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Old 16-12-2009, 05:23 AM   #1
Feel_Good_inc.
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5 worst (and best) remakes of asian movies

I was going to write an original list. I even started looking up the movies on wikipedia to collect the main differences. There would have been long rants about the stuff I knew to be wrong along with wiki info. But then I just went to google and found this list already exsits and they chose all the movies I chose, plus they also included the five best movies too.

American studios' thirst for remaking Asian films goes back decades, starting with the works of Akira Kurosawa. The Seven Samurai beget The Magnificent Seven, Rashomon was remade as The Outrage. Nowadays the trend is towards remaking horror films, such as Shutter, Pulse, Dark Water, and The Eye. Then there are the U.S. movies you didn't even realize were remakes of Asian films, such as Eight Below.

Hollywood's not done with remaking Asian movies yet. There are several high-profile remakes currently in-development, including Seven Samurai, Sympathy for Lady Vengeance, and The Chaser, which has screenwriter William Monahan and star Leonardo DiCaprio attached. Monahan and DiCaprio previously teamed for the Oscar-winning The Departed, which was, yes, a remake of an Asian movie.

Here then are IGN's picks for the five best and worst Hollywood remakes of Asian films, starting with the five most disappointing Americanized retellings that somehow got lost in translation:

TOP FIVE WORST REMAKES

5. Dark Water

An Americanized version of Hideo Nakata's Japanese fable, Dark Water is yet another westernized Japanese horror film with another exceptional cast. Like most Japanese "imports" in the genre, Dark Water tries to nail psychological trickery, despite the tendency for many from this 'J-wave' to come up short (outside of The Ring, that is). The problem is never in the acting, directing, editing, or any single frame of film; rather, it's the story itself that ultimately dooms the movie. That said, as far as performances go Dark Water offers some fine ones, especially by Jennifer Connelly and John C. Reilly.

But Walter Salles directs the actors in such a way that he single-handedly milks every scene of its possible suspense, ensuring endless shrieks from teenage girls. The grim images are carefully planted to take the weak screenplay far, and his vision works wonders with the plot outline given; it's just a shame that the center is sour rather than sweet. Salles does a brilliant job cutting the corners to gain a little terror at the expense of the unknown, or the soon-to-be. But he's no Kubrick, and our romp through the terrifying apartment building's past is too apparent to help the director's vague approach of spooking the viewer.

Some of the best acting of 2005? Yes. Some of the best directing of 2005? You've got it. It's just a shame that such great work is ruined on nothingness.


4. The Ring


This Gore Verbinski-directed thriller is a remake of the Japanese horror hit Ringu. The basic story element is an evil videotape that kills its viewer seven days after watching it. Naomi Watts plays Rachel Kelly, a reporter who starts to look into the deaths of four teenagers that died after viewing the tape. Naturally, we need some sort of peril in a horror movie, so Rachel goes and watches the tape and the clock starts to tick down.

Now, this is where is takes a major departure from its source material. Instead of being a creepy suspenseful thriller that followes the reporter as she tries to uncover the mystery of the tapes origins in the hopes that it will lift the curse from herself and her son Gore fills us with a "mystery" that wouldn't challenge the average school child, a porr little girl and her curse and lots of shots that are supposed to scare us but fail to do so. The most notable scene is when Rachel is taking a ferry to the island home of Samara when a group of horses on the same ferry are so ****-scared of being near the cursed person they break out of their boxes and dive into the ocean to their deaths. Strange how this is the only time animals freak out around her. There aren't armies of dogs, cats and rats racing down the city streets to get away from the cursed one.

Other aspects that angers Ringu fans was the changing of the Samara (Sadako in the Japanese movie) character and the ending of the movie. Sadako was a vengeful spirit who as a teenager had been knocked unconscious and pushed into the well by her own father. She survived the blow to the head and the fall and was left to die in such a horrific way that her spirit sought revenge against the world that had shunned her. In The Ring Samara was a young child with frightening, almost demonic, powers that were well documented. Again, yes, her father threw her into a well but the reason the main characters try to find that well are different. In Ringu they hope to find Sadako's body to put it to rest and lift the curse on themselves, no more or less. With the way the Samara character had been set up in the ring she was turned into a poor victim of circumstances beyond her control that we should feel sorry for. The main characters are not only trying to put her body to rest to save themselves but Samara too.

Too much exposition was it's major failing point, no mystery was allowed to sit on the screen, all questions had to be answered and spelled out in a nice simple way so that every member of the audience could keep up. However the thing that greatly angered every Ringu fan on the planet was the changing of the video curse.
In Ringu the only way to survive the curse is to make a copy of the cursed tape and show that copy to another person. That person in turn would have to copy the the tape they had seen and show it to another person. This would continue on in a never ending chain that would spread across the world like a disease.
In The Ring a person can survive by simply making a copy. End of story. Apparently the only thing that made this difficult was the apparent lack of VCR's in the USA. It seems the US audience needs a happy ending and apparently a mother lifting a curse and saving her child isn't a happy ending if the cursed video continues to make the rounds off screen with the potential to kill an innocent (and unknown) person later on down the line. Nope, the curse has to end when the movie ends.

The reason a person has only 7 days to live after viewing the tape is another sticking point with fans also. In Ringu 7 is a mystical number (as it is in the west also) but also the 7 day deadline gives a cursed person a chance to copy the tape and find another person to view it. In The Ring a cursed person has a 7 day deadline because, apparently, that's how long a person could live treading water in the bottom of a well.



3. The Eye

Based on the creepy little Chinese film Gin gwai (The Eye), an atmospheric spine-tingler that, we're sad to say, is considerably more frightening than this tame 2008 effort. Jessica Alba plays Sydney Wells, a blind violinist who must rediscover the world after she undergoes an operation to restore her eyesight. Her sister Helen (Parker Posey) wants to keep her company, but Sydney is determined to recover on her own. But when she starts experiencing frightening visions of screaming creatures leading friends and acquaintances to their deaths, she turns to Dr. Paul Faulkner (Alessandro Nivola) for help. Eventually, Sydney discovers that she has somehow gained the ability to see the past, present, and a possible future, and must now process that information in the hopes of saving lives -- potentially including her own -- from a mysterious and deadly event.

The Eye is emblematic of the sorry state of modern horror because its so-called success relies primarily if not exclusively on the stupidity and willful ignorance of its characters, and by extension, its audience. Sydney, for example, has spent the majority of her life blind, but she refuses help from her sister. This is understandable at first, but after just one creepy vision, wouldn't any thinking person be reaching for the speed dial, if only for emotional comfort? Helen, meanwhile, professes how guilty she feels for blinding Sydney in the first place, but is all but unreachable for the remainder of the film -- so much so that when Sydney does finally call, Helen has gone out of town without telling her. And finally, Paul probably qualifies as the most impatient and unsympathetic therapist in the history of movie doctors, being mean and generally indifferent to Sydney's increasingly disturbing visions before finally accusing her of imagining them in order to put off her rehabilitation and reintroduction into society.

There's just nothing new, remotely original or even really scary about The Eye. It feels like the film wants to explore her situation as if she's coming to terms with a new superpower rather than enduring a series of terrifying visions. Alba is a passable lead actress and she does her best to project the fear and frustration of her newfound condition, but ultimately it isn't she who is subjected to a painful experience, but us. Because The Eye may once have been a great horror movie in its native language, in Hollywood's hands, it's little more than a joke -- whether the filmmakers mean for it to be or not. So if you want to watch Asian-inspired horror films, go rent or buy the originals; but keep your eyes closed to this turkey -- unless you enjoy being blinded by boredom.



2. One Missed Call

Despite its ripe opportunity to deconstruct our continuing obsession with technology and 24-hour-seven-days-a-week "connectivity," One Missed Call falls firmly into the thrill ride camp -- or at least it would if it were remotely thrilling. A remake of the Japanese horror film Chakushin Ari, the film follows a group of college students who die mysterious deaths after appearing to receive voicemails from their future selves. Shannyn Sossamon plays Beth Raymond, the lonely coed who races to uncover the secret of these strange cell phone calls. Edward Burns is Jack Andrews, the cop Beth enlists to help her stop the cycle of death before it strikes again.

Despite its arrival on the tail end of Hollywood's obsession with Asian horror -- suggesting commercial more than creative motivation -- One Missed Call seems at least superficially poised to comment upon our dependence on cell phones, blackberries and other means of around-the-clock communication. Technological paranoia notwithstanding, however, one might hope at the very least for some kind of creepy meditation on mortality transmitted from the future. After all, there is something fairly fascinating (in concept at least) about hearing the exact moment of your own death. Not to mention the decidedly less philosophical but equally compelling mystery that could be spun just from the idea of two or three people trying to avoid dying after receiving their calls.

Sadly, even with three obvious and relevant ideas available, screenwriter Andrew Klavan (Don't Say a Word) and director Eric Valette (Malefique) opt for none of them. Instead, they craft a generic and unscary monster movie that telegraphs every suspenseful moment, clarifies every minute twist or turn with dull, expository dialogue, and yet never explains why these poor bastards get the messages. The evil force responsible for these calls, whose identity I will not reveal, has nothing to do with cell phones at all, much less the victims in the film, which begs the questions how and especially why it chose to sign up for an unlimited nights and weekends plan in order to exact its fiendish designs upon a bunch of dim-witted college kids.


1. Godzilla (1998)

In 1998, Roland Emmerich created a monster. The filmmaker behind Independence Day set his sights on the legendary Japanese behemoth, and purists were in an uproar. People were all riled up at the new CGI version of the creature and longed for the old rubber suit days. Does it have a big, nasty, radioactive lizard that pulverizes New York and munches tanks without impunity? Oooo yeah. However, the drawback of this film was undoubtedly the humans (as played by leads Matthew Broderick, Hank Azaria, and Maria Pitillo).

The humans in this film were awful. They spent way too much time on the whole reporter side of it, and relationship nonsense about these characters we don't feel anything for; people just wanted to see some down-home building crushin'. That and the constant dreary rain and dark atmosphere. This is Godzilla, not Blade Runner! Two big highlights, though were the creature chase scenes on land and sea, and Jean Reno. Let's face it: Jean Reno makes everything he touches much cooler.

The story is a modernization of the classic. Recent nuclear testing in the French Polynesian islands has caused the transmutation of a species of lizard into a giant fire-breathing amphibious monster. It raids several local villages (villagers seem to recognize the "new species" and have a name for him?) and heads for Manhattan, the only place in the world it could hide in the huge buildings and be near the water. It's up to the military, one scientist, and French commandos (Leon "The Professional" now works for the government of France) to save New York by capturing or destroying Godzilla in a rumble to the finish.




Top 5 Best Remakes


5. Shall We Dance?


Hollywood's 2004 remake of the Japanese film Shall We Dance? provides a textbook example of how something can remain faithful to its source material in a literal sense and still gut the original core. For those that never saw the original art house import, the story as re-imagined by Peter Chelsom is a bittersweet little tale about a man (Richard Gere) who rekindles the lost romance in his heart via ballroom dancing. As with any Westernized interpretation of a foreign film, undoubtedly a sizeable chunk of the original's subtlety and quaintness gets lost in translation. But let's face it, the average Cineplex patron is much more apt to gravitate toward a film starring Jennifer Lopez than one with subtitles, hence Hollywood's continued drive and desire to snatch up the rights and continually remake small, arty films from abroad.

Interestingly enough, the Yankee remake is pretty decent, thanks in part to the presence of Gere and a great supporting cast that includes Susan Sarandon, Stanley Tucci, Lisa Ann Walter, Anita Gillette, and Richard Jenkins. And what of J-Lo? Um, we'll get to that in a second. At the heart of the film is the lost (at least in today's ultra modern, fast paced world) art of ballroom dancing. Our "hero," John Clark (Gere) is a loyal husband and hard working accountant in Chicago. But as he shuffles to and from work everyday on the L Train he slowly begins to realize that something is missing from his life.

Thankfully, one fateful night he glances out the window and notices the forlorn Paulina (Lopez) staring out of the window of a rundown downtown dance studio. As can be expected, Clark quickly builds up the gumption to visit the studio and eventually signs up for a beginning course in dance. Naturally his initial desire is to meet the elusive Paulina, but along the way he learns more about himself and begins to truly enjoy the art of dance. To this end, the film is not only about taking the time to stop and smell the roses, but also to keep challenging yourself so that the romantic flames will always be well-kindled and the home fires will continually burn.



4. The Grudge

Remake of Ju-On, the Japanese chiller directed by Takashi Shimizu, who also helmed this remake (and pretty much every other iteration of The Grudge). The plot is the same as the earlier film: when someone dies in the grip of a powerful rage, a curse is born that will kill anyone who encounters it. Ther person who dies of this curse launches a curse of their own and so on and on in an unending and ever growing chain.

Sarah Michelle Gellar plays Karen, a fish-out-of-water exchange student doing volunteer work in Japan. When she's sent to a local house, she discovers that an elderly woman has been left alone and is nearly catatonic. She also discovers a young boy sealed into the closet. This discovery sets the curse in motion anew, and from this point forward only bad things can happen for Karen.

The supporting cast includes Jason Behr, Kadee Strickland, Bill Pullman, Clea Duvall and William Mapother. With Shimizu onboard (as well as the original actors who played Toshio and Kayako), The Grudge alternates between being a shot-for-shot remake of the earlier film and a reinterpretation of it at the same time. Some sequences are lifted wholesale, right down to the camera movements, while other key events are eliminated entirely.

This is considered by fans of J-horror (Japan Horror) the right way to do a remake. First the movie was made 1 year later from the original, not 5, 8 even 10 years after the original. The original crew were hired, so they knew what they were doing, the original director and writer supervised the script to adapt it for these new American characters and as many of the original cast as possible were hired to reprise their rolls in the movie.

All the original thrills, chills and spills the movie remains totally true to the original because it is, in all respects, just like the original with only minor changes to adapt for American characters. Fans of J-horror deeply approve. In a world where Hollywood again and again fails to deliver a good version of an Asian movie The Grudge had become the exception that proves the rule.




3. A Fistful of Dollars

This Sergio Leone-directed spaghetti western classic not only helped launched Clint Eastwood into big screen stardom, it's also a remake of Akira Kurosawa's samurai classic Yojimbo. Though you can't tell it by watching the film, A Fistful Of Dollars was a troubled, low-budget production that almost didn't happen. After actors as diverse as Henry Fonda, Charles Bronson and Lee Marvin passed on playing the main character, Leone settled on Clint Eastwood, then best known as a TV star but yet-unproven as a film actor. The febrile chemistry between star and director was immediately evident, and translated seamlessly to the screen: as the mysterious stranger who wanders into a town torn between two warring factions, Eastwood became an instant icon thanks to his own laconic performance, not to mention Leone's mythic camerawork.

Fistful completely razed the classical idea of the western, which by the early 1960s occupied audiences' minds as a chronicle of aging Hollywood stardom rather than any particular tradition of storytelling. Almost in inadvertent accordance with the changing tide of American culture, which was beginning to explore darker and more complex themes in different media, the 1964 film took an amoral point of view about its hero and his actions: whereas earlier films offered justification and explanation for their heroes' violent tendencies, Fistful provided none. When the Man With No Name (it was Joe, actually) fires upon his adversaries without provocation, killing them in cold blood, Eastwood and Leone provide no background or context, creating an ambiguity about the character that ultimately fed his mystique across two more films.

The sequel, 1965's For a Few Dollars More, has The Man With No Name teaming with his foe, bounty hunter Col. Douglas Mortimer (Lee Van Cleef), to take down the villainous Indio (Gian Maria Volonte). The final entry in the Leone-Eastwood spaghetti western trilogy, 1966's The Good, the Bad and the Ugly, is the most celebrated. The "good" loner (Eastwood), the "bad" bounty hunter (Lee Van Cleef) and the "ugly" bandito (Eli Wallach) are all in pursuit of buried treasure.


2. The Magnificent Seven

Like many films considered classics today, The Magnificent Seven started off as a complete financial and critical failure. The papers dismissed the remake of Akira Kurosawa's The Seven Samurai as a by-the-numbers Western. Laughable advertising and bad pre-release word-of-mouth kept even casual moviegoers from watching it. But when it found tremendous success in Europe and Asia - Kurosawa even sent a ceremonial sword to director John Sturges as approval - MGM took a second look at their magnificent bomb and re-released it in the States, this time with a decent marketing budget. The rest is history.

The theme song, popularized by appropriation for parody and advertising, has become ingrained in American popular culture. Co-stars Steve McQueen and James Coburn were so popular they soon eclipsed big name Yul Brynner. And three sequels and a television series later, The Magnificent Seven has become a part of America's established film canon.

What set The Magnificent Seven apart from other Westerns was its strict adherence and exploration of what came before it. Eli Wallach designed the look of Calvera in order to portray what an evil bandit would do with all the money he stole. Even each of the seven gunslingers represents a different archetype for cowboys that have come before, from Robert Vaughn's dandyish Lee to Steve McQueen's smartass Vin. With television Westerns eclipsing anything in the theaters and the Leone's spaghetti westerns on the Horizon, Sturges directed The Magnificent Seven to be both a great film and a tribute to all the movies that had inspired it.


1. The Departed

Based on the 2002 Hong Kong thriller Infernal Affairs, The Departed stars Leonardo DiCaprio and Matt Damon as a cop and a crook who infiltrate each other's organizations at the behest of their scenery-chewing superiors. For DiCaprio's Billy Costigan, it's Queenan (Martin Sheen) and Dignam (Mark Wahlberg), a police Captain and Sergeant respectively who want to harness the young man's conflicted impulse to do good; meanwhile, Damon's Colin Sullivan answers to Frank Costello (Jack Nicholson), an 800-lb. gorilla of a mob boss who owns the streets of Boston much to the consternation of the cops.

Before long, the two men are locked in a battle of wills to uncover their counterpart, with the livelihood of their bosses (and ultimately, their own lives) at stake. In the meantime, both men unknowingly become involved with the same woman - a police psychiatrist named Madolyn (Vera Farmiga) - who not only maintains their tenuous connection as cop and crook, but somehow holds the secrets of their equally damaged psyches.

The Departed is nothing short of brilliant -- complicated, ambiguous and ambitious, executed with a virtuosity shared only by a handful of other American filmmakers. Scorsese is and hopefully will always be a great director; so while many will mark this as a return to form or a new apex in his filmography, IGN prefers to think of it as one last hurrah for the kinds of movies he used to make -- a grand finale in his canon of crime movies. In other words, The Departed will hopefully be best remembered not only as a requiem, but a rebirth for the man whose films raised the bar for filmmakers everywhere.



Bonus Added By Me (and a little wikipedia):

Japanese Name: Kaze no Tani no Naushika (Nausicaa of the Valley of the Wind)
American Name: Nausicaa of the Valley of the wind

[ame]http://www.youtube.com/watch?v=GeJH-B6-0EM[/ame]

Nausicaä of the Valley of the Wind is a 1984 post-apocalyptic Japanese animated film, written and directed by Hayao Miyazaki, based on his manga of the same name.

If you haven't seen it then you've deeply missed out. Miyazaki movies are the best of the best when it comes to Japanese entertainment.

How America Ruined It:



Warriors of the Wind

A heavily edited and English dubbed version of the film was released theatrically in North America, shown on HBO and released on VHS by New World Pictures in the 1980s as Warriors of the Wind. According to Nausicaa.net, the voice actors and actresses were not even informed of the film's plotline and more than 30 minutes were cut from the film because New World felt that "the parts were slow moving". As a result, part of the film's narrative meaning was lost; some of the environmentalist themes were diluted as was the main subplot about the Ohmu, altered to turn them into aggressive enemies. Most of the characters were renamed (for example, Nausicaä became "Princess Zandra").
The cover for the VHS release featured a cadre of male characters, who are not even in the film, riding the resurrected God Warrior — including a still-living Warrior shown briefly in a flashback. It was released around the world under various different titles, such as Sternenkrieger (literally "Star Warriors") in Germany.
Many fans of Nausicaä, along with Miyazaki himself, detest this version; Miyazaki suggested that people should put it "out of their minds." Studio Ghibli and Miyazaki have asked fans to forget its existence and later adopted a strict "no-edits" clause for future foreign releases of its films.

On hearing that Miramax co-chairman Harvey Weinstein would try to cut Princess Mononoke to make it more marketable, one of Studio Ghibli's producers sent an authentic katana sword with a simple message: "No cuts" engraved upon the blade.

Since 2005 Miyazaki has teamed up with Disney-Pixar and released an uncut version of Nausicaa that stuck as close to the original script as the 'lost in translation factor' allowed (some things just make the journey from east to west. Pixar animator, co-creator and chief creating officer John Lasseter personally supervises all Studio Ghibli dubbing projects. In several interviews on Studio Ghibli DVDs he speaks of his love of Miyazaki's work and his work ethic; which in turn is similar to his own. Pixar and Studio Ghibli both work to create pieces of work that whole families can enjoy. John and Miyazaki both believe that watching a movie is a treat for children and therefore what they are watching must be a wonderful experience that they will enjoy and remember. Therefore the movie must live up to that very standard in quality and dedication from the whole cast from the writer and animators to the voice actors and editors. If a sequel is made (none yet from Ghibli) then it MUST be made with the same level of quality and dedication that went into the first, if not more. Unlike other studio's which have a minor hit and then pump out B, C and D-movie plotlines in sequel after sequel to milk the franchise for more than it's worth.



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Old 16-12-2009, 09:50 AM   #2
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cheers good list =) thanks



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Old 16-12-2009, 09:55 AM   #3
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Good list :)



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Old 16-12-2009, 10:10 AM   #4
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I totally agree with this list!
The Eye was bloody scary, but the remake is a load of rubbish imo.
Thank you (once again) Hollywood for butchering another classic
asain horror movie. :|



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Old 16-12-2009, 12:22 PM   #5
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O_O poor Nausicaä! Stupid Hollywood butchering things!

I didn't really like the remake of Grudge that much actually, not sure why. Anyway, good list! =]

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Old 16-12-2009, 02:40 PM   #6
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Good list. Though I usually tend to prefer the originals, I do like 'A Fistful of Dollars' and 'The Departed' =]

I'm not looking forward to the American live action movies of Cowboy Bebop, or Death Note =[



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Old 16-12-2009, 06:07 PM   #7
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I'm not looking forward to the American live action movies of Cowboy Bebop, or Death Note =[
agreed. have you seen what they've done to poor Astro Boy? poor robo-kid



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Remember compliments you received, forget the insults. If you succeed in doing this, tell me how..~ Baz Lurhman.
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Old 16-12-2009, 06:36 PM   #8
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The Japanese live-action adaptation of Death Note can't be improved upon (or if it can, it would be very difficult). It was even better than the manga/anime it was based on (in my opinion anyway). Shameful that Hollywood would even try... but as we all know, they'd release a (presumably Michael Bay-directed) remake of the daily weather report if they thought it'd make money.

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Old 16-12-2009, 10:55 PM   #9
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agreed. have you seen what they've done to poor Astro Boy? poor robo-kid
I haven't been brave enough to sit through that one!

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Originally Posted by Everybody's Grudge View Post
The Japanese live-action adaptation of Death Note can't be improved upon (or if it can, it would be very difficult). It was even better than the manga/anime it was based on (in my opinion anyway). Shameful that Hollywood would even try... but as we all know, they'd release a (presumably Michael Bay-directed) remake of the daily weather report if they thought it'd make money.
I agree, I love the Japanese DN movies and I don't think they need to be remade at all. I've heard a rumor that Zac Efron could be cast as Raito/Light *Shudders*



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