¡QUÉ HORROR! 2017

Candidate #12

SEOUL-YEOK

(SEOUL STATION)
(April 2016)

Yeon Sang-ho's animated prequel to Busanhaeng (Train to Busan) actually plays better than its live-action sequel, and that’s probably all down to the fact that it’s a more atypical zombie cinema viewing experience than Busanhaeng.

Why is that, you may ask?

To wit:

A: Animated zombies are far more uncommon than live-action ones.

B: Unlike Busanhaeng, we don’t really see your usual zombie cinema character types here.

C: The social commentary is far more satisfactorily evident, with some barbed rants against country and government. And the class divide is likewise more overt here.

It should be noted though that there are some rather cruel and vicious moments in this one, some moments having nothing at all to do with the zombies…

If that all still sounds like your cup of (zombie) tea, then take heed: ¡Qué horror! strongly approves Seoul-yeok!

(Seoul Station UK quad courtesy of impawards.com.)

¡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.)