Shutter

Shifting the location to Tokyo and setting Caucasian stars against a Japanese ghost (the original features all Thai characters) changes the movie's haunting dynamic. On one level it's yet another instance of a white woman stalked by a vengeful Asian ghost. But on another, as Jane comes to understand the reasons for Megumi's anger, the women realize a shared grievance premised on gender imbalance and sexual abuses. It's hardly revolutionary for a scary movie to have a Caucasian woman wandering frightened through Tokyo, harassed by some supernatural phenomenon. But Shutter is almost perversely upfront in connecting privileged, self-justifying Caucasian men with the problem at its core.

And yet, despite this potential complexity, the movie lapses repeatedly into tired conventions. The "scares" are bloody but not very clever, the plot increasingly silly. In part this is a function of lapses in the script, as explanatory scenes pop up in strange places and a voiceover fills in for scenes missing altogether. Jane's plucky resilience makes her sympathetic, and when at last she literally leaves the movie before its end, you admire her sudden good judgment and wish her well.