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[TIFF ’14 Review] ‘I Saw the Devil’ Dark and Demented!

“I could talk for hours about I Saw the Devil, but nothing I can say will ever do it justice. The film is an experience; it’s something that will have you emotionally invested in the characters, while also covering your eyes at the extreme violence.”

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A challenger to Park Chan-wook as Korea’s most talented filmmakers is Kim Jee-woon, who directed such notable films as A Tale of Two Sisters, A Bittersweet Life and The Good, the Bad, the Weird. Jee-woon has been known to enjoy tackling different genres and this time takes a stab (pun intended) at horror with I Saw the Devil, a dark and demented tale of a crimson serial killer…and his hunter.

The delivered synopsis sums the film up quite well as it’s nothing original in any way, shape, or form, but what’s important is the execution. I Saw The Devil stars Choi Min-sik (Oldboy) as a psychopathic serial killer (Kyung-chul) up against Lee Byung-hun (Three… Extremes, G.I. Joe) as a special agent (Joo-yeon) whose fiancée becomes one of his victims. Lee’s cool-headed and intelligent character in turn becomes a monster in order to avenge the killing. In short, he is intent on torturing Kyung-chul by catching him, beating the crap out of him, and then letting him go. Then repeat.

A film like I Saw the Devil makes quality filmmakers stand out like a sore thumb. As cliché as the thriller is, it was captivating from start to finish, and features some of the most brilliantly directed sequences of the year. In an extremely tense moment, a beaten and wounded Kyung-chul luckily lands a cab ride in the middle of nowhere. The audience knows he’s a psychopath, but what we don’t know is he just landed in a cab with two other homicidal maniacs. The tension is cut with a vicious stabbing scene that’s directed in such a way I’ve never witnessed. As Kyung-chul stabs the living sh*t out of these people, the camera spins along the inside of the car for a good 30 seconds. It was so brilliantly executed that I couldn’t even tell you how it was done.

The version shown at TIFF was the director’s 7-minutes longer cut that we’re told will be released in the States by Magnet. Jee-woon never tones down the violence for the audience as he cuts right through an Achilles tendon, beats a person’s head in with a rock, and decapitates another. And while the gore level if off the chain, he shows restraint and never quite pushes it over the top.

What truly makes I Saw the Devil one of my favorite films of the year is that Jee-woon makes each and every frame of the two and a half hour film interesting. There’s not a single boring moment as the intensity of the situation rises exponentially until the very last frame. In fact, Jee-woon has a taste for the bizarre giving audiences an homage to classics such as The Texas Chain Saw Massacre. In one of the crazier moments we’re introduced to Kyung-chul’s brother who has a taste for red meat, and causing pain. As the two reunite, his brother chomps down human meat as they go eye-to-eye in a psychopathic staring contest.

I could talk for hours about I Saw the Devil, but nothing I can say will ever do it justice. The film is an experience; it’s something that will have you emotionally invested in the characters, while also covering your eyes at the extreme violence. I Saw the Devil has everything a horror fan could want, and more. It easily rivals The Host, Oldboy and other Asian thrillers of the past ten years. If Magnet releases this in theaters it’s highly recommended that you take some time out and look the Devil right in the eyes.

Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

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‘Abigail’ on Track for a Better Opening Weekend Than Universal’s Previous Two Vampire Attempts

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In the wake of Leigh Whannell’s Invisible Man back in 2020, Universal has been struggling to achieve further box office success with their Universal Monsters brand. Even in the early days of the pandemic, Invisible Man scared up $144 million at the worldwide box office, while last year’s Universal Monsters: Dracula movies The Last Voyage of the Demeter and Renfield didn’t even approach that number when you COMBINE their individual box office hauls.

The horror-comedy Renfield came along first in April 2023, ending its run with just $26 million. The period piece Last Voyage of the Demeter ended its own run with a mere $21 million.

But Universal is trying again with their ballerina vampire movie Abigail this weekend, the latest bloodbath directed by the filmmakers known as Radio Silence (Ready or Not, Scream).

Unlike Demeter and Renfield, the early reviews for Abigail are incredibly strong, with our own Meagan Navarro calling the film “savagely inventive in terms of its vampiric gore,” ultimately “offering a thrill ride with sharp, pointy teeth.” Read her full review here.

That early buzz – coupled with some excellent trailers – should drive Abigail to moderate box office success, the film already scaring up $1 million in Thursday previews last night. Variety notes that Abigail is currently on track to enjoy a $12 million – $15 million opening weekend, which would smash Renfield ($8 million) and Demeter’s ($6 million) opening weekends.

Working to Abigail‘s advantage is the film’s reported $28 million production budget, making it a more affordable box office bet for Universal than the two aforementioned movies.

Stay tuned for more box office reporting in the coming days.

In Abigail, “After a group of would-be criminals kidnap the 12-year-old ballerina daughter of a powerful underworld figure, all they have to do to collect a $50 million ransom is watch the girl overnight. In an isolated mansion, the captors start to dwindle, one by one, and they discover, to their mounting horror, that they’re locked inside with no normal little girl.”

Abigail Melissa Barrera movie

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