|
There are some genuine moments of fright here that Shimizu manages to
ace perfectly. The murders of the hotel denizens are often disturbing
when replayed in a constant loop throughout the film. And the sight of
the hotel victims playing their roles and being killed in their order
make for some rather disturbing visuals. One of the best scenes involves
the character Yuka in a library, as well as the utterly disturbing
events involving the lingering doll in the story. Shimizu pulls these
devices off with enough impact to warrant a shiver or two.
From minute one I could feel a sense of
anticipation come over me. “ReIncarnation” possessed so much potential,
and yet it was so damn ill-conceived. By the hour mark, I felt a sense
of impatience come over me, and I just couldn’t stop muttering “Get to
the fucking point!” Out of all of the “8 Films to Die for,” Shimizu’s
supernatural thriller is the film with the most advantages in its
corner, and without any of the delivery. Take a mass murder, pair it
with a film crew re-staging the murders, and you basically have a
mystery that’s solved in over an hour that persists in beating us over
the head with its resolution for a half hour.
|
We get it, we get it, now can just get to
the pay off? Shimizu’s film suffers from poor pacing that
can never seem to decide what to do with the concept. Is it
a ghost film, a film about spirituality, a film about
avenging spirits, or a whole other plain of existence? And
did the last frame of film make the slightest bit of sense?
Did Nagisa actually know she was being possessed or, was she
possessed at all? Was she supposed to kill again in this
reincarnated form? |
|
 |
I couldn’t find out, regardless of how much
I tried, and Shimizu never makes a case of clarifying anything.
Sure, some things are better left for the
imagination, but there’s also pure incoherence, something in which
“ReIncarnation” seems to strive for. While Shimizu is no slouch in the
tension department, the story really doesn’t seem to make too much sense
before the premature surprise plot twist, and then it just drags on for
as long as humanly possible. And it never did quite get to the point.
In spite of some genuine tension present, Shimizu's supernatural
thriller is an often flat lagging mystery, with a resolution that comes
much too early, and then it just overstays its welcome. It's just
another Asian thriller that I'll forget two weeks from now.
|