Verdict:
Pulse is a 2006 tech horror film about a computer project gone wrong, inadvertently resulting in a connection to an alternate dimension.
The movie is a remake of the Japanese film from 2001 called Kairo, also known as Pulse. The psychological undertones about loneliness and lack of connection due to technology are almost completely gone from the Hollywood remake. As you’d expect, Hollywood sucks out the allegory, to replace it with a popcorn experience. Pulse 2001 explored loneliness and disconnection in a tech-saturated world, which is a poignant problem in modern Japanese society. While this issue is relevant in the West, it is not nearly as profound, so Pulse 2006 largely sidesteps it.
Should you just disregard Pulse 2006 and watch Kairo instead? Well, the original certainly offers a more intriguing experience, but it is also kind of a mess. Kairo is definitely more eerie, but its vague narrative makes it a challenging watch. The shifts in mood and acting can be unnatural. There are some technical mistakes. It’s hard to follow what’s going on. This could be partially attributed to the parallel storylines and partially to artistic impressionism, but also undoubtedly to imperfections in the creation process. The film may require a second viewing just to grasp it.
Although the psychological impact of Japanese movies is celebrated, the ambiguous metaphorical aspect is not for everyone. “Well, you see, in this story it’s up to the audience to decide if…” No! Come here and hold still, while I slap some sense into you!
Kairo is like an excellent first draft that needs further refinement. In contrast, Pulse 2006 is too shallow and heavy-handed, bordering on funny when it tries to be frightening. Despite this, the remake does have a few memorable scenes and benefits from better pacing. In an ideal world, a combination of both films might have resulted in a more balanced result.
Although Pulse 2006 lacks the creepiness of its Japanese predecessor, it is still pretty creepy when considered by itself. Humans have many material fears with definable borders: a fear of spiders or serial killers or thugs. When the West takes on the idea of life in the machine, it results in something like a Terminator, a machine that can be seen, understood in English and destroyed with guns. The threat in Pulse is more abstract, one that is not easy to quantify or deal with.
Unfortunately, the film loses its impact due to the fumbled execution. The deaths look awkward, and at times, unintentionally humorous. What worked in the Japanese version, looks weird when you try to add realism and modern special effects. The manifestation of the interdimensional beings as grey ghouls makes them less scary. Where Kairo relied on a pervasive sense of dread without resorting to jump scares, Pulse (2006) embraces the cheap thrills. While the script limits its scientific exposition to just the right amount, it is ultimately lacklustre, relying too heavily on Western horror clichés.
There are no remarkable performances, with the main character being a shallow observer. Thankfully, the movie relies more on silence, spooky sounds and visual effects than on character interactions.
Special effects are reminiscent of The Grudge and The Ring. You got your blurry imagery, camera speedups, slowdowns, morphs, and pale naked skinheads crawling out of washing machines. Then again, the auditory effects and haunting visuals are the film’s strongest side, with dirty textures, cold colour palettes, and harsh lighting contributing to its eerie aesthetic.
In conclusion, Pulse is still worthwhile watching. Higher than average creepiness factor pull this movie through. While it falls short of the original’s psychological depth, it is a palatable Hollywood adaptation for Western audiences.