Movies
Uni Sinks Their Teeth Into Park Chan-wook’s ‘Thirst’
One of my favorite directors is Park Chan-wook, who blew my mind with his trilogy of OLDBOY, SYMPATHY FOR MR. VENGEANCE and SYMPATHY FOR LADY VENGEANCE. It was revealed about a year ago that his next feature will be a vampire tale entitled Thirst, which is currently in production. Today some great news comes in via the trades as it was reported that both Universal Pictures and Focus Features have come onboard to distribute the film here in the States (no wait, woo!). Read on for the story.Universal Pictures and Focus Features have boarded “Oldboy” director Park Chan-wook’s in-production vampire movie “Thirst.”
It’s the first time a Korean film has received U.S. studio coin and a Stateside distribution commitment before its local release.
Universal and Focus will invest in and co-produce the pic, which has so far been steered by Korean major CJ Entertainment.
Focus will bow the film in North America with CJ handling the remaining international sales rights. CJ also will distribute the film in South Korea.
The deal was announced Thursday by UPI Studio prexy Christian Grass, Focus CEO James Schamus and CJ CEO Kim Joo-sung.
“Thirst” stars Song Kang-ho (“Sympathy for Mr. Vengeance,” “The Host,” “The Good the Bad and the Weird”) and Shin Ha-kyun (“Sympathy for Mr. Vengeance”). Involving unusually risqué elements, pic also stars Kim Ok-bi (“Dasepo Naughty Girls,”) as leading lady.
The pic is about a priest who participates in a medical experiment to find a cure for a deadly disease with traumatic repercussions.
It is skedded to be completed in time for a festival bow in mid-2009.
“ ‘Thirst’ is especially exciting for us, as it’s the first time a major studio has co-produced with a South Korean entertainment company in this way,” said Grass. “Park Chan-wook is one of the most talented and influential Korean directors working today. We’re really pleased to be partnering with CJ on this production.”
“First, this is a vote of confidence in CJ and director Park, but also having a film of this scale get the backing of a major studio in North America opens up an opportunity for all Korean films,” said Katharine Kim, exec VP and head of international at CJ. “Second, it is important to us to have Universal and Focus’ financial commitment while the film is in production.”
Park is best known for “Old Boy,” which won the Grand Jury Prize at the Cannes in 2003 and 2005 hit “Lady Vengeance,” both of which sold internationally after their domestic release.
The co-production is being overseen by Grass; Jason Resnick, senior VP and general manager of worldwide acquisitions for Universal Pictures; and CJ’s Kim.
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At the Abigail premiere, Dan Stevens listed Norway among his four favorite vampire movies. “I just saw a great movie recently that I’d never heard of,” he told Letterboxd. “A Greek film called Norway, about a vampire who basically exists in the underground disco scene in ’80s Athens, and he can’t stop dancing ’cause he’s worried his heart will stop. And it’s lovely. It’s great.”
You won’t find a better endorsement than that, but allow me to elaborate. Imagine Only Lovers Left Alive meets What We Do in the Shadows by way of Yorgos Lanthimos. The quirky 2014 effort follows a vampire vagabond (Vangelis Mourikis) navigating Greek’s sordid nightlife circa 1984 as he dances to stay alive. Not as campy as it sounds, its idiosyncrasies land more in the art-house realm. Stylized visuals, colorful bloodshed, pulsating dance music, and an absurd third-act reveal help the existentialism go down in a mere 74 minutes.
With the recent solar eclipse renewing public interest in the astrological event, Bloody Birthday is ripe for rediscovery. Three children born during an eclipse – Curtis Taylor (Billy Jayne, Parker Lewis Can’t Lose), Debbie Brody (Elizabeth Hoy), and Steven Seton (Andrew Freeman) – begin committing murders on their 10th birthday. Brother and sister duo Joyce (Lori Lethin, Return to Horror High) and Timmy Russell (K.C. Martel, The Amityville Horror) are the only ones privy to their heinous acts.
Bloody Birthday opened in 1981 mere weeks before the release of another attempt to claim the birthday slot on the slasher calendar, Happy Birthday to Me. Director Ed Hunt (The Brain) combines creepy kid tropes that date back to The Bad Seed with slasher conventions recently established by Halloween and Friday the 13th – with a little bit of the former’s suspense and plenty of the latter’s gratuity. The unconventional set up helps it to stand out among a subgenre plagued by banality.
Starting in the late ’70s and throughout the ’80s, Italy built an enterprise out of shameless rip-offs of hit American movies. While not a blatant mockbuster like Cruel Jaws or Beyond the Door, 1989’s Alien from the Abyss (also known as Alien from the Deep) was inspired by – as you may have guessed from its title – Alien, Aliens, and The Abyss.
After a pair of Greenpeace activists attempt to expose an evil corporation that’s dumping contaminated waste into an active volcano, the environment takes a backseat to survival when an extraterrestrial monster attacks. Character actor Charles Napier (The Silence of the Lambs) co-stars as a callous colonel overseeing the illicit activities.
Director Antonio Margheriti (Yor: The Hunter from the Future, Cannibal Apocalypse) and writer Tito Carpi (Tentacles, Last Cannibal World) take far too long to get to the alien, but once it shows up, it’s non-stop excitement. The creature is largely represented by a Gigeresque pincer claw that reaches into the frame, giving the picture a ’50s creature feature charm, but nothing can prepare you for its full reveal in the finale.
Set against the backdrop of displaced Syrian and Palestinian refugees, What Is Buried Must Remain is a timely found footage hybrid from Lebanon. It centers on a trio of young filmmakers as they make a documentary in a decrepit mansion alleged to be haunted on the outskirts of a refugee camp. Inside, they find the spirits of those who died there, both benevolent and malicious.
It plays like Blair Witch meets The Shining through a cultural lens not often seen in the genre. The first half is presented as found footage (with above-average cinematography) before abruptly weaving in more traditional film coverage. While the tropes are familiar, the film possesses a unique ethos by addressing the Middle East’s plights of the past and the present alike.
Cathy’s Curse is, to borrow a phrase from its titular creepy kid, an “extra rare piece of shit.” The Exorcist, The Omen, and Carrie spawned countless low-budget knock-offs, but none are as uniquely inept as this 1977 Canuxploitation outing. Falling squarely in the so-bad-it’s-good camp, it’s far more entertaining than The Exorcist: Believer.
To try to make sense of the plot would be futile, but in a nutshell, a young girl named Candy (Randi Allen, in her only acting role) becomes possessed by the vengeful, foul-mouthed spirit of her aunt, destroying the lives of anyone who crosses her path. What ensues is a madcap mélange of possession, telekinesis, teleportation, animal attacks, abandoned plot points, and unhinged filmmaking that must be seen to be believed.
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