Aside from my shopping quest, I have another mission that's been far more difficult to satisfy.
I want a movie so scary it keeps me up at night.
Let me clarify, though. I want to be scared. Not disgusted, not disturbed - scared. Gore porn like 'Saw' and 'Hostel' don't appeal to me and while I liked 'Audition' and 'Battle Royale,' both were more psychotic and thought-provoking than out-and-out wet-your-pants frightening.
What makes this particular desire of mine so peculiar is that when I was teenager, I hated horror movies. I'd get up and leave the room when just the commercials would play because I was that scared. What changed my mind, I can't say. I do know that the first "horror" movie I saw (semi)willingly was 'The Blair Witch Project' but that was back in 1999. It's only been in the past two years that I've really begun actively seeking it out.
'Fatal Frame' has tainted me. I've never been a gamer and to this day I'm still not - but this series is, quite honestly, the last thing I remember screaming at. Jeff, Maryanne, Ryan and I used to spend a couple hours each Sunday night holed up in a dark room together taking turns on the controller. A few times it made me so anxious I had to walk out. The game envelopes you in a living horror movie and it does it so effectively that every time your "character" reacts, you do too.
I guess 'Fatal Frame' is what introduced me to asian horror but it wasn't until I watched 'The Ring' and then subsequently 'Ringu' that the differences dawned on me. While I consider 'The Ring' an effective remake (one of the few), there are so many things about the original 'Ringu' that, in comparison, work far better as genuinely terrifying horror devices. The sparse soundtrack and the tight and deliberate cinematography both work in its favor, winding the audience so tight that when something - anything - happens, you snap.
Never have I seen a better example of this than in the dinner scene from one of my all-time favorites, 'A Tale of Two Sisters':
The extended shots of Eun-joo looking to the cabinet, then walking over to it, then reaching for the door, then reaching for the hair-clip are, in more ways than one, breath-taking. The set-up is brilliant. Because of the foreshadowing that comes from the couple driving home, you know something is going to happen. And yet, when it does, you still jump.
At the moment I'm watching [REC], the Spanish movie on which the current US release 'Quarantine' is based. It's frustrating to find another non-US horror flick that accomplishes something we haven't managed in years - to actually be scary. In defense of Hollywood, I've heard good things about 'Quarantine' but almost all the reviewers who've seen both versions unanimously agree that [REC] is still a bigger punch in the gut.
Aside from 'The Ring' and possibly 'The Grudge' (which a lot of people seem to disagree with me on) I've yet to see a horror film remade in the states that comes close to its' predecessor. The JAlba version of 'The Eye' tanked (and rightfully so) and 'Pulse' was almost blasphemous in comparison to the suffocating loneliness of 'Kairo'. The remake of Shutter was a step above in terms of keeping a coherent storyline and using some of the best gimmicks from the original (the scene with the flash and the the photo flip-book, specifically) but it was so not scary that I honestly could've fallen asleep in the middle with no trouble.
Just yesterday I stumbled across praise for a little-known independent film that premiered at Slamdance this past January called 'Paranormal Activity'. A handy-cam film from the same vein as [REC] and 'The Blair Witch Project,' it centers around Katie and her boyfriend who believe they're being haunted. And every damn review seems to agree that it's worthy of all the accolades it's been given.
So how can you see this film?
You can't. Dreamworks has purchased the rights and rather than releasing the original movie to the public, they're going to remake it. True, they were successful with 'The Ring' but before you get your hopes up, let me remind you this is the same company behind 'The Uninvited' (AKA 'The American Tale Of Two Sisters' AKA 'The Reason I Started Drinking'). Dreamworks has put a padlock on any and all footage of the film - including the original trailer (as far as I can tell, the only place to see it is on slashfilm dot com's review and who knows how long that'll be up).
Hollywood has been screwing with the genuinely terrifying works of other countries for a couple years now. I don't have a lot of faith in anything other than the likely possibility that they will also eff up one of their own.
Horror movies: You're doing it wrong, Hollywood
Reviews: "Inner Senses," "Apartment 1303"
So, last week C&C and I polished off "Inner Senses" and I watched "Apartment 1303" all alone (during a monsoon, which definitely added to the mood).
"Inner Senses" was definitely different in its own way. There is a definite distinction between the various Eastern countries' prefered way of portraying "horror". They;ve all mastered the art of heightening tension and suspense to the Nth degree (which, incidentally, is why I *heart* asian horror in the first place) and most favor the "long-haired female/silent child ghost bent on revenge" (or both, in the case of "Ju-on"), but the styling from each is very unique. "Inner Senses," like "Phone," straddles the line of "psychological thriller" and "supernatural horror" but manages to do very well in both. It follows a young woman, Yan Cheung, who finds herself rigidly and painfully shy because of her (alleged) visions of dead people. On the prompting of her cousin, she goes to see Jim Law, a psychiatrist (the last in a long line) who staunchily believes the spirit world is nothing more than tricks of the mind. After witnessing how badly these "visions" affect her and believing he can cure and thus make her life managable, he makes himself available 24/7. However Yan Cheung begins to take more than a professional interest in the doctor and, after assuming he feels the same, embarrasses herself by acting on those urges. Jim politely declines and severs the relationship only to realize weeks later that he'd grown fond of her too and that she'd managed to fill a void in his non-existent social life. The two reconnect and tentatively begin a rather sweet (and, oddly enough, believable) romance. Jim, however, becomes troubled when it seems that he's adopted her talent for seeing dead people.
This movie managed to surprise me with its turnabout. It wasn't chock-full of twists and shocks but the story was engaging enough that when it shifted its focus from the patient to the doctor in regards to ghostly visions, I was pleasantly intrigued. I won't say it was entirely successful - the ending, for example, teetered on the edge of melodramatic - but it didn't come across as a half-assed attempt at resolution either. Jim's past simply didn't get enough explanation until the final climax and I don't think there was quite the build-up it needed. But I really enjoyed Yan Cheung as a character and honestly cheered when she made the transition from depressing, reluctant medium to a more self-assured girlfriend who had the confidence to confront her new love.
As for scares, there were plenty of those, mostly in the beginning and the end. The middle part was dedicated to the changing relationship between the two main protagonists which I also really enjoyed. I was a little weirded out by the disconcertingly upbeat montage that played out to show their new romance. It was jarring in its positivity (and out-of-place, Pop-y background music) and such a drastic change from the overwhelming tension that had preceded it that I expected it to be some kind of surreal dream that took place in Yan Cheung's mind. Caroline and I found ourselves giggling at the bizarreness throughout the scene and I doubt that was the intended response.
Still, one of the better, more effective pieces of asian horror in terms of coherent, cohesive story-telling, genuine chills and believable characters.
"Apartment 1303" was pretty much exactly what I was expecting. And if you pick up the legal Tartan Asia release, you'll understand why. Touted (in large print) as coming from the author of "The Grudge," it's standard fare for anyone even remotely familiar with asian (specifically Japanese) horror. Long-haired young woman haunts a location, wreaking havoc on any soul unfortunate enough to step foot on the property. And while that doesn't make it bad, it does means it won't offer anything new, especially to those already familiar with the genre. It presents a good plot with few storytelling bumps and provides a good amount of fresh scares.
The plot is, as I said, familiar. A young woman, Sayaka, commits suicide unexpectedly (and in front of her friends) by jumping from the balcony of her new apartment. Unsatisfied with the police investigation (and after the urging of Sayaka's boyfriend), the victim's older sister, Mariko, decides to investigate the matter herself. With the help of a local detective who's been following the tragic fates of the previous tenants of 1303, Mariko discovers that years prior the six-month-old remains of a mother had been found in the closet of the apartment after the daughter had leapt to her death from the balcony. As anyone would probably guess, Sayaka was the not the first tenant to rent the flat who met their end in the same manner. And unless Mariko can unravel the mystery, she won't be the last.
While totally predictable, "Apartment 1303" was still pretty successful. There are some genuinely creepy moments; even the method of the ghost's killing is pretty unique and frightening (even if it can't escape the stigma of [another] "Ringu" wannabe). It's the kind of movie that understands exactly what it is - and what it isn't. The creators didn't even try to break new ground but rather took a tried-and-true formula and added their own signature. Because of that, it succeeds. It's a good introduction to asian (more specifically, Japanese) horror for those who might not know it. But if you're a jaded viewer looking for something other than just another "Ringu" knock-off, you won't find it here. If you're in the mood for a competent, enjoyable horror film that most people can watch without needing a primer in cultural and cinematic tendencies in Asia, "Apartment 1303" delivers.
moar horror pls
Despite my previous disappointment at Netflix disorganizing my queue, I was quite impressed with what they sent me. My friends Caroline and Chris have both joined in my asian horror hunger and I spent a good chunk of the weekend on their couch while their German Shepherds, Charlie and Sissy, licked my feet. It was nice to have the chance to dissect what I'd just seen with seemingly smart people rather than just go on my own gut. C&C are both intelligent (he's an engineer and she's a stock broker, so they reach far beyond my scope) and I stole many of their thoughts and opinions for use here. They can be a lot more eloquent than my own LOLspeak commentary.
"Voice" is the fourth installment (following the namesake "Whispering Corridors," "Memento Mori" and "Wishing Stairs") in the "Whispering Corridors" series and my second favorite of the group ("Memento Mori" was surprisingly moving, with great characters [albeit very little scares], and remains number one). The flicks are not a continuing story, but rather four separate stories with similar themes running through them (they all take place in all-girls schools, include incredibly tight-knit friendships that border on romance [or are blatantly so] and generally include a lot of revenge-fueled violence). "Voice" starts out generically enough but takes a sharp left within just a few minutes, leaving the main protagonist dead in the halls of the school. Unable to leave the main building as a ghost and only heard by her best friend Sun-min, Young-eon attempts to recall the events of her last night in an effort to solve her own murder.
The scares were present in "Voice," but nothing out of the ordinary. The story itself was what made it enjoyable but it's also what ultimately made it convoluted and unbelievable. Two-thirds through the movie the timeline is explained in mind-numbing detail as is the motivation and backstory. Aside from showing too much of the Man Behind The Curtain, the mode of explanation makes no sense and I was kinda disappointed in the "reality". I'm accustomed to asian horror being a bit abstract and so I don't expect a whole lot to make perfect sense by the time the credits roll, but this just seemed to fall short of being totally fulfilling. That's not to say it's a bad movie since it doesn't really fall short as a horror piece. I'm just not satisfied with run-of-the mill scares. I prefer my horror to be accompanied by a good story, too (which is why I'll continue to sing the praise of "Phone," "A Tale Of Two Sisters" and "The Eye").
"Seance" suffered in much the same way as "Voice," but it managed to accomplish a whole lot more and still fit in some incredible scares. In a lot of ways, "Seance" reminded me of "Acacia," in that the protagonists are thoroughly normal people with incredibly mundane lives that, through some bad choices, eventually become despicable. About the only thing out of the ordinary for the main couple, Sato-san (do we ever find out his first name?) and Junko, is that she's a medium who sees dead people and can contact the dearly departed. Several scenes in the first half-hour are so ordinary you almost feel a bit dirty for peeking into their day-to-day lives. It isn't until they get inadvertently involved in a kidnapping that things spin out of control, quickly.
Kiyoshi Kurosawa (no, not that one) made an incredibly effective horror movie. The believability of the Satos as average people who spiral downhill due to their own choices is remarkable. And while the "child ghost" isn't exactly breaking new ground, it's still used very well and, what I loved the most, always in broad daylight. The ending itself was a bit too ambiguous for my tastes but the ultimate fate of the protagonists isn't really the point of the film, I don't think. The moral of the tale deserves center stage far more.
Next up is "Apartment 1303" and (if Netflix gets my order right) then "Lovesick Dead". I've also swallowed my queasy fear and put "Suicide Circle" in the next half-dozen or so. I'm sure that'll warrant an entry all by its lonesome.
Aw, no Netflix!
I was all set to watch "Shibito no Koiwazurai" ("Love Ghost" is what they idiotically changed it to in English though apparently "Lovesick Dead" is the actual translation) and "Yee Di Hung Gaan" (...or "Inner Senses") but Netflix screwed up my queue and is, instead, "in the process" of sending me "Voice" and "1303 go Shitsu" ("Apartment 1303").
Sad face.
I'm disappointed. Both "Lovesick Dead" and "Inner Senses" are supposed to be good. "Voice" is another installment in the "Whispering Corridors" series and those have been disappointing in the horror department (although "Memento Mori" was really good), while "Apartment 1303" is by some of the creators of "Ju-on" and "Tomie" who, while having moderate success with those titles, have left me rather unimpressed with some of the stuff they followed them up with.
Still, I hope to have them knocked out by the end of the weekend. It'd be fabulous (and creepy) if we got a killer monsoon soon so I could watch with the blinds open and the lights off.
This past week I watched "Rinne" ("Reincarnation") and despite having high hopes, my expectations managed to be met fairly well. The "twist" was plotted adequately and the two storylines were woven better than I anticipated. The introduction of a creepy-ass doll was a welcome surprise and took the place of the traditional "long-haired lady ghost" as the top scare.
As per usual, there wasn't a whole lot of explanation to the story which, in places, marred my otherwise good experience. The theme of "reincarnation" was obvious from the get-go (not just from the title) and they throw in some weirdo stuff from the past having to do with the father and the studies he did... it was unnecessary and really just confused me.
Nagissa, the main protagonist, was... kinda silent. I'd be surprised if she said 30 words throughout the entire movie. And since she has a lot of screen time, she was consequently relegated to a whole lot of prolonged gasping and muffled cries. Not necessarily a bad thing - kind of refreshing, really - and she conveyed everything really well even without talking. It just got to be obvious by the finale.
All in all, definitely one of the better asian horror flicks I've seen. Some seriously scary moments, tons of tension that you come to expect from the genre and a cohesive, engaging story. A very pretty film to look at, as well.
I'm debating on whether or not my constitution can handle "Jisatsu Sakuru" ("Suicide Circle"). Not a horror movie as much as a psychological commentary, it's been compared to "Battle Royale" a lot in that it's thought-provoking and deeply disturbing in its themes. And if you've known me for any length of time, you've more than likely heard my praises sang in that direction, so my interest is obviously piqued. Even more than "Battle Royale," though, it's gory as HELL.
...Oh, who am I kidding. I'll watch it anyway and just cover my eyes like a complete puss.
This was long. Whew. But it felt good.
Horror whore
This is my last month of Netflix (at least until my income increases) and so I'm trying to work my way through the asian horror still in my queue because there's pretty much no real way I'm going to find 90% of these titles anywhere else.
I finally watched "Acacia" and found it absolutely terrible. Not in the sense that it was unwatchable or just an atrocious attempt at film-making, it was just... deeply sad and troubling. There is a scene towards the end that made me nauseated from the sheer mentality of the characters portrayed. I couldn't stomach watching this one again.
Then most recently I watched "Ringu 2" and "Ringu 0: Birthday". The former was a worthy sequel... up until the last 15 minutes or so. I know that Japanese cinema is known for being confusing and "artsy," and most of the time I can appreciate that and not ask for too many explanations. But Ringu 2 was just weird. It asked me to suspend my common sense a little bit too much. At the end of the day it was a competent horror movie with chills and tension and suspense, but not one I'd rewatch.
"Ringu 0," on the other hand, was outstanding. Definitely not your normal horror movie, it was equal parts drama and horror. It tells the backstory 30 years in the past of Sadako. A few years after the infamous demonstration that ruined her mother, Sadako joins a drama troupe on the urging of her psychiatrist. Though the other members don't know her sketchy past, they're skittish of her presence just the same. But she's not the Sadako that has become so familiar in parts 1 and 2. She's shy and timid; unsure of herself and woefully self-conscious until someone finally takes an interest in her. It's an effective and moving attempt at humanizing the character that the audience knew only as a sadistic murderer. There are a fair amount of scares, but nothing you wouldn't already know from the original; yet, still quite good.
I have "Rinne" or ("Reincarnation") at home that I'll probably watch tonight or tomorrow. It's one I hadn't heard of but it got fairly good reviews, so I'm excited.
