Shimizu does have in his corner, some truly eerie sequences that really did manage to garner a shudder here and there. Aside from the goofy attempt to downplay Arielle Kebbel’s utter sex appeal, Kebbel pulls in a competent performance paired with some rather morbid effects including one strobe effect involving Kayako and exploding lights, and a pretty creepy dream sequence. The tension in there, there’s no doubt about that, and in fleeting moments it works. And when the story does actually manage to get desperate, it begins to connect the three sub-plots rather anxiously, thus we have two utterly under developed pointless arcs, while one is created to serve as nothing more than a blatant preamble to the third film which will likely be set in an apartment building.
“The Grudge 2” is nothing but set-up and random scares in an utterly disjointed sequence without any payoff. I sat there the entire time wondering “Where is it all leading to?” and I never received an answer. The entire film leads to nothing. Literally nothing. And “The Grudge 2” simply isn’t a sequel you’ll remember an hour after finishing. In spite of some moments of genuine tension and visuals, Shimizu’s entry into a pretty awful franchise is disjointed, weak, and void of any sense of logic, or purpose. It’s a random series of attempted frights that fails at every turn.
"The Maze Runner." The production had to hire snake wranglers to make sure the areas where they were filming were snake free. Before filming began the wranglers found 25 venomous snakes. The biggest one they found was a 5 foot rattlesnake.
The neurologist character mentioned above, which is also the director and co-writer, seemed to conclude there’s naturally no way around thinking like your general gender and male/female brains are indeed different, but the couples in each story did appear to exhibit reversed gender roles at times (the female wanting sex but the male refusing, the female wanting to be independent, the male being the emotional one), so I’m not exactly sure what to take from this.