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Intro to South Korean Horror: 5 Must See Films!

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South Korea’s 2016 zombie apocalypse horror film Train to Busan broke major records, becoming not just one of the country’s top-grossing films of all time, but an international hit as well. It was the latest in a string of genre films hailing from South Korea earning critical praise. Bong Joon-Ho’s Snowpiercer has an American TV series adaptation on the way, and it took no time at all for remake rights to be snatched up for Na Hong-jin’s haunting 2016 horror film The Wailing shortly after release. That South Korea has emerged as a major player in horror is even more fascinating considering that it wasn’t until the late ‘90s that its film industry saw a sort of renaissance, laying the groundwork for the young directors that have become vital voices in cinema.

Most of the ‘70s was a period filled with censorship and propaganda, and only filmmakers that were deemed ideologically approved by the government could release new films. The propaganda heavy films meant audiences opted out of going to the theater, choosing to get their entertainment from television instead. Because of drooping box office numbers, the government loosened their grip on the film industry in the ‘80s, and the Motion Picture Law of 1984 finally opened the door for independent filmmakers. By the end of the decade, restrictions on foreign films were lifted, a move that no doubt influenced future generations of filmmakers with access to the films.

The biggest event that shaped South Korean cinema, though, was the 1997 Asian financial crisis that started with the collapse of Thai currency, spreading to most of Southeast Asia and Japan. South Korea was among the countries most affected, which resulted in reshaping their film industry to adapt to the economy. It opened the doors for young directors and streamlined production costs. In other words, this was the pivotal moment that set the foundation of South Korean cinema as we know it today.

What makes South Korean cinema so different is its hyper-focus on real-life social issues.  The prequel for Train to Busan, Seoul Station, was a harsh critique on the treatment of Seoul’s homeless population. The Wailing touches on xenophobia. South Korea’s filmmakers expertly weave in acute social commentary with the supernatural, thrillers, and gore, and take it a step further by often blurring the lines between genres. For those looking to dive into South Korean horror, here’s where to start:


Whispering Corridors

The first in a series of five films, Whispering Corridors isn’t even the best one of the bunch. It is, however, instrumental in shaping South Korean horror as one of the first released after the liberation from censorship. Set in an all-girl high school, where a teacher’s suicide has inspired a young teacher to investigate the cause. Naturally, things are not what they seem at this school, and its darkened halls are haunted by a vengeful ghost. It bears trademarks of the typical Asian ghost story, and it’s slower paced. But it’s also an examination and criticism of the education system and sexual abuse. This atmospheric low budget haunter is far more complex than its budget indicates.


A Tale of Two Sisters

Inspired by an old folktale, this psychological supernatural horror film is notable for being the first South Korean horror film screened in American theaters. The plot follows two sisters returning home from a stay at a mental institution. They find their father quite distant and their stepmother cruel and seemingly unbalanced. Their homecoming is further compounded by the presence of a ghost. As much a treatise on guilt as it is a terrifying supernatural chiller, Kim Jee-woon’s polished horror film strays far from the typical Asian horror released at the time thanks to some shocking left turns in the narrative.


Bedevilled

Director Cheol-soo Jang lulls the viewer with its slow pace before unleashing vicious savagery in the film’s second half. The first half is a drawn-out excruciating watch of lead Kim Bok-nam being subjected to physical, mental, and sexual abuse by her husband, town elders, and so-called friends. It’s the type of uncomfortable watch that elicits a strong emotional response, as you’re left feeling pissed on behalf of poor Bok-nam. Enter the second half, full of violent, unrestrained, tour de force of unleashed revenge. Visceral and cathartic, Cheol-soo Jang’s feature debut is a doozy.


Thirst

Park Chan-wook is one of the most critically acclaimed filmmakers hailing from South Korea. Well known for the demented and delightfully twisted Vengeance Trilogy, the director has a unique brand of brutal black humor. So, it’s no surprise that he delivers exactly that with his exceptional take on the vampire mythos. Following a Catholic priest that volunteers for a medical experiment only to find himself stricken with vampirism, Thirst is nothing like any vampire film you’ve seen. It’s weird, tragic, and darkly funny as the Catholic priest grapples morally with his newfound thirst for blood and an awakened sexuality. Enter South Korean’s first film to feature male full-frontal nudity. In true style, Thirst builds to a gory climax.


I Saw the Devil

On paper, Jae-woon Kim’s masterpiece reads like any other serial killer, crime-driven horror film, in which a secret agent seeks revenge on a serial killer after said killer brutally murders his fiancée. This quickly proves to be anything but ordinary or typical. Serial killer Jang Kyung-chul rapes and murders his victims, butchering them in pieces with glee. Grisly but typical, right? But the secret agent, Kim Soo-hyeon, also happens to be a psychopath. He catches and tortures Kyung-chul but then lets him go. Why? So he can intercept Kyung-chul every time he’s about to kill again, escalating the torture. It turns into a tense cat and mouse game between psycho and psycho, with unflinching, gruesome graphic violence.

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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