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As the legendary NYC-based rapper Homeboy Sandman spits on the track “So Strange,” “everything that’s showing is a sequel or a remake.” Indeed, this sentiment holds true. And in the case of 2020’s “The Grudge,” it’s a reboot of a remake. While it could have been a solid, 70s-style slow burn, it’s instead a shockingly boring, paint-by-the-numbers snooze fest that squanders its multi-talented ensemble cast.
Similar to its forefathers, “The Grudge” relays its narrative in a non-chronological manner that flows easily despite ample flashbacks. Live-in nurse Fiona Landers (Tara Westwood) leaves Tokyo in 2004, perturbed by an unknown happening inside. As Landers leaves, she witnesses what’s later revealed to be the ghost of Kayako Saeki (Junko Bailey). Fiona returns to her home in a rural Pennsylvania town where she lives on 44 Reyburn Drive. Unbeknownst to the Landers family of Fiona, husband Sam (David Lawrence Brown), and Daughter Melinda (Zoe Fish), the curse of Kayako comes in tow. Meanwhile, real estate agents Peter Spencer (John Cho) and his wife Nina (Betty Gilpin) discover that their unborn child has been diagnosed with ALD. Peter visits 44 Reyburn Drive to inquire about selling it, where he encounters a nasty surprise.
In the present, 2006, Detective Muldoon (Andrea Riseborough) relocates to the same small Pennsylvania town with her young son, Burke (John J. Hansen) after the death of her husband. Muldoon is paired with seasoned Detective Goodman (Demián Bichir). Muldoon and Goodman are summoned to the scene of a grisly car accident that occurred some years before where the corpse of assisted suicide specialist Lorna Moody (Jacki Weaver). In 2005, Moody visited the Mathesons, William (Frankie Faison) and Faith (Lin Shaye). Since Faith was dying of a terminal illness, William requested a consultation with Lorna. The Mathesons not so coincidentally resided at 44 Reyburn Drive.
Following up on Lorna’s body, and after discovering that Goodman believes 44 Reyburn to be haunted, Muldoon visits the house. There, she finds Faith along with William’s corpse. This leads Muldoon to uncover 44 Reyburn’s shadowy history, including the tragic downfall of Goodman’s previous partner, Det. Wilson (William Sadler), supposedly driven insane by the house.
“The Grudge,” though packed with potential, utterly fails. With producers Sam Raimi and Rob Tapert, of “The Evil Dead” acclaim, onboard plus an ensemble cast that includes Andrea Riseborough, Lin Shaye, John Cho, and William Sadler, it should be a masterpiece. The film predominantly relies on jump scares, of which it lacks both jumps and scares. Helpfully, on-screen cues remind the viewer of intended frightening moments. When characters in the movie appear terrified, it’s a telltale sign that we as audience members too should feel a similar emotion. Unfortunately, that’s not the case. Its jump scares are painfully telegraphed. So lacking in horror is “The Grudge” that you’ll, like me, begrudgingly sit in your seat as the final credits roll waiting patiently, hopefully, for some mildly frightening moment, perhaps a mid- or post-credits scene. Alas, there is none.
It’s not the box-ticking monotony of “The Grudge” which prevents the film from excelling. On the contrary, director Nicolas Pesce sticks to the basics like renowned director James Wan who crafts delightful yet straightforward and familiar 70s-style horror flicks. Instead, it’s the sheer boredom inspired by “The Grudge” with nary a scare in sight. I enjoyed the slower pace which was a throwback to classic 70s golden age horror such as “The Changeling” or “The Manitou.” Acting from the star-studded cast shines with Lin Shaye stealing every scene she’s in. Riseborough plays a likable character in Muldoon in spite of a barebones back story. There’s a comedic moment when Goodman babysits Blake at the police station, debating between putting on classic thriller “The French Connection,” or Eddie Murphy buddy cop comedy “48 Hrs.,” both fairly hard R-rated material. Goodman opts for “48 Hrs.” While I laughed, it’s a problem when there’s more comedy than terror in a supposed horror film. Technically, “The Grudge” is well-made, and it’s mildly entertaining if you completely shut your brain off. Tragically, the ensemble cast is completely squandered, and it’s predictable bordering on boring.
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