Rings. 2017. Directed by F. Javier Gutiérrez. Screenplay by Akiva Goldsman, Jacob Estes, & David Loucka.
Starring Matilda Anna Ingrid Lutz, Alex Roe, Johnny Galecki, Vincent D’Onofrio, Aimee Teegarden, Bonnie Morgan, Chuck Willis, Patrick Walker, Zach Roerig, & Laura Wiggins.
Macari-Edelstein/Parkes+MacDonald Image Nation/Vertigo Entertainment.
Rated PG-13. 102 minutes.
Disclaimer: This review will contain spoilers. If you want to go in fresh, and I suggest you do, then DO NOT READ THIS REVIEW! For thou will be spoiled.
To start, I’ve always loved both the original Ringu from Hideo Nakata and also Gore Verbinski’s remake The Ring. They’re equally disturbing and eerie, in their own rights. I was a lot less impressed with Nakata doing the sequel to the remake, The Ring Two, which I’d hoped would’ve been better. Nevertheless, I still enjoyed bits. Overall I love the mythology of the original story, how the remake handled it in his own way, and of course the first film from Nakata with its truly ghostly feeling. They’re each the type of horror that works its way under your skin until it’s inside you. Remember that first hideous, dead face in the closet in Verbinski’s film? I don’t even have to watch it again to picture it in my mind.
So, once Rings was announced, I actually – honestly – did not give a shit. Total honesty. A few days ago while I had the day to myself, I wandered into Cineplex and bought a ticket. Again, full disclosure: I wanted to see Split (which I will soon). Seeing as how there wasn’t a showtime soon enough for me, Rings got my money.
Although there are a few things I didn’t like – namely the last couple minutes with its reveal, and some issues I had concerning the time frame of certain events – there were a ton of other things I enjoyed, a hell of a lot. Never expected it, either. And maybe that helped. No matter what it was, part of the credit is certainly F. Javier Gutiérrez’s directing. Plus I was impressed by the writing team of Akiva Goldsman, Jacob Estes, and David Loucka, who managed to deliver a screenplay that, while faulty in spots, felt imaginative, Gothic, and paid tribute to the original story in a fresh way.
At first I felt like the opening was cheesy, as it’s the same plane scene we saw in promos recently. Then, as I sat in the theatre, it felt much more dreadful. Really pulse pounding, stressful stuff. Worked great on the big screen. This is an example of the writers bringing Samara (Bonnie Morgan) onto (and in through) the screen in intriguing ways. Later, perhaps my favourite appearance of Samara through a television screen happens as Julia (Matilda Anna Ingrid Lutz) hides in a bathroom – the victim tears a TV from the wall to try stopping the inevitable, and then Samara emerges as the screen lies flat on the floor, pushing her way out into the world (see: picture below). The opener and this scene alone gave us enough new, exciting appearances by the girl at the heart of the story that I feel Estes, Goldsman, and Loucka deserve a pat on the back. They could’ve focused totally on the story itself, the mythology, and left Samara’s television high jinks by the wayside, unoriginal, stale. They chose to try covering it all.
Brings me to another part of Rings I loved: the mythology opens up. The story takes us into a whole new era, literally. We bridge the gap between VHS and MPEG-4; the first interesting plot point. Johnny Galecki plays a professor named Gabriel. He ends up buying a VCR from a sale, and it winds up containing a stuck tape – you know which one! From there, this leads him into an existential search for answers after discovering, as Naomi Watts and others before him, that to survive you must make a copy of the tape, and the cycle continues. He begins a sort of secretive research project involving people watching the tape, then another person hours later watching the copy (a ‘tail’ as Gabriel calls it). Amazing setup for another chapter in The Ring‘s mythology.
That’s not all, though. A man named Burke (Vincent D’Onofrio) turns up later, and the town he lives in played a significant part in the life of Samara. It also holds the key to where she came from, before poor Brian Cox and his wife had their lives – and horses – destroyed by the little girl. This is where the Gothic feel of the story comes into play. This calls us back to that feeling Verbinski tapped into with The Ring, where the country-type settings return and the Gothic sense of secrets brimming under the surface of the town come alive once more. I won’t go on and spoil the twist they have in store, because I didn’t actually expect it, though maybe I should have according to some other, more snooty reviewers. Apart from the twist, there’s such a palpably eerie feeling that hovers like a fog over the last third of the film when Julia makes it to the little town where they discovered Samara’s bones are supposedly buried. This Gothic portion is another beautifully circular piece of the puzzle, as everything in the mythology of Samara seems to circle back in on itself.
I’ve also got to commend Matilda Anna Ingrid Lutz. Not that I have anything to compare this performance with, never having seen her act before, but she does good work here. Personally I love Naomi Watts, but Lutz does a far better job giving her character Julia depth, as opposed to a relatively flat performance from Watts in her role as Rachael (over two films no less). This girl Julia gets sucked into the world of the tape and Samara in whirlwind, in a much different situation than Rachael. Lutz’s is the best performance by far, a mixture of apprehension, fear, curiosity. This isn’t one of those run and scream roles, much more than that. And this young actress is someone I hope to see again soon.
Definitely not for everyone, Rings will probably only appeal, or mostly, to die hard fans of the first remake. It honestly may not even appeal to Ringu fans, though you never can tell. Despite any of that I feel that Gutiérrez (who did a fantastic film just under a decade ago called Before the Fall) did interesting things as director, and he crafted the compelling new story into a moody, Gothic piece.
Sure, if you watched only the initial half of the film you might feel there isn’t much for this sequel to stand on. There are a couple intriguing things going for it. The real fun doesn’t start until a little ways in, when the mythology not only creeps into the contemporary world of technology but also goes back to the original and expands further. And even though I actually did not like the last few minutes when we’re revealed something that could’ve been suspected earlier, I do dig the very contemporary take on social media that’s offered in those final moments (you’ll understand more if you’ve actually seen the film).
So I’d recommend any non-jaded horror fans who are willing to stop being so judgemental constantly and ready to have fun, plus fans of The Ring and particularly its Gothic-ness, check out Rings. Have some fun. I know I did. I’m not ready for another sequel or anything, I’m just glad Gutiérrez injected life into a sequel I never asked for or knew I wanted.