Having previously directed four variations on his patented vengeful ghost storyline in his native Japan, director Takashi Shimizu brings his lucrative horror franchise stateside with this remake of 2003's Ju-on: The Grudge. Though likely to be more frightening to American audiences unfamiliar with the conventions of Japanese horror than those who have basked in the dread of the slow-moving, dark-haired female ghosts that have seemingly come to define the genre, Shimizu's fifth entry into the popular series does manage to sustain the dread that so endeared the original Japanese Ju-on films to audiences in search of a good scare, while constantly keeping viewers on their toes with a series of well-timed shocks. Of course, when one has revisited the same themes and characters so many times, it's only a matter of time before the story begins to cannibalize itself. In addition to retelling the story from the first theatrical feature, The Grudge also reaches back to the original two shot-on-video features to provide a few good scares -- a fact that, despite its general effectiveness, does hint that the well may be running a bit dry and Shimizu may be wise to consider expanding his oeuvre as his international reputation continues to grow. If audiences find fault in any aspect of this surprisingly faithful remake, it may be in composer Christopher Young's suitably creepy, but somewhat clichéd score -- which tends to serve as a somewhat obvious primer to the film's most frightening moments. If this revelation comes as something of a disappointment to viewers who like their scares to come when least expected, it should be noted that the film makes fantastic -- and extremely unsettling -- use of sound to heighten the audience's sense of fear. When combined with Shimizu's penchant for nonlinear storytelling, these genuinely unsettling auditory assaults serve well to keep the viewer disoriented and ill-at-ease throughout. Additionally, Shimizu succeeds in the end by taking horror conventions one step further. Viewers are certainly well-aware that characters who investigate strange noises or peer into darkened corners are likely to meet a predictable fate, but by bending the unspoken rule that if you escape the haunted house you elude the ghost, Shimizu offers some truly unexpected and satisfying moments of terror that will no doubt serve to influence future cinematic hauntings.