I honestly think that one missed call was supposed to be a deconstruction of the Japanese horror genre.
As big of a fan of film analysis (and Asian horror) as I am, I do have to say... I think you're reading into it
way too much in this case. Especially as by your own admission, you note you're not overly familiar with Japanese horror.
Nothing about the film really gives any indication of it being a deconstruction. (Miike isn't exactly the most subtle guy. Even in his subtle work... he's pretty blatant with symbolism, metaphors, etc. You'd really be able to tell if his goal was to analyze and deconstruct horror.)
Look, I love me some Miike. I really do. But every so often in his filmography, you run into a movie that while entertaining or solid... is clearly just something he took just as a job to get some work in. (When you make as many films as he does, it's just gonna happen.) This is definitely one of those cases. He probably had a lot of fun making it, and there's some really great sequences, but it's not one of those films that he really put his stamp on in a big way like he does with other films. It's a very by-the-numbers affair, but it was still early enough in that huge post-
Ringu Asian horror craze that people could accept it despite being overly derivative and not all that special on its own.
I get the feeling he dug the script (or original novel) and took the job, wanting to make a simple ghost story (which this is) before moving on to more insane-o work like
Zebraman,
Box and
Izo.
A decent horror flick from a fascinating director? Sure. A complex deconstruction of J-Horror? Not a chance.
And FURTHERMORE, this is my signature! SERIOUSLY! Did you think I was still talking about my point?
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