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Reviews provided by RottenTomatoes
John Monaghan, Detroit Free Press: While it has flashes of creepy imagery, it has absolutely nothing going on in between. Read more
Rene Rodriguez, Miami Herald: It's a shivery fun time, filled with dark corners, deserted hallways and sudden apparitions. But it never manages to genuinely rattle you. Read more
Robert K. Elder, Chicago Tribune: The Grudge simply wants to make you wet your pants. Even if it doesn't, you'll still find yourself in the market for a nightlight. Read more
Jeff Shannon, Seattle Times: It's refreshing to see a PG-13 horror film that aims for good old-fashioned spookiness. Read more
Peter Hartlaub, San Francisco Chronicle: As it turns out, there is such a thing as a horror film with too much mindless killing. Read more
Richard Roeper, Ebert & Roeper: It's no more impressive than hiding in the dark and shouting 'Boo!' when someone walks into a room. Read more
Bob Longino, Atlanta Journal-Constitution: A decent enough idea for a Halloween horror trick. Read more
Bill Muller, Arizona Republic: Rather than building to a climax, Shimizu introduces his poltergeists too early. Once the ghosts start rattling around, we can generally anticipate what's coming next. Read more
Wesley Morris, Boston Globe: The trouble with Shimizu's impressionistic approach is that it doesn't entrench you deep enough inside anybody's head or put you far enough behind anyone's point of view for the scares to really work. Read more
Kevin Thomas, Los Angeles Times: More than anything, The Grudge suggests that it's time for Shimizu to move on. Read more
Bruce Westbrook, Houston Chronicle: The Grudge is all about fright. It's not about mystery, characterization or perverse amusement, all of which can turn horror into something more. Read more
Lisa Kennedy, Denver Post: We need to care about Karen. That we never quite do isn't scary. It's merely disappointing. Read more
Owen Gleiberman, Entertainment Weekly: A horror film that consists of virtually nothing but don't-go-in-the-attic suspense scenes strung together with a reasonable degree of brooding mood and a minimum of logic. Read more
Chris Vognar, Dallas Morning News: The Grudge shows just enough blood to be scary but not self-indulgent. Read more
Chuck Wilson, L.A. Weekly: [The Grudge] isn't art, but as date-night fright flicks go, it's effective. Read more
Gene Seymour, Newsday: Fans accustomed to noisier, more graphic jolts may be impatient with The Grudge's measured insidiousness. Others may find it refreshing, curiously so. Read more
Lisa Rose, Newark Star-Ledger: While there is some artfully ghastly imagery on display, the movie is just one surrealist chill after another, with no cohesive story line to connect the scares. Read more
Jamie Peck, New York Daily News: Adds nothing to the haunted-house genre aside from the horror of spilled ramen noodles on tatami mats. Read more
Manohla Dargis, New York Times: Less scary than creepy, The Grudge may have lost some oomph in the translation from Japanese to English. Read more
Roger Moore, Orlando Sentinel: A spine-tingling little creepshow. Read more
James Berardinelli, ReelViews: Generally speaking, I like a little more plot with my 'Boo!' moments. Read more
Roger Ebert, Chicago Sun-Times: I eventually lost all patience. The movie may have some subterranean level on which the story strands connect and make sense, but it eluded me. Read more
Colin Covert, Minneapolis Star Tribune: The opening minutes hit us with a shocker on a par with the shower scene in "Psycho," and the tension rarely lets up thereafter. Read more
Liam Lacey, Globe and Mail: There are so many events here but no real story. Perhaps that is what's making the drowned kabuki ghost so irate: She's desperate to find a coherent script. Read more
Christy Lemire, Journal News (Westchester, NY): Read more
Geoff Pevere, Toronto Star: Almost every single one of the American characters has maybe a third of the personality of the ghosts that haunt them, so you begin to think the grudge itself is less a curse than a perfectly reasonable eviction strategy. Read more
Mike Clark, USA Today: The new film's hill of beans doesn't loom very tall when its acting weight rests on the shoulders of Sarah Michelle Gellar and the ever-likable but unassertive Bill Pullman. Read more
Scott Foundas, Variety: Project might have been more successful if Shimizu had style and/or atmosphere to substitute for his canned scares, cardboard compositions and flaccid cutting. Read more
Jessica Winter, Village Voice: The soundtrack's Dolby thumps and screaming violins head off any genuine scares. Read more
Michael O'Sullivan, Washington Post: It's just not the kind of frightening that stays with you very long, unless of course someone decides to make the same movie . . . yet again. Read more
Stephen Hunter, Washington Post: It's enough to send you home with jiggly knees and a tummy ache. Read more