Horror films are great because they can entertain, scare, shockand surprise, but very few of them can make even the bravestmoviegoers a little unsettled.

Director Takashi Shimizu’s adaptation of”Ju-On,” or “The Grudge,” stars SarahMichelle Gellar and does just that.

American exchange student Karen (Gellar, “ScoobyDoo,” “Buffy the Vampire Slayer”) is beginning toget used to living in Japan. Her Japanese is getting better, schoolis going well and she’s training to be a care provider forthe disabled and elderly.

Karen’s first assignment is as a substitute for a womanwho didn’t come in to work, but from the moment Karen stepsinto the patient’s house, fear takes over and escalatesaround her as the curse of the house is revealed.

Karen attempts to solve the puzzle and discover what’swrong with the house that causes anyone who so much as steps footin the door to become the target of the unknown waiting inside.

Shimizu takes audiences on a frightful journey into terror anddiscomfort as unrelenting fear and disturbing sequences never seemto end. Even during the “breaks” from fear, viewers arestill displaced, searching for comfort and rarely finding it. Thestructure of the film is hard to follow, as flashbacks areconstant, and only hints let you piece the movie together intocontinuity.

The filming of the movie in Japan causes viewers to be unsettledeven in calm scenes. Signs can’t be read, nothing isidentifiable and the American audience is unable to relax &-always looking for answers.

Unlike most horror films, not everything is explained orrationalized. In “A Nightmare on Elm Street,” FreddyKrueger can only get you while you’re sleeping. JasonVoorhees only kills those around Camp Crystal Lake in the”Friday the 13th” series.

In typical flicks, if you wake up or if you leave the camp, youtend to be safe. In this film, once you step inside, you’redone for. Leave if you want. Go across town. It will do no good.The power of these spirits seems limitless. They can be whereveryou are. They can use your phone, create illusions, manifest fromnowhere and even kill.

Horror flick stereotypes are practically eliminated in thisfilm. No screaming girls, no splattering gore, no sex and no foullanguage. It’s still surprising that this film, despite thelack of these qualities, only received a PG-13 rating. With howcreepy and scary this movie is, it’s deserving of an Rrating.

The acting is quite convincing in “The Grudge,” aswell. Gellar is wonderful without hogging all the glory. Herscared-yet-determined portrayal is not the teen queen we’reused to seeing.

Each character in the film had certain vulnerability about them.Bill Pullman (“Independence Day”) is even able toconvey his fear and realism in what few minutes he appears, butperhaps the best performance is from Clea DuVall (“Girl,Interrupted”), the wife of the house’s current owner.Her expression of fear and terror, along with her performancethroughout the movie are very impressive.

Shimizu, also the writer, has the luxury of directing what hewrote, and therefore conveys his intentions more accurately. Hecreates his vision more completely than in the adaptation of”The Ring,” written by Koji Suzuki and directed by GoreVerbinski.

With great direction, incredible acting, brilliant editing andoverall terror, there’s only one thing to say. See thismovie.

“The Grudge” is now playing in theaterseverywhere.