The Witch | The last 30-minutes of this South Korean sci-fi blockbuster is a blood-drenched assault on the senses
10 years ago, Koo Ja-yoon (Kim Da-mi) escaped from a medical facility during an incident and her memory. Now an unusually bright high school student, the farmer’s daughter enters a TV talent show which makes her a target to those who want her back. But she responds with a terrifying transformation from innocent girl into cold-blooded super killer!
Like Stranger Things, Orphan Black and its like, this South Korean sci-fi (aka Manyeo) deals with an amnesiac with latent genetically-engineered/mutant powers. Yep, we’ve seen it all before, and this one – from writer/director Park Hoon-jung – is a bit of a mixed bag. It starts off pretty slow, with some family domestics, but then comes the jaw-dropping finale – a blood-drenched assault on your senses that’s best experienced on the biggest screen possible and with a really good sound system (just to hear those bones cracking).
Kim Da-mi shines in the title role, but my favourite was Jo Min-soo as Ja-yoon’s ‘creator/mother’, Dr Baek. Channelling Joan Crawford’s mothering skills, her Dr Frankenstein-like brain surgeon is one crazy bitch indeed! One mystery I’d like solved, however, is why her superhuman children are referred to as ‘witches’. There’s no obvious explanation. Or did I miss it?
The Witch did soaring business in its native South Korea, while its full title (Part 1 – The Subversion) hints at more adventures to come. I’d be up for that – if only to get an answer to my question!
The Witch is out now on Digital HD from Signature Entertainment
‘If he really is a ghost… then I won’t be able to kill him’
Out of his depth police officer Jong-goo (Kwak Do Won) investigates a spate of bizarre killings and outbreak of madness seemingly connected to the arrival of a mysterious Japanese man who lives in the outskirts of a remote mountain village. What’s more, Jong-goo is horrified to discover his young daughter, Hyo-jin (Kim Hwan-hee), may have fallen under the stranger’s curse. This prompts him to call on a charismatic shaman (Hwang Jung-min) to free his daughter, but the shaman’s intense exorcism ritual ends up worsening the situation, and forces Jong-goo into confronting the malevolent evil himself.
Breaking box office records in South Korea, and winning Best Film of the Focus Asian Selection and Best Cinematography at the 49th Sitges International Fantastic Film Festival, The Wailing from Na Hong-jin fuses a detective story with Exorcist-styled chills to create an unsettling occult thriller that takes full advantage of the country’s majestic rain-drenched mountain terrain – but! and here’s the ‘But!’… it’s painfully ponderous, and in desperate need of an editors’ eye and some action.
Imagine a modern take on a Kabuki show where every character screams over and over, but very, very slowly. Yes, there are some exciting set pieces (some are funny, others downright scary), but by dwelling on the internal drama of the main characters (who are all excellent by the way, especially Kwak as the corpulent, incompetent cop and Kim as his possessed daughter), the film moves at a snail’s place, which only makes its two hour plus running length feel even longer. It also does a disservice to the film’s best scene – an exorcism that feels frighteningly authentic.
The Wailing is out in UK cinemas and On Demand from 25 November