The popular perception of the Japanese horror, or J-Horor, can be limited to "ring" and "Ju-on: nucle", but there are more on this thematically rich genre. A lasting image of Sadako crawls outside the television screen is preceded by decades of Macababe folk tales, supernatural myths and aspects of horror, drawn from the traditional Kabuki Theater. One of the earliest examples of J-Horror is Kaneto Shindo's film in 1964 "Onibaba", A story of fear and betrayal set against the background of the civil war. At other times, these horror stories dive into deep surreal waters, such as Nobuhiko Obajashi's Hausu's house, which has gained cult status over the years as a result of its inventive image.

Quickly forward to the post-"Ringo" world, Takashi Mike made a "missed call", which has a direct horror plot that revolves around strange mobile phone messages. For those who are not familiar with the brand of Mikik's film, director "Audition" and "The killer" undermines expectations by bringing Diy to everything he does. His approach to the conventional J-Horror conspiracy in "One Last Call" was no different, where He takes the time -tested tropes and tightens them to extreme thematic eccentricities. While a hit-or-versatile approach from a commercial point of view, it works as narrative challenging conventions for horror, with the director's singular vision screaming every frightening term.

Saying this, this J-Horor in 2003 is still another of Mike's weakest works, as he just repackages the myth of a curse into something mildly intriguing. However, nothing Will prepare you for a 2008 movie remake - also titled "One Last Call" - which is so terribly empty that Sports shameful 0% on rotten tomatoes.

Eric Wallet's "one missed call" preserves the basic premise of Mike's original (which is based on the novel "Jakushin Ari"), in which the curse is passed around, leading to several deaths. The transmission method is a phone call or voicemail from the future, stating the time of the subject's death, along with a eerie message. This is certainly an over -trophy, especially after Ringu's Hollywood remake in 2002Popularizing a truly frightening interpretation of contagious curse has gone through electronic devices.

Although this altered premise was to work (definitely worked for Miker), Valet's remake lacks the originality needed to reconsider the stagnant genres of genres from fresh perspective. The fact that none of the performances manages to drag you out of this shiny restriction certainly does not help. For example, Beth Sosamam is undergoing absolute hell within a few weeks, with half of her friends dead because of the voicemail curse. But Beth appears motionless even when the film wants to think it is sprayed or terrified and does not respond when things continue to get out of hand. Boring performances aside, any attempt at social comments - such as our overwhelming state of phones, which often act as an identity agent - falls flat without depth or shade to take it.

Of course, this may not be the worst horror movie ever, but its emptiness feels a little awkward, especially when it is contrary to the spiritual version of Mike. One is the film to be boring; Another one is shameless to tear better, larger titles of genres (such as the haunting techno-chorus "Pulse" on Kijoshi Kurosawa) and still fail to have fun.