¡QUÉ HORROR! 2017

Candidate #6

BUSANHAENG
(TRAIN TO BUSAN)

(May 2016)

I'll say it right up front: if you watch a lot of zombie cinema, then you’ve seen this movie before.

Yes, they’re speaking in Korean, and sure, we’re on a speeding train, but you’ve got the Sudden Outbreak, the Initially Unlikely Hero, the Somewhat Obnoxious Guy Who May or May Not Prove to Be Heroic After All, the Characters Who Will Need Extra Protection (in this case, we have a Child and an Expectant Mother), and yes, of course we have the A$$hole.

And believe you me, the specimen we have here, played by Kim Eui-sung is like, Lord Emperor A$$hole.

Despite the familiarity of the character types and the beats though--there are a number of Sacrifices here, both of the Voluntary, and definitely Not Voluntary type, as well as Moments of Pathos, where the music swells and we’re moved to reach for a box of tissues--it cannot be denied that Yeon Sang-ho’s Busanhaeng is an effective entry in zombie cinema, and as such, worthy of some ¡Qué horror! love.

(Unless of course, you’re a Slow Zombie loyalist, in which case, do not apply; Busanhaeng sports adrenalized, occasionally contortionist zombies.)

Thus, given where the film positions itself on the narrative spectrum, there is also no significant Romero sociopolitical subtext here, the biggest takeaway perhaps being this tried and tested law in zombie cinema: no matter how bad things get, there’s always going to be an a$$hole who’ll make things even worse…

(Busanhaeng quad courtesy of twitter.com.)

¡QUÉ HORROR! 2016

Candidate #17

GOKSEONG

(THE WAILING)
(May 2016)

But they were terrified and frightened, and supposed that they had seen a spirit. And He said unto them, “Why are you troubled? And why do doubts arise in your hearts? Behold My hands and My feet, that it is I myself. Handle Me and see, for a spirit does not have flesh and bones as you see I have.”

--Luke 24: 37-39

With that Biblical quote, Na Hong-jin’s Gokseong kicks off, as a remote mountain village in South Korea becomes the site of brutal incidents of murder.

Sporting some of the conventions of Korean cinema (the tonal potpourri, the largely ineffectual dunce who passes off as the protagonist, the excellent cinematography--courtesy of Hong Kyung-pyo*), Gokseong is a disturbingly effective horror/thriller hybrid.

And while I may not agree with some of the things it ultimately says, that doesn’t take away from the fact that Na kills it with this one…

* Some of the other directors Hong has also shot for include Bong Joon-ho [Madeo (Mother) and Snowpiercer], Kim Min-suk [Cho-neung-ryeok-ja (Haunters)], and Kim Jee-woon [the “Memories” segment from San Geng (Three)].

(The Wailing OS’ courtesy of impawards.com.)

LOST
Season 4 Episode 7
“Ji Yeon”
Written by Edward Kitsis & Adam Horowitz
Directed by Stephen Semel
(WARNING: SPOILERS)

And the neighbours were said to have heard: Bastaaaardds!!!

Okay, let’s do it like this; let’s divvy this up between on the Island, on the freighter, and off the Island…

On the freighter:
Frank takes a whole bunch of canned goods to Sayid and Des, who are under lock and key once more after their unauthorized excursion to the comm room, during which time poor Minkowski did an Eloise.
On guard, Regina in the flesh, portrayed by Zoe Bell. Finally we see Zoe. Only to have her wrap some chains around herself and jump overboard.
Bye bye, Zoe.
WTF?!
And I thought Fisher Stevens came and went…

Anyway, no one even tries to jump in to save Regina, and Sayid and Des finally meet the freighter’s captain, Gault (Grant Bowler), who says that a) a number of his crew have been having some mental issues, as evidenced by Regina’s swan dive; b) there’s a saboteur on board; and c) the ship belongs to one Charles Widmore (so, Ben wasn’t lying about that).
The captain also shows Sayid and Des what is supposed to be the black box recovered from the Oceanic 815 crash, where all those corpses were found, including one that was supposed to be Sayid…
So the captain claims that the man behind the elaborate ruse (which required 324 corpses as props) is one Benjamin Linus…

Returning from their audience with the captain, whom Sayid wryly describes as “surprisingly forthcoming,” they’re moved into a new room, and who do they meet but Kevin Johnson.
You know, Kevin! Who looks exactly like some scummy traitor known as Michael.
Of course, Sayid and Des are on the ball, and don’t let on to the fact that they recognize this schmuck. (Of course, right now, I’m doing some memory scrabbling and trying to recall if Des was sober enough to have remembered Michael…)

On the beach:
Jin and Sun are talking baby names, but Sun doesn’t want to jinx it, so she doesn’t play along. Jin thinks it’s going to be a girl, and wants to name his daughter “Ji Yeon.”
When Kate and company get back, Sun asks what went down, and Kate tells all (I love Sun’s reaction to hearing that Charlotte whacked Kate on the head; go, Sun! Show that Brit b!tch some Korean whoop-a$$!), including the fact that Juliet euphemistically referred to the poison gas factory as a “power station.”

This penchant Juliet has for sometimes avoiding the truth like the plague, gets Sun suspicious once more of the Other woman, and after unsuccessfully trying to get something out of Daniel in regards to their rescue, she gets it into her fool head to go join Locke, because she doesn’t trust these newcomers.
But when Sun needs some prenatal vitamins from Juliet, Juliet is deathly opposed to the idea, since Sun really needs to get off the Island, and quick. But Sun’s gotten dubious about Ju-Ju’s claims, so she’s off for LockeLandia.
Kate draws the Kwons a map and all, and tells them she has to tell Jack, but she’ll give them a good head start first. Sun says she wanted to tell Jack, but decided not to because “he wouldn’t understand.”
But Ju-Ju busts that party and at first tries to tell Jin about Sun’s condition (as Jin explained to Jack earlier, he understands English better than he speaks it), but when Jin says, Wherever Sun goes, I go, Ju-Ju whips out her trump card: Juliet tells Jin about Sun’s affair! (And although I understood precisely why Juliet said that, I still so hated her guts just then.)
Sun slaps an already beaten-up Juliet (ouchee), and Jin stalks off back to the beach.

Sun tries to explain, but Jin just wants to go fish. Luckily, Bernard, bless his soul, arrives, and at first unaware of the argument, asks Jin if he can tag along.
Bernard realizes he’s walked right into the middle of something, and is apologetic and is backing off, when Jin says it’s okay.
So the only two married men on the Island (well, from 815; who knows how many of the natives are married; come to think of it, some of the 815 sock puppets could be married too, but how are we to know?) go fishing, and Bernard tells Jin about Rose’s cancer.

Back on the beach, Juliet tells Sun, I just had to stop you from leaving.
Ju-Ju then outlines the next handful of weeks for Sun, an inevitable scenario that ends with her death, and right after that, the baby’s.
You’re my patient, Juliet says, and you need to get off this Island.
When Jin gets back, he prepares dinner for Sun (Jin’s practicing English is adorable), and basically says, I know the man I was back then, before the Island.
I know that what you did back then, you did to that man.
I forgive you.
(Which, let’s face it, already slew me at face value, but in light of our final Off the Island section, well… devastating…)
Jin says, I’ll go with you to Locke’s camp, but Sun says, I don’t want to go there anymore. Juliet was very convincing.
They have a helicopter, she says.
Jin says, I’ll do whatever it takes to protect you and the baby…

Off the Island:
A very pregnant Sun, back in Korea, goes into labour.
Cut to Jin, who’s frantic to get to the hospital, but passes by a store to buy a stuffed panda first.
With Sun, it’s all labour pains and new doctors (her usual one is at a conference, damn him!), with Jin, it’s all, played for laughs, need to get to the hospital, oh crap, I need to buy another panda, oh more crap, my cell phone just got ran over.
So all through this, I had a bunch of suspicions.

Suspicion A: this new doctor and that nurse doping up Sun were evil, evil I say.
They were here to steal Sun’s baby, to study it, it apparently being the first infant to have been conceived on the Island, and to have lived to tell the tale. (Unless Ben used to do that in the past—get the preggers women off the Island before they reached their third trimester, have them deliver off Island, then bring them back when both mother and infant were a-ok—which I always wondered about and I believe I mentioned here at the Iguana before.)
Anyway, it would be that whole Knots Landing, Oh, we’re so sorry, but your baby died during labour, but then Valene just knows she gave birth to a baby that was alive, and no, I was not confused by the drugs, where is my baby you bastards?!
So.
Anyway.
Evil baby snatchers.

Suspicion B: somewhere along the way, I began to think, Oh no, what if they both got off the Island, but in the end—due to the whole Sun having an affair thing—didn’t end up together, and Jin’s actually hurrying up to get to some other woman who’s now his wife, who just happens to be delivering at the same time as Sun.
Of course, if I had had the luxury to think this suspicion through, it would be impossible for Jin to have both found (and perhaps married) another woman and gotten her preggers so that her delivery would coincide with Sun’s. (Unless Jin actually physically time-traveled somehow and that his sperm stayed healthy and alive even after he’d gotten off the Island…)
Anyway, the core of this particular suspicion was that Jin was not heading to Sun’s side, that when he got to the hospital, we’d have the reveal of some other woman with her newborn baby.

Suspicion C: which, before we get into it, I must say, was a niggle at the back of my mind, pretty much overshadowed by Suspicion A (Evil! Evil!), was that Jin and Sun were in different timelines (which would also have worked hand-in-hand with Suspicion B).
But as I said, it was a niggle, so when the reveal came that they were indeed in different times (Sun, post-Island; Jin, two weeks into their marriage, and he was hurrying to the hospital to deliver the panda to some ambassador or other, on orders of Sun’s evil da), the immediate question which overrode the small, though still significant surprise, was, Where’s Jin?
And this is the point where I irrationally shouted at the screen, Bastaaaardds!!!

Hurley shows up to greet the proud mama and Ji Yeon, and then they all troop off to see Jin… who’s in the cemetery.
I say again, Bastaaaardds!!!

I can only assume at this point that Jin did do all he could to protect Sun and the baby, and this is the price.
If so, though, is Jin considered part of the Oceanic Six (as a nurse points Sun out to be)?
Officially, with verbal confirmation on the show, it’s Jack, Kate, Hugo, Sayid, and Sun. We’ve seen Ben, and of course, Aaron, off-Island, but neither were 815 passengers. Or is an unborn infant considered a passenger?
Is Aaron part of the Six, or not?

Of course, my steering the pondering over to the Oceanic Six question is simply me trying to avoid having to deal with Jin’s upcoming demise.
It’s Charlie all over again…
But, as hard as this is going to be, at least I get to psyche myself out for the inevitable, as opposed to, say, the sudden departures of Shannon (Ana-Lucia, you b!tch!) and Libby (Michael, you bastard!).
Still.
I say again, Bastaaaardds!!!

Or was that part of the elaborate ruse and Jin’s still alive, on the Island? Though I doubt that possibility, as I can’t see Sun going through the masquerade of visiting an empty grave just so she could get me to blubber like an idiot…
Of course, the date of death on Jin’s marker read September 22, 2004, the date of the 815 crash, since he was purported to have died then. But that still leaves us with possibilities…
Either Jin really did die back on the Island, and Sun can’t really have the date of death on the grave marker changed because that would contradict the “official story” of the 815 crash, or the visit to the cemetery was indeed part of the ruse and Jin is still alive, back on the Island.
Graaar! I say again, Bastaaaardds!!!
Now I don’t even know if I should prepare myself for Jin’s demise or not…

Sigh.
I love this show.

COUNTDOWN: 41.

(Images courtesy of ABC, ew.com, and variety.com.)

reVIEW (46)
SARINUI CHUEOK
(MEMORIES OF MURDER)

Before Korean director Bong Joon-ho made a decidedly bigger splash with his creature feature Gwoemul (The Host), he had already made a significant impression on the global cinema stage with his 2003 serial killer procedural, Sarinui Chueok (Memories of Murder).

Set in 1986 and based on a real-life unsolved case, Sarinui Chueok chronicles the predations of a serial rapist and killer in the Korean countryside, and the unfolding investigation as local detective Park Doo-man (Song Kang-ho, seemingly ubiquitous in the best of Korean cinema, whom Bong would again collaborate with on Gwoemul) is made to work with city boy Inspector Seo Tae-yoon (Kim Sang-kyung), who’s just arrived from Seoul to help crack the case.
Despite a premise that sounds like a very run-of-the-mill serial killer thriller, what makes Sarinui Chueok stand out as a shining exemplar of the genre though is the manner in which Bong grounds the narrative in the time and place of its setting.

This is 1986, in the Korean boondocks, where crime scenes are routinely disrupted and compromised by unruly children, curious gawkers, the press, and runaway tractors; a pre-Internet Korea, without even the technology and equipment for a standard DNA check. It’s Grissom’s worst nightmare…
This low-tech procedural aspect, Bong’s film shares with David Fincher’s Zodiac, another brilliant serial killer thriller of recent vintage. But what makes Sarinui Chueok even more fascinating is how the narrative is truly of Korea, how the plot and script can’t simply be transplanted to, say, an American setting for an English-language remake.
This is Korea, where civil rights advocates will frankly be horrified at the manner in which suspects are treated and confessions extracted, making this the worst nightmare of any of the dozen or so Law and Order casts as well…

It’s this very particular national identity though that serves to make Sarinui Chueok Exhibit A in the case that you can always approach what seems to be a dead horse of a genre with new and vital eyes (something Fincher also managed to do with Zodiac and Showtime is doing with Dexter).
It’s also Exhibit A in the case of never making the mistake of aping the wrong conventions of a foreign film when you’re clearly not making one. (Think Rob Marshall’s Memoirs of a Geisha, which tried so hard to be an Asian art film, when it clearly wasn’t.)
In this latter case, Sarinui Chueok also shares its commendable distinction with Exhibit B, Sebastian Cordero‘s Cronicas (Chronicles). Produced by Guillermo del Toro and Alfonso Cuaron, Cronicas is likewise based on a real-life serial killer case, this time, in Ecuador. Though I do admit to finding Sarinui Chueok a far more absorbing film, Cronicas is nonetheless a very non-Hollywood approach to the genre that is very grounded in its Ecuadoran setting.

What also makes Sarinui Chueok such a memorable and distinctive entry in the annals of serial killer thrillers is its sense of humour; this is going to sound strange, but Sarinui Chueok is the funniest serial killer thriller I’ve ever seen.
Again, Bong takes that very particular Korean setting and sensibility, and finds strains of amusement in the proceedings, without overstepping the boundaries of good taste. Though there are chuckles and guffaws to be found here (mainly in the manner in which the investigation is conducted and the rural circumstances that surround it), we never truly forget that this is a gruesome case, whose details and deviant minutiae were alien, not just to the provincial townsfolk who were intimate with its disturbing leavings, but to the country as a whole.

And if you’re not totally convinced, then consider that Sarinui Chueok was the most watched film in South Korea in 2003, and is currently the fourth most viewed film in South Korea of all time. It also won Korea’s Grand Bell Awards for Best Film, Best Director, and Best Leading Actor (Song).
So if you’re looking for something different on the serial killer thriller front, or discovered Bong Joon-ho through Gwoemul, you should really check out Sarinui Chueok.
It’s effective, lyrical, and yes, funny, and that’s not something you can say about most serial killer thrillers.

Parting shot: Though the narrative is elegantly compressed in this film, the real-life case also mirrors the actual Zodiac case in that this was a terribly protracted investigation which was ultimately left unsolved: ten similar murders occurred between October 1986 and April 1991, and over 3,000 suspects were interrogated over its course.

Parting shot 2: Reviews of Bong’s Gwoemul and Fincher’s Zodiac can be found lurking in the Archive, where episodic recaps/reactions to Dexter also reside.

(Sarinui Chueok OS courtesy of soju22.net; images courtesy of seoulselection.com; Memories of Murder DVD cover art courtesy of amazon.co.uk and amazon.com.)