from the original film.

Some of the plot points do bear a resemblance to "Carrie" but the film handles them in a different way. The story, although slow paced is always enthralling (a hallmark of the "Ring" series to date) and it seems poor Sadako never really had a chance from what awaited her. Aligned against her are: an inability to control the dark powers of her alter ego, a creepy director who learns of her secret and wishes to use her, a reporter with a grudge and a suspicious and unfriendly acting troupe who never seem to have made any real attempt at welcoming the shy, withdrawn girl into their fold. Mob paranoia and fear contribute to Sadako's fate and make her the malevolent presence she is today. As the film reaches it's conclusion, you can't help but wish that things could end differently for the unfortunate lovers but anyone who's seen the previous installments, knows that there's only one place this prequel can end. The last few minutes of the film are heartbreaking and the film's end credit song beautifully encapsulates the finality of Sadako's backstory.

Don't expect too many absolute answers here though. "Ring 0 : Birthday" maintains the mystery and ambiguity of the first two films and once again, imagination is a required element from the viewer. If you enjoyed the previous films and want to see more of Sadako, this film will give you quite a thrill ride. Whether it's poignant doomed love story, another part of the Ring puzzle or an eerie and haunting Japanese ghost story, "Ring 0 : Birthday" is a winner on every level.


Combining elements of drama and horror, Ring 0 is a very worthy installation of the indie horror franchise. This film really starts, though, as a drama, telling us the story of Sadako in a very linear fashion (which, deliciously, has become the more difficult and confusing path to take, since we already know the end of the story). We see Sadako as a human (!) who is not scary or evil at all but actually seems rather pleasant and almost painfully shy. A while later in the film, we see that Sadako is actually warring desperately with herself . . . and is losing. Her eventual slide into the monstrosity of the first and second Ring films is a sight to behold (and, hardcore fans will note, is echoed by a similar fall of Ando Mitsuo in the less popular Rasen).

The social overtones of this film are also outstanding and a fine addition to the series. Whereas the first two films are more exercises in combining psychological terror with techno-horror, Ring 0 takes a more Romero-esque approach to the social aspect of Sadako's transformation, meditating on the cruelty of her peers and the burning need for revenge of one journalist that brings the whole tragedy crashing down.

Incidentally, although it takes some time, this film WILL scare the hell out of you at the end. Just wait for it.

Very, very good. See it.


A great prequel to the Ringu series. In this film we see the human side of Sadako before her death & the cruel attitude of others towards her. By the end of the film you feel sorry for Sadako & not her victims. I enjoyed this more than the original film, in many ways this film follows a more traditional story structure than the original.


Ring0 is haunting and beautiful. It's definatly the most seriously dramatic and passionate of the ring films. Saadako is represented as a person here with a dark side. But also a wanting side that wants to be forgiven and accepted and most importantly loved for her uncontrollable actions. Their are strong performances and the a vivid and secret spouting storyline that makes you look at each film completely different. In an age of mindless sequels Ring 0 is a perfect film. It balances horror with beauty and love with hate. The film is as much a tear jerker as a screamer. And the true story of what happened will stay with you!


I can't work out why people didn't enjoy this movie, i thought it was one of the best movies i have ever seen. Compared the the other Ring (Ringu) movies it is not as scary but kind of upsetting, and like the other Ring movies has a great *i have to see more* kinda ending. I actually felt sorry for Sadako in this movie, the same way i felt sorry for Carrie White in Carrie. Also this movie, unlike Ring 2, has a completely new storyline to it, i also thought Yukie Nakama who played Sadako was totally awesome, her acting was just brilliant. The acting from the whole cast was just fantastic. So please try to see this movie, its well worth it, almost as good as the first Ringu!


Ring and Ring 2's ability to terrify an audience relied strongly on the fact that the TV you were watching them on was a possible portal for the video-curse and even Sadako herself. Not that anyone would really believe Sadako would come out of your TV, but subconsciously it must have an effect. In Ring 0 - Birthday, there are no cursed videos and no televisions. Instead, '0' takes us back 30 years before the original Ring, to where Sadako is an apprentice for a theatre company. What we quickly learn is that Sadako is not a monstrous psychic-killer that springs from household appliances but a shy, troubled young woman with a secret past. Those familiar with the Ring films will know that Sadako 'killed' a mocking reporter at her mother's para-psychological demonstration after he accused the psychic of being a fraud. The fiancé of this reporter sets about investigating what went on and tracks down Sadako at the theatre, convinced that she is responsible in some way for her fiancé's death.

The theatre troupe has a bad feeling about Sadako, as most of them have been experiencing the same disturbing dream about her, where they see her next to a well, and a certain air of doom has clouded the theatre since her arrival. When the lead actress in the play dies, killed by a younger Sadako (who is more like the ghoul from the first two films - it's confusing, but things are explained later), Sadako is given her role, much to the distress and suspicion of her fellow actors. The appearance of the 'dark' Sadako coincides with a strange noise played from a reel-to-reel tape recorder used by the theatre to play music. This, it seems, is how Sadako's dark power is unleashed, much like the videotape of the originals. But the older Sadako does not initiate any of the terror unleashed, and it is only a matter of time before the troupe accuses her of being a killer, whereas in reality she possesses the power to heal. Questions arise throughout the film, and are frequently answered, like why are two Sadako's, of different ages, walking around in the theatre? Yes, this question is answered, but not here in this review. Ring 0 is much more character based than the two previous films, getting into the head of the tragic Sadako by means of flashbacks and a subtle love story that shows she is a decent, vulnerable human being. At first it is slightly confusing as you are not sure whether you are watching the Sadako that will turn into the deformed, freakish ghoul that crawls out of TV screens to scare people to death. But it is knowing who she ends up to be that gives the film an air of tragedy as this misunderstood and innocent girl is hunted like a beast and forced to become one with her evil side. To say any more about the story would inevitably spoil it so I'll go no further, but for those worried about a lack of an 'evil' Sadako, don't worry. She's there too.

Visually, Ring 0 is a much more lavish, expensive-looking production than its predecessors that relied on dark, gritty camera-work and realistic lighting to enhance the 'normal' and make the story more believable. With '0' the style is more polished, with swooping camera moves and clearer, more stylised lighting. This works, as the film is more layered than Ring, whose visuals suited its single-minded determination to scare you witless. Instead here we have a production just as interested in characterisation and story whilst also being very, very scary in places, which is helped by the excellent photography and set design.

The acting is first rate, especially from Yukie Nakama who gives a subtle performance as Sadako, and everyone else is on form. The only let down is some of the terrible screaming going on here - remember the castle of 'Aaarrrrggggghhhhhh' from Monty Python and the Holy Grail? Well, people die whilst omitting these terrible, comedy death-groans that really do steal from the tension and give you a mental picture of Graham Chapman in chain mail. Apart from that, I don't think '0' could be a better film.

Director Norio Tsuruta delivers a consistent, suspenseful shocker with plenty of visual flourishes and interesting ideas. It's easy to think that, in the wrong hands, Sadako could have been turned into a Freddy/Jason-style stalker walking amongst the shadows willing people to death, but instead we have an entertaining character piece with plenty of frights and chills spliced in for good measure.

Ring 0 surprised me. It is a more solid film than the original, more layered and ultimately more rewarding. But what it lacks is the pure, raw fear of the original that made it so memorable, and it wouldn't work without seeing the original first. Better and scarier than 2, quite possibly on a par with the first. And if you thought Sadako couldn't be scarier than when she crawled out of the TV in Ring, sit tight - because Sadako's still got a few tricks up her elongated sleeve, including a finale that will have people of a nervous disposition reaching for the 'off' button on their remote control.

If you're a Ring fan, you've got to see this. If you've never seen them you won't get it. If you've seen them and didn't like them, still give this one a try as it's a completely different experience altogether.


POSSIBLE SPOILERS!!

If you enjoy true atmosphere in films, that creeping feeling of dread usually reserved for coming face to face with your own personal phobia, then watch this and prepare yourself- the final 15 minutes may well be the most heart-stoppingly chilling 15 minutes you will ever witness.

Just a warning though; it is slow paced, even more so than Ringu, a complaint many people seem to have with these movies, and the first time i watched it i wasn't sure if it was leading anywhere. But my problem was that i was watching it and comparing it to Ringu in my mind. The last few scenes changed my mind. The next time i watched it my mind was clear, and it scared the s*it out of me. The few scary moments before the final scenes are pretty good, employing 'should i look behind me'? techniques much like the previous films, but before i get to the final scenes, i'll explain everything else.

The film begins in modern day Japan- someone has heard a rumour about a videotape with a curse... then we flashback 30 years or so and meet the Evil Spirit Sadako...only to find she is a beautiful young woman, a talented actress though shy, and misunderstood. Sadako Yamamura is part of an acting school, and her first role is a few days away. She keeps to herself, but the attentions of Toyama infuriate the other girls, who can't understand what he sees in her when he could have any of them. The girls get jealous, and a number of deaths occur mysteriously. The story also follows a journalist who has traced down Sadako, she is the widow of a man who died, also under mysterious circumstances at the hands of, she believes, Sadako's estranged mother. Sadako's mother was famed for her supposed supernatural abilities, and killed herself a short while ago. The journalist wants to find out the truth, and finds Sadako just before opening night. Paying one of the jealous girls to mess with the audio equipment, hoping to get a reaction from Sadako, much like Hamlet, the play begins to go wrong, and in a Carrie-like scene, everyone blames Sadako. Then the fun really begins...

Up to this point, the film is equal parts chilling, beautiful, and to a certain extent confusing. The acting has been very good from everyone, especially Yukie Nakama, who is gorgeous, and drags out our sympathy. Toyama is the only person who trusts Sadako, and tries to defend her, eventually leading to one of the most tragic scenes in movie history. That may sound like an over-statement, but if you have followed the movies, especially this one, intently, you will understand. Every scene is shot trying to balance beauty with the creation of fear, a wonderful irony considering Sadako's own birth and life- She doesn't want to hurt anyone, and is capable of great beauty, but all she seems to do is scare and kill.

I've probably hyped the film too much now, but the final scenes in the forest and Sadako's old home are really that good. Terrifying, and directed brilliantly- watch for the way the forest suddenly changes colour from green and full of life, to that Sepia tinge used in the first films to show both the past and the afterlife. And watch in the background for a long haired figure in white floating past the trees. One of the most underrated horror movies of recent years, mainly because it can seem confusing at first glance, and because very few questions are actually answered. The point is, the questions are there to be asked, for us to work them out ourselves- we become like the journalists in each of the movies, drawing ourselves closer into the tragedy and threat of Sadako's life until we cannot escape. How long have i been typing for? You see? It worked. 9 out of 10


Shortly after an oddly quiet young woman, Sadako Yamamura (Yukie Nakama), joins a drama troupe, strange events, including deaths with suspicious circumstances, start occurring. Is Sadako somehow connected to these events? And what does it have to do with a reporter investigating a years-old tragedy at a psychic demonstration?

Series Note: There are many different films, television series, books, comic books, etc. based on the "Ring Universe", and it's very complicated trying to sort them out. The Japanese films known as "Ring" or "Ringu" can be numbered 0 (this one), 1 (Ringu, 1998) and 2 (Ringu 2, 1999), and function well as a self-contained story. This film, Ring 0: Birthday is a prequel. I prefer watching it first, but if you want more mystery in the other films, watch them in their release order: Ringu, Ringu 2, then Ringu 0. Note that there is also a Japanese film named Rasen (aka Spiral, 1998) which was meant to be a "Ring 2", but that was later superseded with the 1999 Ringu 2. Rasen is supposedly closer to the second Ring novel, but 1999's Ringu 2 is seen as more or less the "official" Ringu sequel.

There is an infamous mock commercial from the early days of "Saturday Night Live" (1975) about a product named "Shimmer". Shimmer was notable for being both a floor wax and a dessert topping. Ring 0 has Sadako as a Shimmer-like entity. Only, instead of being just two kinds of things, she's six--a telekinetic, a psychic, a precognizant, a ghost, a psychic healer, and a physical manifestation of a split personality. The film overall has a Shimmer-like quality, too. It's both a horror film and a slow, realistic drama with romance overtones. The horror stuff generally works, although Sadako would have benefited from not having so many functions. The more serious dramatic sections, which take up almost an hour of this 90-minute film, are not quite as successful.

The script, by Hiroshi Takahashi, from a story by Ring novelist Koji Suzuki, is admirable on an artistic level. Takahashi is fond of parallelism, setting up the drama troupe's rehearsals and performance as an innocuous veil that often matches more sinister events beneath the surface. He frequently changes our perspective so that we see a stage performer scream, say, at the same time someone offstage should be screaming. These kinds of parallels can be found throughout the film.

The problem is that director Norio Tsuruta just cannot get much momentum going with the material. The dramatic rehearsals and backstage bickering that take up a large percentage of screen-time just aren't that eventful or exciting. There are glimpses, through Sadako or around her, of a more intriguing world, but they're often little more than "flashes" that might cause us to do a double take. Takahashi and Tsuruta work hard to establish a romance subplot involving a love triangle (or two), but this can barely get off the ground. It often feels superfluous.

The best material featuring Sadako in the earlier part of the film resembles something of a cross between a Hitchcockian thriller and Brian De Palma's Carrie (1976). But those are overly generous comparisons, since at least the first hour of Ring 0 has little of the suspense, style or directorial panache of either.

I would have preferred a stronger focus on Shoko Miyaji (Yoshiko Tanaka), the reporter who is trying to investigate the psychic demonstration tragedy. Her scenes, which tend to have the flavor of a police procedural with slight horror twinges, are entertaining, and a larger focus on her would have broken up play rehearsal scenes better. It would have also given the character more weight for the climax, which would have given the ending even greater impact.

As it stands, the last half hour is still the best part. We finally unravel much of the mystery behind Sadako (although there are a lot of questions that could still be answered), and gain insight into some of the events and comments in the first two-thirds of the film, which otherwise can seem cryptic (it pays to rewatch the first hour after the film is over--I enjoyed it more the second time).

There are a number of events during the climax that are breathtaking in their brutality, all nicely scripted and directed. One of these, when two characters are enigmatically killed off-screen, is a rare example of an "attack scene" where I agree that what you're not shown can be more effective than what you are shown. We get to see the event leading right up to the death, and we see the bloody aftermath. Filming how it happened would have drained much of its mystique. Another outstanding development in the climax is rooted in the relationship between two characters, and works so well because of strong cultural taboos.

While it's probably my least favorite Ring-related film, Ring 0 is worth viewing because of its place in the series and the excellent climax.


The original "Ringu" (1998) is a truly creepy, modern-day Japanese horror classic; its sequel, "Ringu 2" (1999), is a sometimes confusing anticlimax of sorts, but still quite fun, nevertheless. And in "Ringu 0" (2000), the prequel to the original, we get to see the face of Sadako Yamamura, heretofore mostly hidden behind long, stringy hair, and, as played by actress Yukie Nakama, it is quite a lovely face indeed. We also get to discover some of Sadako's back story, and learn what she was up to 30 years before she began slaying via videotape. We see her as a woman of around 20, an aspiring actress in a dramatic troupe, and all seems to go well with her, until her otherworldly powers begin to manifest themselves, and her fellow thespians start to drop faster than victims of tsutsugamushi disease. Compared to Carrie White in the 1976 film "Carrie," Sadako is far nastier, and just like in that earlier film, all heck breaks loose following an instigated public freakout. "Ringu 0" is a fairly slow-moving film, and a surprise revelation concerning Sadako that comes halfway through is very hard to swallow. But since it effectively doubles the Sadako quotient, why quibble? Sadako is certainly a fascinating character, and the film's final 1/2 hour does repay the slow buildup. Coming full circle (closing the ring?), the film culminates with the terrible act of attempted murder that we partially witnessed in the original "Ringu," and fans of the series will perhaps understand me when I say that, um, all's well that ends well!


Ringu 0 fills in a few of the blanks in the Ringu series, like, for starters, why she was shunned and how she came to be in the well. Young Sadako is part of a theater troupe, and a reporter knows who she is but the rest of the cast doesn't, at least, not yet. There are glimpses of Sadako's strange powers, which she can't seem to control when she's threatened. There are snippets here and there about her mother and her father, and her childhood, and it all eventually leads up to the Sadako that we all know and love, the one in the well. Now, she's also cast as an understudy (or as they call it here, apprentice) in a play, and somehow the star dies, horribly, while sitting right there in the midst of her fellow actors. Sadako then ends up with the leading role in the play but when the meddling reporter slips a tape in that isn't meant to be part of the play, it changes everything and Sadako's telekinetic powers are unleashed on the unsuspecting audience and cast, but stopped just short of harm to anyone....except, herself. After this point the film takes off but I'll leave that to you to find out what happens, if you like. Not the best of this series that I've seen but good for filling in a few blanks here & there. 7 out of 10.


This is a prequel which actually works and explains things rather than giving even more questions. You can argue weather the mystery of Sadako is better left untouched, but the fact still remains; this is a good movie.

The lead (Yukie Nakama as a shy Sadako) is very good, even though it's obvious she's a Japanese version of Carrie White; misunderstood, creepy and with gifts she never wanted. That's the only real problem with this movie; the original ring movie was just that; original. This movie however, get's inspiration from other sources, such as Carrie, and that removes some of it's power.

While it's not as moody as Ring, Ring 0 still has some very good horror scenes and some smart camera-work. Seeing a white shape just at the edge of the screen is much more effective than, for example, the killer's POV.

As with Ring, this is a bit slow but builds up to a good finale. There are no special effects really, and it's very down-to-earth, one of the qualities of this and Ring.

Finally, there's the fact that it's Japanese. There's something refreshing about seeing a movie in a different language, in different environments, in a different culture.

I recommend this movie to those who liked Ring. It's definitely a worthy prequel. 7/10


Since this movie is an adaptation of Mr. Koji Suzuki's Lemonheart which is among the 3 stories contained in Ringu 0: Baasudei that was released in 1999, it's sufficient say that the director did pretty well with altering some of its contents to suit the interpretation of the previous movies (Ringu and Ringu 2) which was also unparalleled. I don't think the storyline was confusing at all since it mostly concentrated on Sadako's life (Derived from Lemonheart) and doesn't really focus on the curse of the video tape. I think it depends on "how well" you understand this movie that will determine how much you appreciate it or not. Since I took the time to search for an informative website that clarified some of the scenes from the movie, I've accrued better understanding of the story and respect for it.

What I truly love about this movie is the fact that they wanted us to feel sympathetic towards Sadako's character albeit the wickedness of what we see in Ringu and Ringu 2. Bravo to Yukie Nakama for portraying Sadako's character effectively. She's one of those few actresses that can truly set your emotions rising and falling from within. It's designed to tell us the tragic story of Sadako's life before the cursed video tape, which exceeded from my own expectations. That is what makes it unique from the previous movies. It's dramatic atmosphere haunted me and made me justify why such a character would turn out to be malevolent in Ringu.

I can see why many are baffled by the story since the one who directed this is not Nakata Hideo and obviously lingered a bit from the previous adaptations (I guess you might say more on the book than Ringu and Ringu 2.).

My verdict: 10/10***


Ring 0 is the Japanese prequel to the Ring Mythos.

Where Sadako Yamamura is early in her college experience, and dealing with the typical issues of trying to succeed in her love for theater, and her romantic life. She is cursed, and is generally unaware when this seemingly multiple personality takes over her being, in this Shakespearean tragedy of a film that leaves one wishing it could have ended differently.

Truly a masterpiece which inspired me to submit a sort of comical comic strip parody to a Ring 0 art contest last year, where I won third place, which was pretty exciting. You can see the finished comic on the website's media page.

Everything about this movie is well made. From the directing, to the mood, to the mystery, to the acting, that draws you in and makes you feel for the characters, and hope for a resolution.

Yukie deserves high accolades for this movie, and even though she never won an award for it, she won one from me.


In Jôji Iida's "Rasen", Sadako explained that the reason behind her curse towards unfortunates was for others to experience pure fear, the same kind of fear she went through all alone at the bottom of a darkened well.

In Norio Tsuruta's "Bâsudei", the "Sadako" series continues, except this time we follow a young woman, named Sadako(Yukie Nakama), haunted by a ghoulish alter ego with considerable power. Sadako is an apprentice for a theatrical troupe preparing in rehearsals for a play, alienated by the actors and crew who feel intimidated and uneasy around her. A sound effects engineer, Hiroshi Tôyama(Seiichi Tanabe), seems to be the only one who accepts her without contention, actually encouraging once she receives the leading role after the actress dies under suspicious, and very unusual, circumstances. The troupe and crew soon come to the understanding, thanks to a news reporter who instigates a lynch mob after the director(..who initiates a traumatic situation, accusing Sadako, an actress he put in position to become a star, of killing the lead actress)is found murdered, his body discovered by a stage hand, that they are accursed(..her photographer's snapshots reveal their distorted faces and other disturbing images). It seems that the entire troupe is cursed by the malevolent doppelganger of Sadako, and they will take matters into their own hands in order to protect themselves from the same fate as the director and lead actress, securing the wrath of an evil they'll wish they never offended.

A different approach to the "Ringu" series this time making Sadako a sympathetic figure, a young woman tormented by others when, in fact, she is as much a victim as those whose lives are harmed by the vengeful ghoul. The ghoul is, in a sense, Sadako's "protector", a kind of spectre that haunts the theater, and we see how the troupe and crew always respond to our heroine with disdain and disregard. Sadako, right from the start, is treated as a derelict, placed on an island because she sends off "spook signals" to everyone. Tôyama becomes her sole friend and confident and their blossoming romance is the heart and soul of "Ringu 0-Birthday", as he attempts to rescue her from all those that find Sadako a threat..to no avail. We see how the reporter finds Sadako, understanding her past(..including Sadako's relationship to a psychiatrist named Ikuma, portrayed by Daisuke Ban, who had disappeared after being excommunicated by his colleagues and peers), with designs on destroying her life. "Bâsudei" actually has two major climaxes, the theatrical production which spirals out of control when it should've been Sadako's finest hour on stage, and the discovery of where Ikuma had been hiding the alter ego, the lynch mob, behind an attack on our heroine, coming in contact, face-to-face with a fate worse than death. Potent finale, reiterating what I mentioned in the opening sentence of my user comment, as we witness Ikuma's decision to "end all of it" in regards to Sadako. The well, as always, returns, an ominous presence acknowledging an act of betrayal, a symbol of fear, which has fueled countless miseries, lives lost thanks in part to how it was used to get rid of a "bad seed."


This is a quite good and interesting prequel to the Japanese Ringu series. It perhaps its not necessarily good as a part of the Ringu series but as a stand alone movie it simply is a really great one.

This movie focuses on how Sadako becomes the murdering spirit. It sounds like a bad idea to give the 'monster' a face and a backdrop story and yes, this is perhaps also why "Ringu 0: Bâsudei" is perhaps not that great as a part of the Ringu series. This movie is also less horror like and orientated as any other movie out of the series and it focuses more on the dramatic aspects of the Sadako character. It's not her fault that she is the way she is and she actually is a cute and shy person. This sort of ruins the image of the evil Sadako spirit we know from the other Ringu movies. In that regard this movie suffers from the same problem as "Hannibal Rising". It gives the monster a face and because of that we loose some of our respect for the character and it ruins his original image. For instance I never saw Sadako as a young adult but more as a 12 year old child or so. In this movie she is presented as a young woman.

But like I said, it can't be denied that as a standalone movie this is simply a great one to watch. It's nicely directed with a good overall visual style and it has a good compelling story, that mixes drama with some more supernatural elements. You can see this movie as "Ringu" meets "Carrie", since this movie story- and character-wise definitely show some similarities to the Brian De Palma horror classic "Carrie", from 1976.

The movie doesn't always have a too fast pace and there is not always a lot happening within the movie. The first hour of the movie or so even feels quite redundant afterward. It isn't until very well halve way through that the movie starts to take off. It's also then that the movie its horror elements really start to kick in and the Sadako character starts to become the evil spirit we all know from the other Ringu movies. Not that the movie ever becomes truly scary but it has a nice eerie atmosphere that Japanese horror movies are so well known and liked for.

So all in all, as a part of the Ringu series this movie perhaps isn't that great but as a stand alone movie it simply is a very good one.

8/10


I liked Ringu 0 better than Rasen, it explained more about Sadako's history. Which you don't see too much of in any other "Ring" movies. It helped you build a person to person relationship with the character, rather then seeing her as a 'mean' abused child it portrays her as just an abused child. You sort of take pity on her through this movie, rather then thinking she's an evil spirit trying to raise hell. The actress who played Sadako was, what seemed to me, the only person that could play her. I felt they could've mixed in more suspense, and more thrills. That would have made for a better J-horror movie. It doesn't compare to the movies brought out by Tartan Asia Exteme. Such as Tale of Two Sisters, Phone, (Memento Mori, Whispering Corridors, Wishing Stairs) a trilogy, Premonition, H, Oldboy, and many others. If you enjoyed watching Rasen, Ringu 0, Ringu, and Ringu 2, you'll love the Tartan Asia Extreme movies. 'Phone' was my personal favorite, look at the acting of the little girl and you will see why.


The film fleshes out the back story of the Ring trilogies' demon / troubled soul, Sadako, (played by Yukie Nakama), following her attempts to join an acting troupe and at the same time cope with her troubled psyche and the events of her mysterious past that still engulf her.

The film itself has a fundamentally creepy atmosphere throughout but as with many prequels never really equals the original story, in this case never really delivering the same level of suspense, (although it does come close a couple of times), and failing to shock in the way the original did with Sadako being a silent Reagan, (The Exorcist), type character staring at you hatefully through a horrifically blood shot eye, peering through a nest of slimy, sinister, long black hair.

The prequel enriches Sadako's character with a somewhat moving back-story, showing her coming of age, discovering acting, which she also finds therapeutic and finding true love in the arms of Hiroshi Tôyama, (Seiichi Tanabe). This sees a lot of the scenes shot inside a theatre, which provides a suitably eerie backdrop for Sadako's doomed quest to lead a normal life and battle the demons of her past that lurk ever closer.

With regards to filling in the blanks left open in Ring and Ring 2, this film does very little, for we are already aware that Sadako was pushed to the bottom of the well by her step father, and only hints at the source of the true evil lurking inside her, without giving a clue of its origin or past. This could, arguably, be a good thing as it still leaves a veil of mystery over the first two films.

The actors do a reasonably good job throughout, with a special hats off to Seiichi Tanabe who conveyed the confused yet blindly in love hero Tôyama. Nakama brought a certain level of pity to the role of Sadako, a girl seemingly running away from the evil that surrounds and trying to do the right thing.

In conclusion Ring O does add depth to the trilogy and deepens rather then clarifies the mystery and in the same way to the recently released Starwars prequels, infuses the film's near one dimensional monster with a sense of depth, which serves to draw pity from it's audience. Over all not a bad prequel, which still leaves most of the questions unanswered, but whether you see that as a good or bad thing is up to you...