2002·Mystery·1h 43m
7.0
★
Soon after getting a new phone, a woman notices strange things starting to happen. When she investigates, she discovers that everyone who has had her phone number before her has died suddenly and mysteriously.
Directed by Ahn Byeong-ki
evil spirit
cell phone
ghost
Trailer
IMDB
N/A
Cast
Ha Ji-won
Ji-won
Kim Yu-mi
Ho-jeong
Choi Jung-yoon
Ja-yeong
Lee Seo-yeon
Mi-ran
Kim Gyeong-ryong
Security Guard
Oh Chang-kyung
Taxi Company Employee
Jung Woon-sun
High School Student
Lee Ji-yeon
Ho-won
Hyun Sook-hee
Jin-hee's Mother
Lee Jin-hee
Student
Popular Reviews
21 reviews
Giangis88
7.0★ · 06/12/25
I'll always love the way eastern filmmakers are able to efficiently convey paranormal horror and sentimental crime.
This one explored Oedipus Complex and the typical jealousy of a young girl, in love with an older man, for his wife, just as we see in Ju On, which came a few years before.
And just like every 2000 asian horror movies, technology is used as the main tool of the story (this time, a specific phone number)
As long as the story is the same as many other movies, I enjoyed it.
This one explored Oedipus Complex and the typical jealousy of a young girl, in love with an older man, for his wife, just as we see in Ju On, which came a few years before.
And just like every 2000 asian horror movies, technology is used as the main tool of the story (this time, a specific phone number)
As long as the story is the same as many other movies, I enjoyed it.
I'll always love the way eastern filmmakers are able to efficiently convey paranormal horror and sentimental crime.
This one explored Oedipus Complex and the typical jealousy of a young girl, in love with an older man, for his wife, just as we see in Ju On, which came a few years before.
And just like every 2000 asian horror movies, technology is used as the main tool of the story (this time, a specific phone number)
As long as the story is the same as many other movies, I enjoyed it.
This one explored Oedipus Complex and the typical jealousy of a young girl, in love with an older man, for his wife, just as we see in Ju On, which came a few years before.
And just like every 2000 asian horror movies, technology is used as the main tool of the story (this time, a specific phone number)
As long as the story is the same as many other movies, I enjoyed it.
Grim
6.6★ · 04/13/25
when will men finally face consequences for their actions :/i think the mom, daughter, and… victim(?) gave pretty good performances
(but also i wish horror movies would find different classical music and ballets and shit to use)
(but also i wish horror movies would find different classical music and ballets and shit to use)
when will men finally face consequences for their actions :/i think the mom, daughter, and… victim(?) gave pretty good performances
(but also i wish horror movies would find different classical music and ballets and shit to use)
(but also i wish horror movies would find different classical music and ballets and shit to use)
tilda
4.8★ · 12/20/23
now why was this so loud 😭
now why was this so loud 😭
Yuko ImadaPRO
7.0★ · 08/04/23
Phone from 2002 can be likened to an amateur version of Ringu. Although I cannot ascertain whether Ringu directly influenced this film or if some scenes were inspired by it, it would not surprise me if there was an influence, given the evocative atmosphere and visual aesthetics that subtly echo the legendary Japanese film from 1998.
Another way I could describe this film is "lost potential." It boasts beautifully crafted scenes, a unique ambiance, and commendable performances, yet the resolution of the storyline falls short of being substantial. The narrative progression is initially perplexing, leaving one pondering the connection between the phone, the spirits, and an enigmatic pursuer. Subsequently, questions arise about the sudden disappearance of the pursuer and the sudden appearance of the spirits. The narrative development becomes disorienting and rather exhausting to follow.
''Who is the stalker?'', ''Where is the stalker'', ''What? Spirits?'', ''O? The stalker is here?'', ''Oh.... um... stalker is gone and now spirits are here... ookay?'' (genuine reaction on my side.)
This film is genuinely intriguing, and the unfolding of the story left me gasping, with moments of shock that lingered for several minutes. While the resolution took on a more typical tone, shifting from the slow-burn, Ringu-like horror to a somewhat melodramatic Korean-style conclusion, I refrain from complaint, as the ending remained interesting.
As my fellow Letterboxd friend, Grant, who graciously provided me with a better-quality viewing of this film, aptly points out, the film possesses its own version of Sadako (whom I shall refer to as "Sadako" to avoid spoilers). I wholeheartedly concur with this observation. The final scenes were notably brutal, and the performance of "Sadako" significantly enriched the film, leading me to award four stars.
I must also commend the young actress who portrayed the child character in this film. Despite the dramatic and drastic facial expressions and body language, she impeccably embodied her role, a noteworthy accomplishment for someone of approximately ten years of age. The music and sound effects also contributed to the Ringu-like ambiance, but overall, in the end i just craved to watch Ringu, but... nothing more. Sadly.
An interesting film that undoubtedly merits attention, yet not to an excessive extent. I must admit, I am charmed and amazed by the stunning cinematography that graces this production.
Why four stars if i only talked about Ringu?
Well... great atmosphere, interesting plot, amazing cinematography, rather interesting characters, outstanding acting, and we have a phone version of Sadako! Isn't that great?
Another way I could describe this film is "lost potential." It boasts beautifully crafted scenes, a unique ambiance, and commendable performances, yet the resolution of the storyline falls short of being substantial. The narrative progression is initially perplexing, leaving one pondering the connection between the phone, the spirits, and an enigmatic pursuer. Subsequently, questions arise about the sudden disappearance of the pursuer and the sudden appearance of the spirits. The narrative development becomes disorienting and rather exhausting to follow.
''Who is the stalker?'', ''Where is the stalker'', ''What? Spirits?'', ''O? The stalker is here?'', ''Oh.... um... stalker is gone and now spirits are here... ookay?'' (genuine reaction on my side.)
This film is genuinely intriguing, and the unfolding of the story left me gasping, with moments of shock that lingered for several minutes. While the resolution took on a more typical tone, shifting from the slow-burn, Ringu-like horror to a somewhat melodramatic Korean-style conclusion, I refrain from complaint, as the ending remained interesting.
As my fellow Letterboxd friend, Grant, who graciously provided me with a better-quality viewing of this film, aptly points out, the film possesses its own version of Sadako (whom I shall refer to as "Sadako" to avoid spoilers). I wholeheartedly concur with this observation. The final scenes were notably brutal, and the performance of "Sadako" significantly enriched the film, leading me to award four stars.
I must also commend the young actress who portrayed the child character in this film. Despite the dramatic and drastic facial expressions and body language, she impeccably embodied her role, a noteworthy accomplishment for someone of approximately ten years of age. The music and sound effects also contributed to the Ringu-like ambiance, but overall, in the end i just craved to watch Ringu, but... nothing more. Sadly.
An interesting film that undoubtedly merits attention, yet not to an excessive extent. I must admit, I am charmed and amazed by the stunning cinematography that graces this production.
Why four stars if i only talked about Ringu?
Well... great atmosphere, interesting plot, amazing cinematography, rather interesting characters, outstanding acting, and we have a phone version of Sadako! Isn't that great?
Phone from 2002 can be likened to an amateur version of Ringu. Although I cannot ascertain whether Ringu directly influenced this film or if some scenes were inspired by it, it would not surprise me if there was an influence, given the evocative atmosphere and visual aesthetics that subtly echo the legendary Japanese film from 1998.
Another way I could describe this film is "lost potential." It boasts beautifully crafted scenes, a unique ambiance, and commendable performances, yet the resolution of the storyline falls short of being substantial. The narrative progression is initially perplexing, leaving one pondering the connection between the phone, the spirits, and an enigmatic pursuer. Subsequently, questions arise about the sudden disappearance of the pursuer and the sudden appearance of the spirits. The narrative development becomes disorienting and rather exhausting to follow.
''Who is the stalker?'', ''Where is the stalker'', ''What? Spirits?'', ''O? The stalker is here?'', ''Oh.... um... stalker is gone and now spirits are here... ookay?'' (genuine reaction on my side.)
This film is genuinely intriguing, and the unfolding of the story left me gasping, with moments of shock that lingered for several minutes. While the resolution took on a more typical tone, shifting from the slow-burn, Ringu-like horror to a somewhat melodramatic Korean-style conclusion, I refrain from complaint, as the ending remained interesting.
As my fellow Letterboxd friend, Grant, who graciously provided me with a better-quality viewing of this film, aptly points out, the film possesses its own version of Sadako (whom I shall refer to as "Sadako" to avoid spoilers). I wholeheartedly concur with this observation. The final scenes were notably brutal, and the performance of "Sadako" significantly enriched the film, leading me to award four stars.
I must also commend the young actress who portrayed the child character in this film. Despite the dramatic and drastic facial expressions and body language, she impeccably embodied her role, a noteworthy accomplishment for someone of approximately ten years of age. The music and sound effects also contributed to the Ringu-like ambiance, but overall, in the end i just craved to watch Ringu, but... nothing more. Sadly.
An interesting film that undoubtedly merits attention, yet not to an excessive extent. I must admit, I am charmed and amazed by the stunning cinematography that graces this production.
Why four stars if i only talked about Ringu?
Well... great atmosphere, interesting plot, amazing cinematography, rather interesting characters, outstanding acting, and we have a phone version of Sadako! Isn't that great?
Another way I could describe this film is "lost potential." It boasts beautifully crafted scenes, a unique ambiance, and commendable performances, yet the resolution of the storyline falls short of being substantial. The narrative progression is initially perplexing, leaving one pondering the connection between the phone, the spirits, and an enigmatic pursuer. Subsequently, questions arise about the sudden disappearance of the pursuer and the sudden appearance of the spirits. The narrative development becomes disorienting and rather exhausting to follow.
''Who is the stalker?'', ''Where is the stalker'', ''What? Spirits?'', ''O? The stalker is here?'', ''Oh.... um... stalker is gone and now spirits are here... ookay?'' (genuine reaction on my side.)
This film is genuinely intriguing, and the unfolding of the story left me gasping, with moments of shock that lingered for several minutes. While the resolution took on a more typical tone, shifting from the slow-burn, Ringu-like horror to a somewhat melodramatic Korean-style conclusion, I refrain from complaint, as the ending remained interesting.
As my fellow Letterboxd friend, Grant, who graciously provided me with a better-quality viewing of this film, aptly points out, the film possesses its own version of Sadako (whom I shall refer to as "Sadako" to avoid spoilers). I wholeheartedly concur with this observation. The final scenes were notably brutal, and the performance of "Sadako" significantly enriched the film, leading me to award four stars.
I must also commend the young actress who portrayed the child character in this film. Despite the dramatic and drastic facial expressions and body language, she impeccably embodied her role, a noteworthy accomplishment for someone of approximately ten years of age. The music and sound effects also contributed to the Ringu-like ambiance, but overall, in the end i just craved to watch Ringu, but... nothing more. Sadly.
An interesting film that undoubtedly merits attention, yet not to an excessive extent. I must admit, I am charmed and amazed by the stunning cinematography that graces this production.
Why four stars if i only talked about Ringu?
Well... great atmosphere, interesting plot, amazing cinematography, rather interesting characters, outstanding acting, and we have a phone version of Sadako! Isn't that great?
jenny nulf
3.0★ · 06/04/20
Absolutely not. A man definitely wrote this.
The only redeeming thing about this is watching that child give the most to her performance. But also- there is a moment where the mom says she carried her child for ten months. Ten fucking months.
The only redeeming thing about this is watching that child give the most to her performance. But also- there is a moment where the mom says she carried her child for ten months. Ten fucking months.
Absolutely not. A man definitely wrote this.
The only redeeming thing about this is watching that child give the most to her performance. But also- there is a moment where the mom says she carried her child for ten months. Ten fucking months.
The only redeeming thing about this is watching that child give the most to her performance. But also- there is a moment where the mom says she carried her child for ten months. Ten fucking months.