Pulse (Kairo)

An almost ingenious combination of horror and apocalyptic depression that not only made me unable to look at my moldy wall with detachment anymore, but even made me take a moment while watching to think of something other than the ways I’d like to shag all the female characters in the film. God, I can never go to Japan. Anyway, I was worried that over the course of two hours Pulse would soon run out of things to say, but information was still being doled out, albeit over and over again, since the most important monologue takes place halfway through the film, thus depriving you of any subsequent catharsis (the apocalypse in the last act is sort of an afterthought), which is also pretty much the fault of the characters, who with all due respect, you don't care about because a) they're morons, b) they're poorly acted, and c) the film pretty much neglects them, mixes them up, and generally makes it clear that it kind of couldn't care less about them. Formally (apart from the terrible special effects), Pulse is exceedingly accomplished, the creaking bows in the background, the rotten panning camera and the relentless editing really gave me a hard time in some scenes. Plus, the film doesn't stoop to any stupid jump scares and lets all the supernatural stuff appear in an orderly fashion, which is pretty darn unnerving. I love how Japanese horror filmmakers immediately react to new technology by incorporating the farts of the deceased and reminiscing with a smile about the days when they had to make do with a window and a mirror. (12.05.2023)

The privilege of the film is that it plays with ghosts in a new, slightly different way, that it does not take them so lightly as Japanese cinema offers. The creator played with it, wanting to bring something slightly new and thoughtful. Still, the pace is sometimes really deadly, and the fact that there is not much happening here can put you to sleep. You won't then enjoy some truly interesting scenes that should grab your attention. (11.11.2013)