© 2019 “Sadako” Film Partner
With sequels, prequels, remakes, TV series, and even a crossover film where she was pitted against her fellow Scream Queen, Kayako from The Grudge franchise, Sadako has now graced over 11 feature films in one way or another since the 1998 classic. That’s quite a stretch considering the simple premise: the spirit of a young psychic girl creates eerie videos that kill the viewer a week after watching. The original Ringu hit at the perfect time. It was the early days of the internet, mobile phones, and before social media. It meant the way in which the urban legend travelled and evolved was slower and more sinister. Much like the film itself. In an attempt to bring back the magic of the original feature, Hideo Nakata, returns to the directing chair. Despite creating a couple of J-Horror classics, both based on the writing of Koji Suzuki, Nakata has also served up forgettable and run-of-the-mill features too, most recently The Complex and Ghost Theater, not to mention the confusing and tepid sequel to the American remake.
Thankfully Nakata returns and makes this the most satisfying of the sequels to date. There’s a general sense of dread that echoes through the entire film, much like there was in the original. It starts with a young girl (Himeka Himejima), locked in a closet as her mother attempts to burn her to death. This goes poorly for the mother as the young girl escapes and soon finds herself in hospital under the care of Mayu Akikawa (Elaiza Ikeda). As our protagonist, Mayu is soon the centre point for all the Sadako related activity. Her brother, Kazuma (Hiroya Shimizu), is an internet vlogger who makes kid friendly prank content, but decides to boost his ratings by including spookier material. While another of her patients begins to get too familiar.
Mayu is the perfect character for us to experience the tale through. She has a thoughtful head on her shoulders, while also being constantly barraged by emotions. Ikeda reaches a good balance of emotional empathy, as well as being strong enough to uncover the mysteries. The curse is given less focus here, meaning Mayu’s actions seem to come from a place of genuine warmth as she tries to help all those that need it.
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Nakata once again plays on the fear of technology, and subtly comments on how it shapes society. Kazuma is likable in character, but unlikable in his desperation to be popular. Parallels can surely be drawn to YouTuber Logan Paul’s real life visit to a notorious Japanese suicide spot when Kazuma enters a condemned, burnt down building. What the vlogger thinks will be a bit of harmless morbid curiosity, soon turns dark and disturbing. Kazuma has set his education aside for likes and subscribers, and yet Shimizu finds the heart and drive of the character. Despite this, Nakata never dwells on the obsession with smartphones or instant gratification in terms of media consumption. Instead honing in on crafting his atmosphere.
Nakata delves into the terror that made his original so successful. A slow build, quiet and lingering scenes, and jarring payoffs. At the halfway point he returns to the original’s shocking climax with a new take, and shows he can still squeeze fear from even his most recognisable set pieces. Elsewhere there are creepy children, weird talismans, and even ghostly apparitions in broad daylight. Himejima uses her expressive face to instil chills, when not playing the victim. One scene sees her take on a number of bullies in the hospital with satisfying results.
Although a worthy addition to the franchise, and one that hits all the right beats as well as expanding on the lore, the overall tale is a tad too familiar. It may have been a way to express the isolation of the characters, but we’ve come a long way since 1998 and yet the procedural aspects of the film make you wonder if this is taking part in present day. It starts to raise a lot of questions in regards to plot holes that eventually gnaw away at the enjoyment.
Sadako certainly gets the franchise back on track after some cheesy hokum in the last three Japanese instalments, but it could have done with making a sudden u-turn or two. Comfortable and familiar, the atmosphere will keep you enthralled, as well as keeping away from wells and televisions for a while.
Sadako was reviewed at the 2019 Fantasia Festival.
