A Lot or a Little?
What you will—and won't—find in this movie.
Sydney's fears inspire derision from her conductor/mentor and argument from her therapist. But she's a plucky girl and is determined to solve her own problem when the men refuse.
Violence & Scariness
Sydney is haunted by a number of distorted, scary, and injured-looking ghosts. Violence -- occurring in visions, memories, and real time -- includes an assault in a coffee shop, a car that hits a woman, a car that hits a gas truck (big explosion), a fire in a factory that leaves workers trapped and screaming, suicides (falling out a window, hanging), smashing windows with arms (one left bloody), and a creepy "Shadowman" who escorts souls to death (he looks mean and roars at Sydney). Montages are especially aggressive, with slamming images of harrowing situations (fires, agonies, bleeding eyes); tense scenes show Sydney walking through shadowy hallways, pursued by creatures/ghosts or unable to see clearly.
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Sex, Romance & Nudity
Sydney appears nude (from the shoulders up) in the shower through a blurry glass door, with an arm covering her breasts. She wears a cleavage-revealing gown at film's end.
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One use each of "hell" and "ass."
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Products & Purchases
Drinking, Drugs & Smoking
Sydney drinks sherry the night before her surgery.
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Parents Need to Know
Parents need to know that this creepy horror film (which stars teen favorite Jessica Alba) features many suspenseful scenes full of ghosts, dead people, and shadows; these sequences are made scarier by the way the camera emulates Sydney's blurry vision. Violence includes explosions and fires in which people are burned. A brief scene shows Alba in the shower from the shoulders up, with her arm covering her breasts; another angle shows her crouched figure through a blurry door. Language is unusually mild for a PG-13 film. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.
Is It Any Good?
Yet another remake of a popular Asian horror film (2002's Gin gwai), THE EYE is long on smart camerawork, short on intelligent dialogue, and undone by a finale that's more hectic than ironic. After the action moves to Mexico, the film lurches from a particular type of spooky flick (shadows and blurs, fear of the unknown) into something more banal: a cautionary tale about crossing the border. The self-involved, privileged Sydney pays scant attention to the violence and poverty that make up life in the pueblo, convinced that her salvation, her reclamation of her life, is the most important thing.
The film's visual tricks are plainly indebted to the Hong Kong original, full of effectively distorted figures and shadowed hallways. But once the line is clearly drawn between subjective and objective worlds, the film pretty much collapses.
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Our Editors Recommend
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