Showing posts with label South. Show all posts
Showing posts with label South. Show all posts

Monday, October 6, 2014

Unseen Terror 2014: Day 6





Bank worker Hae-won doesn't exactly enjoy living in the occasionally stress-filled and frenetic city of Seoul, South Korea. On the advice of one of her superiors, she takes a much-needed vacation to the private island of Mudo, where she spent much of her time growing up during her prepubescent years. Once Hae-won has arrived, she is greeted by one-time best friend Bok-nam, with whom she had lost touch. After perusing the isolated premises, she notices that the companion from her youth lives a rather tough on Mudo: she is treated like a slave, abused by her husband, his brother, and the assorted elders living in the village. When a particularly life-changing tragedy strikes, Hae-won can only watch in horror as her childhood friend finally snaps.


Each year that I pick out my movies to view for this marathon, I have a difficult time narrowing down my variety of choices to at least thirty one individual selections. What's even harder is having to pick out what will be watched on which day, especially given previous iterations' structuring and the thought often crosses my mind on if I should stick with a recurring theme for each number listed (not everything is a coincidence). Sometimes, this has lead to rousing success and pleasant viewing experiences. For starters, I always try and pick out something that I'm guaranteed to enjoy on day one. On the opposite end of the spectrum, sometimes you end up sitting through more awful Hellraiser sequels and pretentious messes like Rubber than you ever thought that you could.


As luck would have it, day six of every year's marathon has seemingly become about discovering new films from the country of South Korea, particularly in the horror and/or thriller field. I've enjoyed Thirst and I Saw The Devil immensely, and first-time director Jang Cheol-soo's tragic, bloody, and all-around exceptional motion picture Bedevilled has more than a right to be held in the same breath as some of the best of the best from the East. As of this writing, about twenty five or thirty minutes have passed since the credits ended, and in some regards, I'm still at a loss for words.


I will keep my spoilers to a bare minimum, but I must throw out something before I continue on: Bedevilled may not be considered a "horror" movie, at least by the standards of most audiences. True, its most uncomfortable scenes and unquestionably detestable villains could help you make the case for it being one, but just as many folks will compare it to a picture such as Taxi Driver, or something more macabre such as I Spit On Your Grave, though I think has far more to offer than the latter ever could. A person such as myself doesn't really care what you call it, since thrills and chills are more closely linked than people want to fully admit anyway. On the "thrill," or more appropriately, dramatic side of things, if you're expecting Hae-won, the former woman described in the above synopsis to take the lead as our protagonist, you are sorely mistaken and have been greatly mislead my friend. Mind you, she doesn't disappear or become a second banana at all, but our poor islander, the emotionally and physically tortured Kim Bok-nam, is the real star here, and she is someone we spend quite a bit of time getting to know. The lady is clearly the only thoughtful and compassionate character on the island of Mudo, as every single person surrounding her (with the lone exception of her daughter, played quite adequately by youngster Lee Ji-eun ) is either verbally beating her down for not being completely submissive and having an opinion, or they're physically abusing her over minor and mundane mistakes that every human being is capable of making. I don't think I've seen this much debasing of a spouse since Lucky McKee's equally harsh horror film The Woman.


This continuous beating of a young lady who clearly doesn't deserve any of this guides us into the "chill" category. When Bok-nam ultimately snaps (thankfully this isn't a spoiler, especially if you've seen the alternate poster), it goes from zero to eighty in a manner that can only be described as shockingly satisfying, if not a bit on the morbid side. Bok-nam is played wonderfully by actress Seo Young-hee, who I would personally love to see get a chance to work with a bigger hollywood (not necessarily American) director after she did such a fantastic job of helping flesh this woman out, separating her from the usual vengeful heroine character. Let's hope she can fare better than Choi Min-sik though, since even he couldn't save the disappointingly bland and forgettable Lucy. At certain times during her island-based life, she can be incredibly pathetic, although very sympathetic when you consider that she has been sucked into this eerie, cult-like, browbeating community against her will, seeing the return of her old friend Hae-won as a possible way out of this nightmarish existence. During other periods, she is horrifying cold and notably resourceful, outperforming the most sadistic and calculated of slasher movie villains. This instantly memorable performance is only accentuated further by the minimal use of a musical score, saved only for the most crucial of moments and when serenity is most needed during times of absolute madness.


If you can stomach the initially slow pace and build, the brutal violence, and can deal with the fair amount of female (and occasional child) abuse seen throughout the two hour running time, Bedevilled is a remarkably well-made, powerful, and important picture. I understand that its conclusion will most likely prove to be quite divisive, but I think it's the type that will cause you to think and realize how the entire story has come full circle, and that even through terrible, terrible events taking place, we can still grow as people, learning to do the right thing when the time finally comes. Well, this is after you have cooled down that is. My only issue though? I honestly wish that I had watched this at a later time, considering that it sets the bar for this year's lineup rather high.



However, tomorrow may prove me wrong.



Tomorrow, we're sticking around in South Korea and checking out Bad Guy!

Saturday, October 6, 2012

Unseen Terror 2012: Day 6


A group of oil workers search for undiscovered oil on the untapped and mysterious rig Sector 7. After one crew member's uncle joins them, they soon uncover something lying beneath the sea several thousand miles down; something unseen by the human eye. Soon, the workers must find a way to escape the rig with their lives intact.



I first heard of South Korea's Sector 7 from the very charming Scifijapan.com, a good site for those interested in keeping up with licensing and releases for all things related to Asian entertainment. The last time I checked out a Korean monster film was 2006's The Host, which I dug quite a bit. This certainly isn't on the same level as that film, but it doesn't really deserve the tepid response it received if you ask me.

For one thing, I did like the fact that they managed to convey the real difficulty in oil drilling and how much of a nightmare it can be for those involved. There was also a decent sense of camaraderie between everyone, save for when people start dying off, then everyone mostly has the same response of "Oh! They died! Oh well..." This could also serve as a vehicle for lead actress for Ha Ji-won, who they certainly want to portray as an Asian Ellen Ripley of sorts.

I suspect that what garnered the most amount of criticism was the lack of a budget behind the film, and I can't defend that. The monster in Sector 7 looks like total garbage, and not just because it was computer-rendered. The design itself looks like a messy brainchild between Samael from Hellboy and something out of Doom 3. It doesn't help that it has the oldest weakness in the book, though the film's characters seem to forget the old quote of "There's more than one way to skin a cat," as they repeat the same trick at least four times with the same exact result: failure.  One more thing popped into my mind towards the end, and that was that I hope those infatuated with Asian cinema don't try to defend it as anything unique, because it simply isn't. Hell, you could have taken out the Korean cast and replaced them with folks from ANY ethnic background and it wouldn't have made any difference.

Sector 7 is admittedly brought down by its genericness and predictability, along with way too much similarity to Alien, Aliens, and The Thing, but it isn't offensively terrible. Those who want a relatively quick moving SciFi-Horror film could certainly do worse. I didn't find myself annoyed with the film at any time and if I ever stumbled across it again, I wouldn't be opposed to watching it one more time.







A priest with a rare and fatal disease undergoes treatment, and finds himself the only survivor out of five hundred other patients after a blood transfusion. Though everything seems fine and he has made a full recovery, he soon discovers that things are actually quite far from normal: he has been afflicted with vampirism.


It's no secret that I love director Park Chan-wook, who directed the absolutely fantastic "Vengeance" trilogy, which contains one of my favorite films of the past ten years, Oldboy. Thirst is his take on the vampire genre, and it certainly isn't your average bloodsucker. The film moves at a very unusual pace, and it might put some off who are more used to their vampire films having more "pizzazz."

Song Kang-ho plays our infected priest, who you feel genuine empathy for as he struggles to contain not only his newfound bloodlust, but an attraction to an old friend's wife (played wonderfully well by Kim Ok-bin), two things which strongly conflict with everything he stands against due to his religion. Their chemistry is something that I think only Park himself could have conjured up and made the best of. The several scenes of passion between the two (my apologies for the small spoiler) feel shockingly real, and are even uncomfortable when they need to be. Things get particularly interesting for our two leads once the second half comes around, and their relationship starts to take some rather strange turns.

Another big round of applause has to go to the film's composer Jo Yeong-wook, who previously worked with Park on several of his films, including Oldboy. His score is tragic, chilling, and even light-hearted at the times when it needs to be. Now don't get me wrong, this film certainly isn't perfect. For one, there are some funny moments sprinkled throughout but I'm almost certain they were unintentional (if they weren't, then I'll continue with the endless amount of asskissing). It also runs over two hours, and it legitimately feels like it. There is also a surprising lack of fangs, but given that this isn't your average vampiric tale, I can see why they didn't use them.

Some will argue that Thirst isn't a true horror film, but more of a bizarre, bloody, and tragic love story. Whatever the case, a good film is a good film. I dug this one quite a bit, and regret having waited to watch it for three years. If you're looking for something different and dark in a field that is currently riddled with attractive tweens who sparkle in the sun rather than burn, give this one a watch.


Tomorrow, we're back in the good ol' USA for a rather slithering tale with SSSSSSS.