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Hoon-jung Park’s ‘The Witch: Subversion’ Brings Visceral Twist to a Superpowered Tale [VOD Picks]

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If the umpteenth delay of The New Mutants bums you out, or you’re just plain in the mood for something new on VOD, there’s an easy recommendation that scratches that itch for a genre-twist to superpowered origin stories – The Witch: Subversion. Now out on both Blu-ray and VOD, this thriller hailing from South Korea offers mystery, suspense, visceral action, and an insane amount of bloodshed. In other words, if you like your superhero stories entertaining and chock full of violence, this one delivers the goods.

The cold open shows mysterious remnants of a massacre at an unknown facility, and it’s followed by the suspenseful pursuit of a young girl, Ja-yoon. She escapes and eventually collapses at the edges of a farm owned by a lonely, older couple. Cut to ten years later. Ja-yoon has since been adopted by the couple, with no memory at all of her former life. She’s grown into a well-adjusted teenager that excels at everything she pursues, so when the teen nails an audition for a reality TV singing show, it attracts dangerous people from her forgotten past. Her ordinary life turns upside-down, and everything she holds dear hangs in the balance.

First and foremost, the one thing to know going in is that this was written and directed by Hoon-jung Park, the screenwriter behind the excellent and disturbing I Saw the Devil. While The Witch: Subversion is nowhere near as bleak, it does have a biting edge of darkness to it. The facility that Ja-yoon fled from as a child has been searching for her ever since. They have zero qualms about killing or torturing anyone to reclaim her. Many of those after Ja-yoon are gleefully sadistic about hunting their prey. Bone-crunching, bloody violence ensues.

Unlocking Ja-yoon’s past is the driving mystery of the story, but it mainly keeps to familiar plot beats. Ja-yoon is powerfully telekinetic, a result of whatever experimentation the facility performed on her as a child. There’s plenty of information given, especially for those well versed in this type of origin tale, to fill in the blanks before the narrative unveils them. Even still, The Witch: Subversion is heavily stylized with slick production value and well-executed brawls. It’s how the story unfolds that makes this so much fun to watch, especially in the Grand Guignol-style finale. 

The film’s subtitle does eventually come into play, in a pleasantly surprising sort of way, and leaves with a tease for a continuation – this is only a “Part 1,” it must be noted. Usually, dangling a kind of loose thread cliffhanger to set up the next entry would be a detriment; focus on doing a self-contained story first. That’s precisely what Hoon-jung Park does, however. The Witch: Subversion is robust enough to stand on its own as a stand-alone story, but there’s still plenty of lingering mystery and a rooting interest in Ja-yoon to make you want to immediately sign up to see where her story goes next. Da-mi Kim‘s performance as Ja-yoon goes a long way, as well, easily engendering audience sympathy for the character’s increasingly complex layers.

Who knows when we’ll finally be able to see The New Mutants, a genre twist that sees young mutants grappling with their powers while held against their will in a facility. But The Witch: Subversion fits that bill pretty closely. Ja-yoon’s struggle to uncover her past and the extent of her powers presents a familiar superhero origin story, but with a South Korean action-thriller twist. From the mind behind I Saw the Devil, no less. Meaning a highly entertaining film that brings savage action sequences and the kind of splatter-filled violence you don’t usually see in the teen superhero fare we get in American cinemas.

The best part is that this one’s available to watch right now. 

Horror journalist, RT Top Critic, and Critics Choice Association member. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon, SeriesFest, and Popcorn Frights Film Fest.

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Editorials

Meet the Actors Who Brought the ‘Backrooms’ Still Life Monsters to Life [SPOILERS]

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Renate Reinsve in 'Backrooms' - Horror ARGs

Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.

And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.

However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.

For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.

The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).

While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!

That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).

At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.

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