The Quiet Family
Kim Jee-Woon’s dark comedy from 1998 arrived pretty early in the Korean New Wave and was popular enough that it inspired a remake by the Japanese director Takashi Miike called The Happiness of the Katakuris. The storyline is simple: a family moves into a large house in the mountains with hopes and dreams of running their own hotel. They wait patiently for the occasional visitor, but the guests all die soon after arriving. As the bodies start to pile up, the family scrambles to protect themselves, their business, and their reputations. Despite the grim premise, the movie feels a little lightweight at times. It’s certainly a “smaller” film than the rest of Kim’s filmography. He is responsible for the Korean horror classic A Tale of Two Sisters (which also inspired a remake, the American The Uninvited), the silly, big-budget Manchurian “Western” The Good, The Bad, The Weird, as well as the gory and intense serial-killer movie I Saw the Devil. Kim is an impressive director who has shown a lot of variety in the types of movies he makes while proving he can make good use of a large budget. Like the work of fellow South Korean director Park Chan-wook, his movies are quirky, graphic, and visually stunning. Compared to his more recent work, however, The Quiet Family seems downright quaint. Another fun thing about the movie is that it features Song Kang-ho (The Host) and Choi Min-sik (Oldboy) very early in their acting careers.
Speaking of Song and Choi in early roles, they both appear again in 1999’s Shiri (or Swiri as it is sometimes spelled), the movie that has been most credited with kick-starting the New Wave. Director Kang Je-kyu would later make Tae Guk Gi: The Brotherhood of War, a film about the Korean War that I covered here earlier last month. Shiri, thankfully, is not as saccharine as Tae Guk Gi, but it is still just as offensively clichéd. North Korea’s best sniper (a woman!) is sent to South Korea as a spy to assassinate various government officials and orchestrate a large-scale terrorist attack. Meanwhile, a couple of South Korean agents investigate this situation. The movie tries to play coy about the identity of the female sniper, only showing her from behind or wearing sunglasses, but this is largely unnecessary because the big reveal is telegraphed from the very second she walks onscreen. Spoilers – she’s the fiancé of the guy who is investigating her! (I immediately recognized the actress, Kim Yun-jin, and spent a good portion of the movie trying to remember where I had seen her/ heard her voice before. When I figured it out, I nearly kicked myself: in America we know her best as Sun from Lost.) In any case, Shiri is a goofy but kind of fun action movie that was obviously influenced by Hollywood conventions, so it’s easy to see why it was popular, opening the door for better, more creative South Korean films to gain attention throughout the world.
First of all, I’d like to say I have mad respect for Brian Collins, the super dedicated guy who runs the Horror Movie a Day blog and also writes columns for Badass Digest. True to his blog title, he has watched a horror movie every single day for the last five years. As much as I love horror, I don’t think I have the stomach for that (or the time!), but when the fall season approached I vowed to do the best I could. Mr. Collins and his blog have been an invaluable resource for choosing films to watch; horror is a big genre, and as with any genre, the tropes can get a little well-worn and clichéd after a while. People who don’t watch a lot of scary films tend to complain about how derivative and predictable they can be — and they’re not wrong – but once you’ve watched a shit ton of movies, you start to see the nuances and slight variations that can make a film valuable or interesting despite what might seem, on the surface, to be just another retread. So naturally, as someone who has watched over 1500 horror films over the course of five years, Collins should know what he’s talking about when distinguishing the gems, the curiosities, or the fun twists from the plain old crap.
While not exactly a horror movie a day, here is a comprehensive list of the movies I’ve watched in the last two months:
Sleepaway Camp: I watched this on my friend Holland’s suggestion and I’m so glad I did. She also recommended Slumber Party Massacre to me, which would make a great double feature with Sleepaway Camp because they are both gloriously silly 80s movies that make you wonder how much the filmmakers were in on the joke. My favorite parts of the movie: the short-shorts and cropped shirts worn by all the boys, the cop’s hilariously fake moustache, the scenery chewing aunt, and the creative kill sequences. Also, the ending – oh, the ending!
Behind the Mask: The Rise of Leslie Vernon: This is a neat little piece of meta-horror comedy. Behind the Mask takes place in a universe where Jason and Michael Myers are real and a film crew sets out to document up-and-coming local slasher, Leslie Vernon, as he prepares to execute his first massacre. The humor is winking and deadpan, but not overly precious when it comes to skewering horror conventions. Leslie Vernon himself is charming, affable, and charismatic, nicely subverting the mystique of the evil villain.
Hatchet and Hatchet II: The people who criticize these movies as being dumb don’t seem to understand that the schlocky, over-the-top goofiness is intentional. I liked seeing horror movies that take place around New Orleans and in the Louisiana swamps. Some of the characters are likable, some of the characters you want to see get hacked up (and they do), and Tony Todd of Candyman is always an engaging presence. Mercedes McNabb (Harmony from Buffy the Vampire Slayer) is delightfully daffy as an aspiring porn star who shows her tits a lot. All around, these movies are crowd-pleasers.
Recommended with caveats:
Lovely Molly: This is a stripped-down, no-frills “haunting” movie by the guys who made the Blair Witch Project. Even though it’s not exactly a found footage film, it still has the intimacy and simple scares like its predecessor. Halfway through, I realized it wasn’t really a horror movie, but something more psychological. The symbols and themes get a little heavy-handed and your mileage may vary regarding the film’s handling of drugs and abuse. I think I liked the movie because it reminded me favorably of Absentia, another movie that portrays the relationship between sisters and how they confront events that may or may not be supernatural.
The Tall Man: I still don’t know how to feel about this movie, but something about it struck a chord with me. I don’t want to give away any spoilers, but I will say it’s interesting because of its contradictions: it’s a horror movie that isn’t horror, as well as a nakedly sentimental film that is undercut by a big streak of nihilism. The Tall Man is a film set in America (but made in Canada) by a French director whose other films appear to fall into the extreme horror category, which could explain some of the disconnect in the movie’s tone. The rural setting has a fairy-tale quality that is grim and beautiful, but also suggests the director has never set foot in America, giving it an out of time, out of place atmosphere.
Cabin Fever 2: Spring Break: The first half of this movie is great. Ti West indulges in the quirks that he’s become well known for: retro stylistic flourishes, loving nods to genre convention, and long scenes of characters talking about nothing. For about 45 minutes, this was my new favorite movie, but then the last half hour just got nasty and kind of boring as everything went batshit. I still love you, Noah Segan (from Deadgirl, Brick, and Looper). So glad your career is taking off.
Bloody Birthday: It’s kind of sad this movie has mostly been forgotten about because it’s really well-made for an 80s slasher-type film. And as far as killer kid movies go, this one has some pretty impressive child actors, especially the little girl who is the ringleader of the evil pack. She is equal parts innocent and freaky, but never vamps around or hams it up while playing the villain. Bloody Birthday can be a little slow, but the loose structure and unresolved ending keeps it from being too formulaic.
YellowBrickRoad: The caveat here is that the ending is terrible. Like, really, really terrible. But up until that last 5-10 minutes, it’s a really interesting film, kind of a cross between The Blair Witch Project and Lost. A group of academic types decide to write a book about the inhabitants of a small town in New Hampshire who suddenly walked down a road in 1940 and disappeared forever. As part of their research, they decide to travel the same path; freaky shit ensues. It’s actually a lot like Lost – the overarching question was “What is the island?” and here the question is “What is the road?” Something supernatural is obviously going on and one by one the characters go insane. The movie wisely plays coy about a definitive explanation.
Quarantine 2: Terminal: I thought this was a surprisingly decent zombie/infection movie, considering that it’s a sequel to an American remake of a superior Spanish series. Again, Quarantine 2 is not a remake of [REC] 2, even though the first Quarantine was a remake of the original [REC]. Quarantine 2 takes place first on a plane and then in the personnel areas of an airport where the flight’s survivors are locked in by the CDC. I was bummed out that the characters never escaped into the actual airport because it would be fun to watch the virus run rampant through all the concourses. The film probably didn’t have that kind of budget.
Next time I’ll talk about the movies that aren’t great but are worth checking out for one reason or another and the movies that started strong but squandered their potential.