Genre: Supernatural Horror
review in one breath
Hold onto your bonnets boys and girls! Kayoko and Toshio are still holding a grudge toward anyone crossing their path in Shimizu Takashi's phenomenal sequel to the wildly popular Juon.
Just a word on the title before we begin. For some unknown reason, the subtitle Final has become associated with the theatrical version of Juon 2. The Japanese title does not contain anything regarding "final", and given the sheer popularity of this series (and this IS the 4th wildly received version) there would be no reason to explicitly declare this the last. (In related news, there are US versions in the making as we speak!) My guess is that the subtitle "Final" has been employed solely as a basis for differentiation by non-Japanese viewers between the TV and theatrical releases, both of which otherwise are simply known as Juon 2. The subtitle Gekijoban has also been applied here and there, but Gekijoban is simply Japanese for "Theatrical Release" and thus does not really serve as an intended subtitle. From all appearances, this film (like its TV predecessor) is named simply: Juon 2
Ju-On (2000 - Made for television)
Ju-On 2 (2000 - Made for television)
Ju-On (2002 - Theatrical release)
Ju-On 2 (2003 - Theatrical release)
Juon 2: Final certainly delivers some spine-tingling moments and fans of the croaking, slithering Kayoko and her creepy blue son Toshio will not be disappointed. In a few respects, Juon 2 is more polished than any of its three predecessors. The special effects are indeed better here though Shimizu has refined their minimalistic use. The temporal play between episodes (see below) has become more complex and compelling. Rather than the simple forward and backward jumps in time utilized by the prior three versions, the episodes and characters within Juon 2 intertwine in a much more complex and unnerving manner. In fact, there is some really bizarre and creepy time play going on here. I also felt the storyline itself was more polished here, lending greater dread to the cyclical "grudge" and the demonic methods through which it proliferates.
Certain terrifying elements from Juon are carried over to the sequel. The nerve-wrenching croaking which undoubtedly foretells the presence of trouble effectively permeates Juon 2. The creepy hair motif, which in the prequel often emerged from under doors or suddenly appeared over slumbering victims is back with a vengeance, so much so that Kayoko's hair could justifiably be listed in the credits as an independent cast member. Juon 2 also introduces a few new key motifs which appear throughout the various episodes. In the prequel, the epicenter of evil was undoubtedly the attic space above the Saeki's upstairs bedroom. In Juon 2, however, the attic is barely referenced (apart from a couple thumps) and our attention is continuously redirected to a dark stain on the Saeki bedroom floor where, we learn, Kayoko sat, tortured, tormented and berserk prior to (?) her death. The demonic stain of her dying and the ruts etched into the tatami mat by her bloodied fingertips repeatedly appear to various unfortunate characters throughout Juon 2. Its presence on your living room floor not only evidences the presence of evil, but functions as a sort of portal, leading to some VERY creepy scenes.
Juon 2: Final, like all of its predecessors, consists of six related "episodes", each named after a major character therein. In most, but not all, cases, the named character meets an unfortunate demise at some point within that episode. Juon 2 is structurally related to its prequel through its central use of the Saeki family's history and house in its storyline development. Apart from Kayoko and Toshio, there is no character overlap between Juon and Juon 2. An independent storyline involving the cast and crew of a television documentary using the Saeki house as a locale ties all of the episodes' characters together. (Trivia Time: The notion of a documentary cast and crew becoming cursed through its investigation into creepy phenomena is also the theme of a myriad of Japan B-Horror, including Rensa (The Cursed Video) and Kiku to Nowareru Tapu (The Cursed Cassette Tape).)
The following is a synopsis of the storyline overarching the six episodes. (For full description of each of the episodes, see below).
Following a tragic car accident resulting in a miscarriage and the debilitation of her fiance Masashi, Kyoko Harase (Noriko Sakai), a popular "Horror Queen" of Japan film begins work on a new horror production directed by Keisuke. The story is of a womanly ghoul haunting a high school (at least in the scene we see) who is discovered by a terrified team of high school girls. Two of the high school girls, Chiharu (Yui Ichikawa) and Hiromi, are merely "extras", excited to appear in their first production. When not on the set, Kyoko is tended to by Megumi, the make-up girl who is called to the various filming locations. Using the cast and resources of his current horror film, Keisuke initiates a second project involving a "cursed house". To promote the project Keisuke orchestrates an interview with "horror queen" Kyoko to be aired on a popular talk show. The interview is held at the Saeki house, which was the inspiration for Keisuke's project due to its being the site of a horrific murder/suicide and countless subsequent tragedies involving anyone related to the location. The interview with Kyoko is conducted by Tomoko throughout the course of one day, after which she returns home to meet her boyfriend Nori.
During the filming of the horror film and the documentary at the Saeki house, strange things begin to happen to our many characters. Kyoko suddenly finds that she is again pregnant, although this would seem to be impossible given her comatose fiance. This strange but happy news is quickly overshadowed by the sudden, mysterious death of Kyoko's mother. Elsewhere, Tomoko and her boyfriend Nori meet a grisly death in what appears to be a lovers' suicide, and the make-up girl Megumi has suddenly disappeared, only to reappear to Kyoko and Keisuke in a most disturbing manner. Chiharu, the high school extra, is being terrified by recurring vivid nightmares which soon overlap and overtake Reality. Keisuke soon realizes that these unfortunate souls all have exposure to the Saeki house in common, which can mean only one thing, both he and Kyoko are in grave danger of a similar fate.
This is an effective and creepy story which is certainly worth viewing. It is perhaps the strongest of all the Juon films and easily carries forward the dread and horror intended by the others. I would fully recommend this to any J-Horror fan.
The following are very detailed descriptions of each of the episodes and undoubtedly constitute spoilers. Reader beware.
The "grudge" to which the film title refers is explained with an opening paragraph which appears in all the Juon films:
- JU-ON: a curse born of a grudge held by someone who dies in the grip of powerful anger. It gathers in the places frequented by that person in life, working its spell on those who come into contact with it and thus creating itself anew.・/font>
The soon to be married Masashi and Kyoko are returning home from an evening out. As they drive the nearly deserted highway, they discuss, in sparring spousal fashion, their future and the fact that Kyoko is recently pregnant with their child. Exiting the highway onto a local street, they suddenly hear a large thump and Masashi stops the car, convinced he has hit something. Getting out of the car and walking back to the scene, he realizes he has completely obliterated a black cat. Leaning out of the car door and peering at the spot from under the car, Kyoko sees a pair of child's legs standing near the dead animal. Doing a double-take, the legs are gone and Masashi has arrived back at the car. Driving off, they sit quietly, until Kyoko, hearing a noise, looks down at the floorboard near Masashi's feet. There, crouched on the floor with both hands clinging to the steering wheel is a small ghostly boy who seems intent on steering the car himself. As Kyoko screams, Masashi catches view of the boy and cries aloud as he struggles with the boy for control over the direction of the speeding car. The boy prevails as the car veers off the road. Waking from the crash, Kyoko finds Masashi unconscious beside her. She then realizes that she is bleeding from stomach and she cries out in pain.
At the hospital, Kyoko, bandaged and dazed, is accompanied by her mother. Visiting Masashi's room, they meet his concerned parents who sob at the loss of Kyoko's unborn child. Through a large glass window, they can all see the comatose Masashi lying in bed. As Kyoko opens the door to enter his darkened room, she is confronted by the ghostly boy who quickly runs past her out of the room, but not before putting his hand squarely on her stomach. She panics, but is too weak to flee, and simply slumps against the door.
The scene suddenly shifts to Kyoko walking down a very dark and deserted school hallway. As curtains ominously blow in the breeze, she calls out for her teacher. Entering a dark room, she hears a low whispery voice angrily declare "It's your fault!". A group of high school girls suddenly burst into the room, apparently also searching for the missing teacher, and stand aghast as they see a white shadowy woman standing behind Kyoko. Apparently at the sight of the woman, one of the girls screams hysterically.
The director yells "Cut!" and the lights come on. We suddenly realize that we are watching the production of a horror film starring Kyoko and the high school girls. The other girls loudly complain to the one who screamed so loudly that it is inappropriate for a mere "extra" to improvise from the prescribed "standing aghast". But the girl isn't listening to the criticism and stands terrified, staring at Kyoko's stomach. It becomes apparent that she screamed not at the film's ghoul, but at the sight of Kyoko and the realization of something within her. As Kyoko begins to realize that the girl's fear is directed at her, the girl faints and drops to the floor.
Later in the week, during a hospital visit, the elderly doctor informs Kyoko that she is pregnant. Dazed at the seemingly impossible prospect, Kyoko returns home but decides not to tell her mother the news. While the mother is preparing dinner in the kitchen, Kyoko slowly walks up to her room and sits down. Closing her eyes, she falls asleep. When she awakes it is dark outside. She heads back downstairs and enters an empty kitchen. In the living room she finds her dinner prepared and laid out on the kotatsu (sheeted table). Walking closer, she sees her mother asleep on the floor with her legs under (the sheet of) the kotatsu. Closing a sliding door from which a cool breeze is blowing in, Kyoko urges her mother to go to bed lest she catch cold. The mother does not respond, apparently deep in sleep. As Kyoko shakes her mother, it becomes apparent that she is not merely sleeping. Shaking her more vigorously, Kyoko spots the blue ghostly boy under the kotatsu clinging onto her mother's legs. Screaming, she tries even harder to wake her mother who lays unresponsive on the floor.
Tomoko Miura, TV journalist and personality, is in her small apartment working late on the script for a documentary show about a series of accidents involving a house. As she repeats the sentences to herself, she hears a series of loud thumping on the wall of her room. The thumping is quite loud and their impact suddenly knocks a cup of tea over, spilling its contents onto the script. The sounds are all the more strange since she lives in an end apartment and there is no adjoining unit on the other side of the wall.
The next day at the office Tomoko meets up with Megumi who works on various productions in an array of responsibilities. They discuss the upcoming talk show's guest line-up, and note that they will be interviewing Kyoko Harase, the popular actress in the horror genre. As they are talking, the show's producer, Keisuke overhears Megumi's interest in horror and in particular Kyoko's work, and assigns her to work on the upcoming interview with Tomoko and Kyoko.
Arriving home after work, Tomoko enters her apartment and senses that her boyfriend Nori is already there. From the entrance way, she looks into the darkened living room and clearly sees his figure quietly standing there. Looking down, however, she sees that his shoes are not left at the doorstep and realizes that he is not there. (See how unthinkable it is to wear your shoes inside a Japanese household?) Doing a double-take back at the living room, she now sees that it is empty. The door bell suddenly rings, and Nori calls for her to open the door. He is glad to see her, but she is clearly unnerved by her experience.
As Nori and Tomoko sit in the living room, she explains the strange thumps she has regularly heard around 12:30am each evening. Nori jokes incessantly as 12:30am approaches, until, that is, the loud thumps begin again. Tomoko notes that the time is exactly 12:27am. The thumps are undeniable and literally shake the walls. Nori nervously marvels at the phenomena, noting that there is no unit on the other side of the wall.
The next day, Tomoko and Kyoko are riding together in a van to the location of the interview. While Tomoko practices her lines, we see that someone is trying to call her cell phone. It is Nori. He begins to leave a message telling her that he will be swinging by her place early tonight. As he speaks into the phone, a low croaking noise gradually grows louder and more disturbing, until the phone suddenly goes dead.
Entering Tomoko's apartment, he sees that the lights are on. From the entrance way, he looks into the living room and sees Tomoko sitting against a wall staring toward the ceiling. He laughs and is surprised that she is home already but she sits motionless, not responding to his conversation. His cell phone suddenly rings. Answering it he hears Tomoko on the other end. They try to talk, but a croaking noise disrupts their call. Realizing the impossibility of Tomoko being there in the apartment with him, he suddenly finds himself standing in a dark and empty apartment. Walking slowly into the living room he cautiously investigates what he thought he had seen. As he stands in the middle of the room looking around, long black hair slowly descends from the ceiling behind him. Sensing something, he slowly turns around, only to look straight into the face belonging to that hair, screaming.
Arriving home, Tomoko finds Nori's shoes in the entranceway. From there she looks into the living room and sees Nori apparently standing there in the darkened living room in a pose she recalls from her previous eery experience. Entering the living room and turning on the light, she finds Nori dead, hung from the neck by a large rope of black hair. As she looks up to the ceiling, she finds it covered in a thick web of black hair. Screaming, she falls to the floor against a wall, staring up at the ceiling, in the exact pose Nori had seen earlier. She sees ghostly Toshio pushing Nori's feet like a swing, causing Nori to swing back and forth from the ceiling. His swinging feet knock over a cup on Tomoko's table, causing her flashbacks of the mysteriously spilled cup days earlier. As Nori swings more violently, his feet begin hitting against the wall, causing the same thumping noise they had both heard earlier. As she sits in horror and disbelief, a rope of black hair descends behind her and she turns to look squarely into the face of Kayoko. The hair quickly fastens around her neck and raises her to the ceiling, hanging her. As her body becomes lifeless, she also swings violently from the ceiling, feet striking the wall causing that familiar thumping noise. The clock shows that it is 12:27 am.
At the Saeki house, Kyoko is being prepared for her interview with Tomoko. While film crew member Megumi helps Kyoko with her make-up and hair in THE upstairs bedroom, Tomoko is outside with the camera and sound crew shooting the introductory scenes to the interview. There they recount the history of the Saeki house and film its exterior. Waiting for the interview to begin, Megumi and Kyoko discuss the house and the bad things that have happened there. As they leave the room, Megumi cannot help but notice the large, horrible stain on the floor. The interview begins upstairs, and as they descend the stairs, Tomoko interviews Kyoko, asking specifically if she feels any "horror vibes" from the house. As Kyoko tries to scrounge up some kind of answer (since she doesn't feel any bad vibes) the sound guy suddenly lets out a scream, scaring the entire team. He apologizes and explains that he heard something strange on the recording. They all laugh at his being easily frightened and take a lunch break.
As they sit in the back yard, Megumi and Kyoko sit at the step of the sliding glass door leading into the living room. As they talk casually, Megumi confesses that she strongly suspects Kyoko is pregnant. Kyoko shyly admits she is and they smile at each other at sharing the news. When Megumi is called over to the larger group sitting in the middle of the yard, we can see into the living room behind the seated Kyoko. Inside, a shadowy scene of a mother and her son, who we recognize as Kayoko and Toshio, appears. From all appearances they are a normal mother and son, as she prepares lunch for him at the table and he scurries into the room with his paper and crayons. As the shadowy drama plays out behind the unaware Kayoko, she inadvertently kicks over her glass of water causing enough of a disturbance to catch the attention of the little boy, who sees her and approaches, standing immediately behind Kyoko. Though Megumi glances her way at this moment, she sees nothing out of the ordinary.
After a long day's shoot and well after dark, the crew packs up to leave. Standing outside the Saeki house, Tomoko tries to call Nori on his cell phone but is only able to briefly talk to him before her connection is suddenly cut off. Before Keisuke the producer locks up the house, Megumi realizes she has forgotten a make-up bag in the upstairs bedroom, and runs back into the darkened house and upstairs. The bedroom is very dark, but she locates the bag. Before leaving the room, she is compelled to stop and look at the dark stain on the floor. Meanwhile, downstairs, Keisuke is taking one last look through the house and discovers a tattered journal. Flipping through the pages, he realizes that it belonged to the former occupants and quickly throws the book down. As Megumi comes quickly down the stairs and runs outside without saying anything, Keisuke locks up the house. From within we here a slithering sound as if something has been awakened.
As the crew arrives back at the office, they begin the day's last responsibilities. Keisuke heads to the production booth to review the day's film and audio. As he dozes off while reviewing everything, the film of the stairway interview displays and the audio clearly captures a strange croaking noise. In the film, the shadowy images of both Kayoko and Toshio can be seen standing behind Tomoko and Kyoko. By the time Keisuke wakes, the haunting images and sounds have passed. Meanwhile, Megumi has gone to the make-up room and begins to prepare the make-up and wigs for the following day's film shoot. As she kneels and combs through a long line of black wigs, she senses something, and stands to investigate. As she rises, one of the wigs suddenly flops on the floor. She picks the wig up and cautiously moves toward the curtained side room where she heard the noise. Inside the small dark room, she sees a large dark stain on the floor. As she kneels to touch the oozing stain, the wig in her hand suddenly jerks wildly as if alive. She screams and throws the wig as she falls back against the wall. She watches in horror as the wig slowly begins moving toward her. She watches hysterically and her fingers scratch against the floor. She is suddenly catapulted to Saeki's upstairs bedroom where she can see the tormented and monstrously bloodied Kayoko sitting on the spot of the darkened stain as her bloodied fingers dig ruts into the tatami. When Megumi wakes from the vision, she finds herself similarly covered in blood. The wig before her slowly transforms into a hideously creepy Kayoko who slithers ever closer to the screaming Megumi.
Kyoko sits at home at the kotatsu, looking at the memorabilia from her mother's recent funeral. In her hand she holds an "Omamori", a small pouch containing a prayer invoking her mother's protection. Exhausted, Kyoko lays her head on the kotatsu and out of the corner of her eye sees her mother also laying in the same spot she died. Kyoko reaches out to her, but she has vanished.
The next day Kyoko visits the still comatose Masashi at the hospital. There she meets up with his mother and they sit sadly in the room wondering if he will ever wake. As she stands by his bed, she accidentally drops her omamori. As she reaches down to pick it up, Masashi's hand suddenly grabs and will not release her arm. Having awakened from his coma, Kyoko and his mother take Masashi up to the roof for some fresh air. Although he is capable of sitting and being transported in a wheel chair, he remains speechless and has a consistently blank look on his face. Kyoko quietly informs him that their unborn child had died in the crash, but that there is still some hope. Saying that, she puts his hand on her stomach, over the mysterious new pregnancy. At this, Masashi begins to shake and convulse wildly.
Keisuke shows up at the hospital to talk with Kyoko. He tells her of the apparent "lovers' suicide" of Tomoko and Nori, and the sudden disappearance of Megumi. Members of his film crew have also had unfortunate experiences. Keisuke tells her that he suspects that he has brought about all of this by making everyone enter the Saeki house. He wants her to be informed and cautious, but when she tells him that her mother had recently died of sudden and mysterious causes, they realize that the curse may have already passed onto them. Driving her home, Keisuke drops Kyoko off at her door and is about to drive off when he hears Kyoko gasp from the yard. She sees the dark figure of Megumi on her doorstep. As Keisuke comes running up, they both watch as Megumi opens the door and walks inside. As she turns to close the door, they see her dark sunken eyes set against a gray complexion. When they try to follow her, they find the door locked. Inside, they look through the darkened house, calling out for her. Once in the living room, Keisuke sees Megumi. She holds out to him a small book. As he turns on the light, he is startled when she is suddenly standing directly in front of him, and he falls backwards over the kotatsu and onto the floor. Megumi suddenly disappears and the book drops to the floor. When Kyoko enters the room, she picks up the book. Keisuke recognizes it as the journal he saw in the Saeki house.
Keisuke and Kyoko head back to the office and go through the files he has accumulated on the Saeki house. They are able to match the name of Kayoko (Saeki) with the name on the journal. Looking further, Kyoko finds a picture of Toshio Saeki and realizes that this is the ghostly boy she has repeatedly seen. After taking Kyoko home, Keisuke returns to the office and begins looking into the journal. After photocopying some of the pages, he sits down and begins taking notes. The copier suddenly comes on of its own accord and begins copying. At first, the copies are all black, but slowly, one by one, from the black copies emerge the ghostly face of a woman. Quickly shutting off the copier, Keisuke gathers his notes and quickly prepares to leave the room. Hearing a strange noise behind him, he turns, but fails to see a large ghostly face peering at him, and he hurries out.
At home, Kyoko dozes off at the kotatsu. As she sleeps, we see on the living room floor the large dark stain. Slowly from within the stain, the ghostly head of Megumi emerges as she climbs out of the spot. Her white bloodied hand reaches over the kotatsu toward the sleeping Kyoko. In the background we see another ghostly shape arise, that of Kyoko's mother. As Megumi's hand is within inches on Kyoko, her mother quickly grabs Kyoko's arm and calls out her name, wakening her. Looking around, Kyoko sees nothing in the room except a large stain on the floor.
The next day Kyoko returns to the Saeki house. Finding the front door locked, she enters through the back. As she walks toward the staircase, she hears a high school girl screaming for help. She is screaming to her friend Hiromi to open the door and help her. From the hallway, Kyoko can see the girl hysterically trying to get out the front door. Then between herself and the girl, she sees the monstrous Kayoko slithering down the foot of the stairs and toward the girl. At the sight of Kayoko, the girl screams in terror, and the fetus inside Kyoko convulses wildly. Kyoko screams in fear and pain.
In what seems to be an nightmarish dream state, we are led through the streets of Tokyo and into the Saeki house where the high school girl Chiharu suddenly finds herself in the upstairs hallway. As she stands there, the bedroom door opens and she slowly ventures into the darkened room. As she looks down at the large stain on the floor, a large thump comes from the attic overhead followed by a slithering noise. She momentarily sees a ghostly boy standing in the hallway doorway, but is distracted by the large thump now coming from the closet. She flees the room, hearing Toshio's footsteps running away from her down the hall.
Chiharu suddenly wakes from her nightmare in a sweat. Laying down again, she immediately finds herself at the point in the nightmare where she left off. She is running down the stairwell. Reaching the front door, she finds it locked. As she frantically tries to open the door, the croaking, slithering Kayaoko can be seen slowly descending the stairs toward her. She screams for help and again wakes up from her nightmare. She is now on the bus with her friend Hiromi on their way to the production studio to participate as "extras" in an upcoming horror film.
At the production studio, Chiharu, Hiromi and the other girls come running into the room on que. When Chiharu sees the star, Kyoko there, she screams hysterically. In front of Kyoko, Chiharu can see the small ghostly boy standing with his hand on Kyoko's stomach. As she screams, she suddenly finds herself back in the Saeki house pounding on the door to get out. Behind her the croaking, slithering Kayoko is getting ever closer. The door finally opens partially and Hiromi and Chiharu can see eachother from opposites sides. In a panic, Chiharu reaches out and tries to grab Hiromi's collar, but only gets her necklace which is ripped from her neck.
Chiharu is suddenly jolted awake and finds herself sitted on the bus beside the worried Hiromi and crew. They are relieved that she has finally wakened from her unexplained faint. As Chiharu looks down, she sees that she is still holding the necklace she tore from Hiromi's neck. Hiromi, however, is still wearing the necklace around her neck. Chiharu flees the bus, imploring Hiromi not to follow her. Running into a restroom stall and shutting the door behind her, her environment flashes back and forth from the Saeki house to the stall. Looking up toward the stall's ceiling, she sees the ghostly Kayoko perched there looking directly into her eyes. Fleeing the stall, Chiharu runs down the sidewalk but stumbles and falls over a little boy playing with a ball. From the ground she watches as the boy's rolling ball turns into the head of the ghostly boy, which rests looking squarely at her. Jumping to her feet, she begins running, but stops when she hears Hiromi screaming her name. She turns around and sees Hiromi bent over the fallen body of Chiharu (herself). Beside the body is kneeling the small ghostly blue boy. Chiharu runs toward Hiromi to catch her attention and let her know she isn't dead. Putting her hand on Hiromi's shoulder, Hiromi senses a presence but turns to see nothing. She then returns to her attempts to wake the fallen Chiharu. Chiharu stands there looking as Toshio's arm hangs slumped over her shoulder.
Back inside the Saeki house, Chiharu and Hiromi look at each other from opposite sides of the door. Chiharu suddenly stops crying and they both look down to see Kayoko clinging to Chiharu's legs as the door slams violently shut. As she sits over the fallen Chiharu, Hiromi is jarred as if she had just recollected an elusive memory. Looking down, she sees her necklace in Chiharu's hand.
Keisuke returns to the Saeki house and hears girls screaming as he approaches. As he enters the yards, he sees the door violently slam shut as Hiromi stands there in shock. As Hiromi runs past him away from the house, he approaches the door. Entering the darkened house, he finds Kyoko slumped in the hallway, fainted. Besides her is the dropped omamori. He transports her to the hospital where she is now in great pain and apparently going into premature labor. As she is wheeled past him in the hall, he presses the omamori into her hand. Once inside the treatment room, the medical staff prepare for her delivery. What they see emerging from her birth canal, however, causes them to scream in terror. What initially sounds like the cry of a newborn slowly turns into a more violent and persistent scream. As the lights in the room flicker and the screams increase, one by one the medical staff drop dead.
Hearing the noise from the hallway, Keisuke enters the delivery room and stumbles over the dead bodies on the floor. He hears the faint cry of an infant coming from the table between the fainted Kyoko's legs, and peers over. As he investigates, the small cries gradually turn into the deep croaking. At the sight, he drops to the floor in terror. A full grown woman's arm and head are emerging from Kyoko. As he watches in horror, the slithering body of Kayoko jerkily emerges from Kyoko. As she slithers on the floor toward Keisuke, he screams in terror.
Kyoko awakes and finds herself in a darkened and abandoned delivery room. She can hear a faint cry from the floor. There she sees a small bundle of bloodied sheet. She picks up the crying bundle and holds it tenderly to her cheek.
A few years have passed. an expressionless and zombie-like Kyoko walks along an overpass bridge with her small daughter. The young girl is carrying a tattered journal, but drops it to watch the train speed underneath the overpass. Kyoko methodically picks up the journal and stands at the top of the stairs holding out her hand as the young daughter returns. Rather than hold her mother's hand, the small girl violently pushes Kyoko down the stairs. From under the long black hair covering her face, the little girl peers out with an chillingly evil look in her EYE. She descends the stairs and stands over the crumpled body of her mother. As she bends to pick up the journal, Kyoko slowly opens her eyes and smiles sweetly at the little girl. The girl's ghostly eyes do not soften as Kyoko's body slowly goes lifeless. The little girl turns and walks away, carrying her journal into the crowd of bystanders now looking at Kyoko's broken and bloodied body.
|The theatrical sequel to JUON! Bigger, Better, Scarier!||One splattered cat. A little car wreck carnage. Two deaths by hairy hanging. And the undoubted agony of Kyoko's giving birth to a full grown woman! (Youch!)||No sex, nudity or skin. Well, maybe some blue or grey skin...||Definitely one to see. The twists in chronology here are really bizarre and the overall creepy factor is very high. Check it out!|