Will the next terror-minded remake involve a possessed telegraph machine or a grudge-minded ox and cart? Neither option could be any lamer than the shock-free Shutter.
If Shutter is any indication, the reputation of professional photographers is still on the wane. Not only are photographs creepy, the film suggests, but so are photographers.
A blandly cast and crafted remake of the same-titled 2004 Thai pic that itself emulated J-horror norms, which seemed a lot fresher back then. Low on real scares, atmosphere and character.
Asian horror remakes are typically not screened for critics, and Shutter is no exception. The studios know what they have: watered-down, lifeless shells of motion pictures devoid of characters, drama, or anything remotely resembling horror.
Strictly perfunctory in its concept and execution, Shutter presents the usual series of spooky images of a deadpan female ghost showing up at odd times and moving in the slow, jerky movements that are de rigueur for the genre.
Shutter the latest photographic enlargement of an Asian horror picture, is clearer and sharper than many of its predecessors, but even the most expert re-touching cannot obscure the fact that we have seen it all before.
paramenei eksisoy, an ohi kai perissotero flyaro ap' tin pigi tis empneysis toy. Apo tin opoia krata episis to megethos ton logikon almaton, oksynontas ta opoy mporei gia na klepsei merikes eykoles fantezi tromares, eno kseperna to prototypo sto epipono t