美丽的单身妈妈瑞切尔·凯勒（纳奥米·沃茨 Naomi Watts 饰）带着儿子艾丹（大卫·多夫曼 David Dorfman 饰）离开留下了永生难以磨灭的恐怖回忆的故地西雅图，搬到了毗邻大海的俄勒冈州艾斯特里亚居住。瑞切尔在当地一家报社谋得一份工作，生活充实忙碌。某天，报社接到一条消息，两名青年在看了一卷神秘录像带后一人死亡，一人精神恍惚，熟悉的场景以及没有标题的录像带，令瑞切尔敏感地察觉到昔日的噩梦即将重现。她烧毁录像带，试图阻止凶铃的诅咒继续蔓延，危害世人，却没想到灾难降临到艾丹的头上。该了结的终要了结，无法逃避的如何也躲不过去…… 本片根据日本作家铃木光司的同名恐怖原著改编，为日本版的翻拍版本。影片荣获2006年ASCAP电影与电视音乐奖、2006年BMI电影与电视奖最佳配乐奖。 (By 豆瓣) When the horror film The Ring, director Gore Verbinski's English-language remake of the Japanese movie Ringu, was released in October 2002, it was not thought to rate a soundtrack album. But $250 million in worldwide grosses later, that must have seemed like a mistaken decision, so DreamWorks Pictures and Decca Records made up for it with the appearance in March 2005 of this soundtrack album, which mixes music from both The Ring and The Ring Two (the latter film based on Ringu 2 and directed by Hideo Nakata, who directed both Ringu and Ringu 2, in his American debut). Hans Zimmer, who since 1994 has been one of the busiest film composers in the business, sometimes having as many as four movies in release in a year, is solely credited for the music of both films in those small-print credit lists printed in the paper and displayed in television commercials. But the album also lists two other musicians in equal-size typeface on the cover, Henning Lohner and Martin Tillman. Both have worked with Zimmer before, Lohner as an arranger and Tillman as a cellist. Inside the CD booklet, there are credits for "additional music" to James Dooley and Trevor Morris. All of this may suggest that, at least when it comes to the soundtrack album, Zimmer is willing to acknowledge that others make important creative contributions to his scores. Listening to the album, it seems appropriate that an arranger and a cellist get equal billing, if only because the arrangements seem to have a lot to do with the scoring, in terms of the expected moods of dread and suspense the music provokes and underlines, and because there's an awful lot of work for cello, as the lower strings carry much of the sound, sawing away in quick rhythmic patterns at what must be the most frightening moments onscreen. Appropriate to the horror film genre, the music is either very soft and slow, with minor-key, single-note piano melodies backed by sustained violin passages, or very loud and rhythmic, building up to thundering climaxes. The instrumentation changes radically at the ninth track, "She Never Sleeps," however, and the remaining four tracks all largely abandon orchestral instrumentation in favor of synthesizers and programming, some of it with a distinctly rock feel. Unlike the videotape that is supposed to kill its viewers in the films, the disc probably won't harm listeners, but they are liable to feel uneasy, and that of course is precisely the idea.