If yes, then don’t hesitate to see “The Ring”, the latest remake from the Hollywood house of horrors. A remake of the acclaimed Japanese film “Ringu”, it’s an exceptionally well made exercise in all things twitchy and unnerving, and in those respects it must be one of the spookiest high-concept horror films in years.

There’s a videotape that you don’t want to see (and I’m not talking about “Freddy Got Fingered”). After you watch the tape, you get a phone call. The caller informs you that you will die in seven days. And, as promised, the viewer meets a grisly demise one week after playing the role of innocent observer. The niece of Rachel Keller (Naomi Watts), an investigative reporter, has met such a demise. When Rachel hears about the tape (which has developed into a case of trendy campfire folklore), she feels compelled to look into it. And there’s creepy business afoot, involving crazed horses, disturbed children and static on television.

From start to finish, every shot in “The Ring” feels absolutely threatening. Scenes of rain and fog are saturated with foreboding atmosphere. The visual polish evident through the entire film serves as a quiet seduction into the carefully orchestrated tricks and treats that director Gore Verbinski (whose previous work includes… uhh… “Mouse Hunt”) has in store. This is superlative horror filmmaking, and in addition to being well crafted and stunningly shot, it knows those elusive secrets of the genre - like how to make us feel anxious and queasy (or, in this case, just plain freaked-out). Vivid and startling, there are images here that will take their sweet time detaching themselves from your subconscious.

Ehren Kruger’s screenplay makes the near-fatal mistake of overcomplicating matters with layers and layers of plot. This is problematic, because it means it could be difficult to resolve all those pesky loose ends. Aside from some convenient connect-the-dots plot contrivances established during Rachel’s investigation of the mysterious tape, however, the script is efficient enough to support the outstanding level of craftsmanship evident in the areas of direction, cinematography and score (by the terrific Hans Zimmer). The script also plays on some our earliest fears - like crossing the threshold between our world and that strange and supernatural one just beyond it. “The Ring” uses video as a medium to do so, and it’s an effective device, albeit just a small fragment in the big, cryptic puzzle the movie strives to piece together.

Australian starlet Naomi Watts, coming off her breakout turn in “Mulholland Drive”, makes a credible heroine and has plenty of opportunities to show off her plentitude of talent. Martin Henderson, as Rachel’s ex, downplays what could have been a stock sidekick role with refreshing and likable results. Scottish actor Brian Cox (“The Bourne Identity", “L.I.E”), one of modern film’s most underappreciated assets, is strong in a brief role, while David Dorfman is effective as the kid (though a tad too Haley Joelish for comfort). Though essentially just another gimmick movie, “The Ring” is nonetheless a terrific fright fest that is fully satisfying on its own agenda. And, I’m thinking it will be quite the hit when it comes out on video.