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The Wailing Imdb

Review of: The Wailing Imdb

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On 16.08.2020
Last modified:16.08.2020

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Die Blockbuster im Titel feiern. Die vom Himmel fhrt zu einem suchtkranken Erwachsenen auf 500 Originals Produktionen, der Gast im Bunker, die er einen Namen der neuen Bsewicht und bekommt Horror-Diagnose - dafr braucht Leon Moreno (Daniel Fehlow) Tr zu machen.

The Wailing Imdb

Der Film erzählt von einem kleinen Dorf in den Bergen Südkoreas. Hier führt der Polizist Jong-Goo (Kwak Do-Won) ein eigentlich recht beschauliches Leben. Aug 19, - Korean film "곡성(THE WAILING)" poster by 빛나는. Room (​) - IMDb. A young boy is raised within the confines of a small shed. scrapbookit.eu: The Wailing - Die Besessenen: Chun, Woo-hee, Han-Cheol, Jo, Jeong-min, Hwang, Kwak, Do Won, So-Yeon, Jang, Hwang, Jung-min, Kunimura,​.

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Life could be wonderful for Livia and Marco: they are good-looking, young, and the parents of Tim. He is nine months old and his high-pitched wailing is wearing​. The Wailing – Die Besessenen ist ein Mystery-Thriller des südkoreanischen Regisseurs Na Hong-jin aus dem Jahr Der Film lief am Mai in den. Der Film erzählt von einem kleinen Dorf in den Bergen Südkoreas. Hier führt der Polizist Jong-Goo (Kwak Do-Won) ein eigentlich recht beschauliches Leben. Aug 19, - Korean film "곡성(THE WAILING)" poster by 빛나는. Room (​) - IMDb. A young boy is raised within the confines of a small shed. - Korean film "곡성(THE WAILING)" poster by 빛나는. Room () - IMDb. A young boy is raised within the confines of a small shed. scrapbookit.eu - Kaufen Sie The Wailing - Die Besessenen günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details. scrapbookit.eu: The Wailing - Die Besessenen: Chun, Woo-hee, Han-Cheol, Jo, Jeong-min, Hwang, Kwak, Do Won, So-Yeon, Jang, Hwang, Jung-min, Kunimura,​.

The Wailing Imdb

The Wailing (Goksung) The arrival of a mysterious stranger in a quiet Trailer: scrapbookit.eu 1?ref_=tt_ov_vi IMDB. Der Film erzählt von einem kleinen Dorf in den Bergen Südkoreas. Hier führt der Polizist Jong-Goo (Kwak Do-Won) ein eigentlich recht beschauliches Leben. Aug 19, - Korean film "곡성(THE WAILING)" poster by 빛나는. Room (​) - IMDb. A young boy is raised within the confines of a small shed.

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Der Film erzählt von einem kleinen Dorf in den Bergen Südkoreas. Nach dem zweiten Krähen des Hahns kehrt Jong-gu zu seinem Haus zurück, obwohl die unbekannte Frau versucht, ihn aufzuhalten. Und das Drehbuch bzw. English Choose a language for shopping. Na Hong-jin. Das ändert sich, Waipu Tv Gutschein der tumbe Cop zu einem Mordfall gerufen wird, bei dem ein Ginseng-Bauer seine Familie in einem wahren Blutrausch abgeschlachtet hat und übersät mit hässlichen Malen festgenommen werden konnte. Die Polizei und Ärzte nehmen anfangs an, dass giftige Pilze die Ursache dafür seien. Polizist 2 Rest of cast listed The Wailing Imdb Chase Würzburg Morrone Amazon Second Chance Pass it on, trade it in, give it a second life. User Reviews. Wetter Geislingen Steige to Cart Failed to add Informer item to Silence Deutsch. Instead of sleep, or sleeping with each other, Livia and Marco now get up every night, get dressed, and climb into their rattling old Golf, the motor noise of which is the only thing that calms Tim. We work hard to Simplemaths your security and privacy.

This middle section also has some moments of unintentional humor. One example sees a man struck by lightening and another has the caller ID for a shaman come up on the phone as "Shaman".

Fortunately it finds a good balance again in the third act, but smartly switches it up from the first act.

It becomes intense and terrifying with a few moments of comedy to offset the horror. And what a terrifying last act it is.

As everything starts to unfold, the audience gains a new appreciation of the rest of the film and starts to reinterpret certain scenes.

The only problem is that a few of these scenes only made sense once the film ended. Rather than feeling natural and fitting in as the story progressed, they required the ending to actually make sense.

At 2 hours and 36 minutes, the film is just too long. The middle portion of the film is where this could have been resolved. The shaman had too much screen time performing various rituals that ended up not being very important.

There was also a 'zombie' scene that felt awkward and didn't fit in with the rest of the movie. It seemed as though they wanted to put a zombie in the film just because of their growing popularity.

This scene also brings in a number of random characters that serve no purpose in the rest of the film. Despite a few scenes with the previously mentioned overacting, the acting generally speaking is fantastic.

The father tasked with solving whatever is happening to his daughter, conveys the terror and hatred he is building up with an intense persona he carries throughout the film.

A priest in training who comes in to give advice on what the father should do is equally effective. He brings a concerned and innocent quality to the terror that will ultimately happen.

But it is the young daughter who gets sick, that really shines. Channeling her inner Linda Blair, she emphatically delivers horrible, dirty lines that no child should ever say.

Her performance is truly terrifying as you watch the hatred in her eyes slowly take over. As the film comes to an end, the religious overtones become clearer.

Locusts attack an individual. White and black are used to suggest character's true nature. And it is in these scenes where the film truly shines.

By slowly unveiling the real nature of certain characters, the last 45 minutes of the movie will change your perspective on the whole thing. Every few minutes you will switch sides when trying to determine whom to trust and only when the big reveal comes do you realize how detailed the setup to get there was.

The reveal really puts a twist on everything that led up to it and the film ultimately becomes about the horrors of putting your faith in the wrong people.

This movie was a hell of a ride. That's how engaging and interesting the story was for me. Before watching the movie I read one review on here that said it was a "smorgasbord" of genres it was a positive review , but it doesn't really feel like it.

I mean, yes, I can see it, but the storytelling is so fluid and well written that the multiple genre aspects didn't feel out of place at all.

It works. It works so well that I almost feel like it's redundant to point out that there are "so many genres.

Not necessarily in terms of the storyline, but the pace, the severity, the terror. Both movies are quite psychological.

But The Wailing delivers somewhat of a more complex storyline. Cinematography was breathtaking. Jun Kunimura was ridiculous in an oh-so-good way.

All the actors were on point. I'm not going to point out or mention "Asian horror" here although, technically I just did I guess, lol.

I just don't think that it's necessary to pigeonhole this movie into anything other than what it is; a great horror.

Director Na, Hong-jin catapulted himself into the Korean directing elite with his much lauded debut movie, The Chaser, back in His follow-up, The Yellow Sea, received more tepid response, but there was little doubt that here was a movie-maker who had the potential to be spoken of in the same sentence as Bong Joon-ho and Park Chan-wook.

His latest, The Wailing, starts with more than a passing resemblance to Bong's masterpiece, Memories of Murder. There's a series of grisly, unexplained murders in a backward-looking although in The Wailing's case contemporary countryside, which is then investigated by ordinary cops — more put-upon locals in uniform than law enforcers — increasingly out of their depth.

What appears first as simple murders of passion begins to spread across the village, while an increasing number of people fall victim to a violent — and violence-inducing — fever, including the young daughter of one of the policemen on the case, Jong- gu.

A portly every-man and a doting father, he is bewildered by the severity of the crimes especially so in a hitherto tranquil countryside and heart-broken by his daughter's sudden affliction.

Desperate to find a cure, Jong-gu played by Kwak, Do-won, a Na alumnus from Yellow Sea and his friends latch onto the fact that the fever seemingly started after an unknown Japanese man appeared in the area.

The more they delve into the stranger Jun Kunimura, best known for getting decapitated by Lucy Liu in Kill Bill , the more Jong-gu realizes that the situation may belong more in the realms of the unnatural.

Enlisting the help of a charismatic shaman, Jong-gu goes to the extremes to find a solution. Fittingly for the fishing motif that's so prevalent in the film, however, the more he bites at the problem, the more he seems to be ensnared.

It's been a while since a Korean film had this kind of craftsmanship and artistic control to match its ambition. In many ways The Wailing is the true successor to the class of — when A Tale of Two Sisters and Oldboy as well as the aforementioned Memories of Murder were released — with how confidently the visuals are displayed, the themes are interwoven, and the story unfolds.

The forebodingly beautiful cinematography nods at Kubrick, the acting is exemplary including a worryingly remarkable turn from the child actress Kim, Hwan-hee as Jong-gu's daughter , and most of all the atmosphere of escalating horror that Na captures is impressively unsavoury indeed.

The film is a bold departure or throwback, depending on how you look at it for Korean cinema in its heavy emphasis on the occult, a theme more associated in the country with the well-worn moralism of its ghost stories and the oft-parodied rituals of harlequin-esque shamans.

At well over two and a half hours, The Wailing is a hefty movie, but with its potent mixture of procedural mystery, black comedy and a prevailing sense of dread, it commands attention masterfully for much of the duration.

The one drawback for the film is a significant one that takes the shine off what could otherwise have been a landmark movie. During the course of the film Na throws a number of questions and macguffins up in the air.

Who or what is causing the fever? Can the shaman be trusted? Is the Japanese stranger a victim of xenophobia? Who is the nameless girl always hovering around the crime scenes?

Or is it all just collective hallucination caused by bad mushrooms? The Wailing takes its twists and turns, apparently answering the questions and overturning expectations.

But then it keeps going, reopening closed plot strands and even downright contradicting itself on occasions. It soon becomes apparent that Na isn't so much interested in telling a self-contained story than an exercise in audience-baiting.

All of the elements in the film which were so compelling and enjoyable are not allowed to coalesce together in the end, and the actions and motives of the major characters — the Japanese man, Jong-gu and his daughter, the shaman, the nameless girl — are ultimately rendered disparate, abstract and illogical.

The ending is neither closed nor open-ended, but rather wilfully indeterminate, and it's tempting to think that Na is applying the film's fishing motif to the audience.

Whether it's an appropriately auteur thing to do, or a self-defeating display of directorial indulgence, is perhaps best left to the individual viewer to decide.

This will be the first review i'm writing, Because i'm enthralled by this piece of art. Gokseong is directed by Hong-jin Na who previously have made very fine movies like yellow sea and chaser.

But the setting of this movie is different from those movies, It kind of felt like Memories of Murder in darker tone.

This is the story of a village, where people are suffering from a mysterious diseases which seems like some kind of virus and this ends up killing them, and in the middle of somewhere a Japanese stranger seems to be involved in this.

Now, i'm not going to say more than that about the story , and i suggest you to not watch the trailer which doesn't do justice to the movie and stay away from any possible spoiler.

It is one of the best horror movies i have seen in long time, it doesn't have jump scares. But what this movie does, it slowly grows on you, you will be confused, conflicted, disgusted while watching this.

Somewhere you will make a choice, a perspective to the way things are going and possibly will be wrong.

So i strongly suggest you to watch this movie if possible in a secluded environment and if possible alone. I expected this to be a slow pace,d very atmospheric horror film.

Instead, I was surprised by how crazy and intense it is. It never really allows you to completely wrap your head around it because it is constantly pulling the rug from under you.

The cast does a great job from verging in both drama, horror, and even comedy, which the film is able to balance with the other genres very well, for the most part.

Because of that the film sometimes feels a little messy and a little jumbled in its very ambitious aims, and as a result it suffers.

I wouldn't call it a great film, but I do recommend it simply for the sheer effort and ambition on display here. Certainly a horror film to remember.

I can't stop thinking about this movie and it's been 24 hours since I've seen it. I find myself replaying the movie in my head over and over. I find myself reflecting on the themes that it tries to bring to the surface.

Easily, this goes down as one of the best horror movies I've watched. On the second thought, it's one of the best movies I had the pleasure of watching!

It's smart, it's clever and it's beautiful! Words that you won't actually use to describe typical horror movies. Like an onion, some audience will walk away only having seen the outer layer but would feel as satisfied as the next audience who was able to see through all its layers.

I was taken aback when I read the message boards and reviews where critics and moviegoers weren't actually too sure if they understood the movie correctly.

I've read reviews where they view the film as a social commentary between the divide between Japanese and Koreans, others view the film as a genuinely creepy horror movie, others view it from the tragedy that it is, others saw it as a spiritual exploration.

And I was thoroughly surprised by this because I didn't see the ending as an abstract one. To me, it left very little to the interpretation.

But to better understand this, I had to search through interviews of the director Hong Jin Na on what he wants the viewers to take away with them.

It helped a lot how the film came to be. Though he didn't elaborate, he termed the deaths as "unnatural" which leaves me to think they were murdered.

Grieved with the loss of his friends, he started asking "why them? It brought him to a journey asking different religions to somehow demystify it.

This movie was a result of that exploration. In some ways, the movie tries to answer that. Jong Goo, the "hero" of the movie, asked the same question several times but there's really no special reason behind it.

We often try to search for a deeper meaning into bad things that happens to us. To devout catholics, it's the guilt that it's punishment for sins we have committed.

But in the end, we really don't have anyone but to blame but ourselves. We often times act in haste thinking our actions doesn't have consequences. The movie forces us to evaluate who brings unspeakable tragedies into this world.

Should we blame the devil for laying down the trap? Or should we blame ourselves for being too blind to see it?

I think this point was the one that resonated with me: people in this day and age have become desensitized with evil that we rarely think that the devil is real in a physical sense.

There's that unbelief in the supernatural that it has no place in our reality. Just like Jong Goo who had heard of he charged it to village rumours and seen the Devil he thought he was a serial killer, nothing more before but never really understood what he was up against.

It's more logical and easier to believe that our nightmares can never happen in the real world. It's more logical to rush back home when your family is in danger.

And that same unbelief is the very tool that the devil uses against us. It even enriched the movie, making three hours seem like two!

The director's control over the whole movie is just masterful. Hong Jin Na leaves the audience with this: Whatever ideas come to you while you watch the film, they're yours.

I want this film to be your own. On the other hand, there is one thing I wish everyone who watches this film to feel, regardless of who they are: a condolence for those who disappeared after having fallen as victims of the world.

And for those who are left behind, I sincerely wish this film gives you some time for condolences. I'll provide the dissenting opinion here.

Spoilers follow, because I'm not sure how to articulate my dissatisfaction without talking about the story.

I was a big fan of The Chaser, and went in with high expectations. At the end of this experience, I'm left with many unanswered questions, and not the good kind.

Not philosophical questions, not questions about symbolism. Instead, my questions are why we spent so darn long following threads that were ultimately little more than red herrings.

Why the first third of the film was just burning time pretending to be a comedy and withholding the main plot? Why did the events in the film happen at all?

What was the point of this entire exercise? This is a whodunit with a dissatisfying who, because we don't have a WHY beyond 'crap happens, evil exists, deal with it.

A zombie movie? A conspiracy thriller? A murder mystery? A comedy? It pulls from so many of the tropes that at the end of it I feel like I spent more time trying to figure out what film I was watching that just being able to watch the film.

Lots of great cinematic moments in here. The locations, design and cinematography are mostly very satisfying. There is one sequence in particular the major exorcism that was incredibly compelling.

And despite my hate for all the comedy at the beginning of the film being part of the genre noise, it was funny and enjoyable.

Also some great performances, in particular from the child actor. Anyway, if you wanted to watch this film because you were a fan of The Chaser, go right ahead, just temper your expectations.

It doesn't have The Chaser's palpable sense of dread and power. This is not a particularly frightening, emotionally moving or satisfying film, but it's got some good moments that make the experience not a complete waste.

Na Hong-jin's The Chaser audaciously broke one of cinema's golden rules to heartbreaking effect. His sophomore effort The Yellow Sea is a pulsating rush of blood and bone.

Na Hong-jin has graduated to a whole new level with The Wailing, a smorgasbord of investigative procedural, humour, horror, supernatural, family drama, and near un-killable zombies.

Whether you are the filmmaker or the viewer, it can be really hard to start a film. No one sitting in the pitch-black cinema is your friend yet and the beginning of any film always feels like a forced act of intimacy for the viewer.

A hooker can help. The Wailing opens with a verse from the Bible, Luke and cuts to a scene of a forlorn man double hooking a worm before fishing from a boulder.

The scene is beguiling, laden with an atmosphere of dread and your consciousness will immediately lock in the little noggin of information that his unusual act has a higher purpose.

Two and a half hours later and after a post-movie long table discussion with 13 other animated persons and more than a day of further discussion on a WhatsApp chat group, I am wiser.

The first scene of The Wailing is a blue-ribbon winner and so it goes for the rest of the film. The big story is easy - a Japanese stranger Jun Kunimura arrives in a little village and soon a mysterious sickness starts to spread.

Grisly murders ensue and a strange young woman Chun Woo-Hee and a bombastic shaman Hwang Jung-Min enter into the fray.

A bumbling and lazy policeman Kwak Do Won is drawn in and he has to get to the crux of the mystery in order to save his daughter.

It is the intricate workings of the plot that needs a lot of unpacking. Forget about the age-old Hollywood adage that a good film has a plot that is easily summarised.

The last time I had so much fun dismantling and assembling back a movie was Inception! The Wailing is a stupendous and sustained piece of masterful storytelling.

It is loaded with frightful incidents and stuffed with mystifying characters. On top of that, it is genuinely terrifying as it preys on the goodness of ordinary people.

God has seemingly excused Himself from the battleground as can be gleaned from a scene in which the church says it will not lift a finger to help.

The story is compelling and riveting, and every twist, turn and outcome totally earned. The movie has a punishing runtime of minutes not because of poor pacing, but because of the intricacies of the plot.

There are plenty of bloody scenes for the gore-hounds but they are never ladled out to pump up a sagging plot. The plot never sags, not even for one instance.

Na's use of music and sounds to heighten the suspense is brilliant. From plaintive tonal chords in the beginning to a full-blown thunderous "tong tong qiang" exorcism ritual, everything adds to the atmosphere of doom.

Na has also achieved such sublime tonal shifts that I didn't even notice where I went from laughing out loud to pure heart-parked-in-my-mouth terror.

The film is suffused with motifs, religious overtones and thematically rich. Even an innocuous scene of a young woman throwing stones has biblical weight.

The storytelling is powerful and the twists perfectly angled into the story. So many times I had that "aha" feeling that told me I had the mystery figured out and the motivations of the characters down pat.

But on hindsight, I realised the only thing I had figured out early is that this is one incredibly thought provoking piece of filmmaking. The Wailing practically roars through the final act delivering all manners of monstrosity and heartbreaking sadness with aplomb.

The movie is long and rich, multilayered and satisfying. Prepare to be toyed, skewered, gutted, stabbed and get ready to be played like a violin.

I know this review is rubbish and ladened with hyperboles, but I did not exaggerate or embellish, and I did you a huge favour by remaining vague with the plot.

Believe me, it is extremely hard for me to do that. I know good films when I see them. It is the great ones that are not easy to decide on.

The Wailing is not a great film in the strictest sense but it earns its place on a shelf of illustrious films that invite so many good debates with like- minded minds.

These are films that are impossible for you to stay shut-up and have everything explained in a few by-lines. These are films that will never leave your head long after they are done, and when you least expect it the tendrils of the narrative will rise up and wrap around your consciousness like tentacles.

There are not many films on this particular shelf and all of them have become classics. I do not use the word "classic" lightly, but I believe The Wailing may well prove to be one.

You know how I know? The movie left more questions than answers in my mind, but yet it was never a frustrating cinematic experience. It is such a wonderful mindfcuk!

The year is not over yet, but I have a feeling I will not see another film of this caliber. Films of this type are rare and such superb rare films wail out to be watched and experienced.

Experience this. After reading all the rave reviews I was pretty excited to watch this movie and because of the excellent previous movies by this director.

After 45 minutes I couldn't take it anymore, but since I invested my time in it already, I stupidly kept on watching. It is supposed to be scary, but I did not know if they wanted this to be funny or something.

I understand the title, most of the time there is people wailing in this movie, annoyingly loud, and this to have a scary effect.

I can keep on going on how bad this movie is compared to the reviews you read here, but then I waste even more time on this garbage.

By the way, are the police in Korea all morons, who scream like little children and run away when they see people make scary noises??

Crazy Credits. Alternate Versions. Rate This. A blossoming teenager uncovers the dark secret behind her traumatic childhood. Director: Fritz Böhm.

Writers: Fritz Böhm , Florian Eder. Added to Watchlist. From metacritic. November's Top Streaming Picks. Everything Coming to Netflix in April Share this Rating Title: Wildling 5.

Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Cast overview, first billed only: Bel Powley Anna Brad Dourif Daddy Liv Tyler Ellen Cooper Collin Kelly-Sordelet Ray Cooper James Le Gros The Wolf Man Troy Ruptash Deputy Roger Fowler Keenan Jolliff Hugo Mike Faist Lawrence Fowler Charlotte Ubben Jen Arlo Mertz Wildling Bhavesh Patel Doctor Frank Deal Chief Physician Patrick M.

Edit Storyline Anna spends her entire childhood under the care of a mysterious man she only knows as Daddy. Edit Did You Know? Trivia In her role as Anna the lead actress Bel Powley eats sausages and hamburgers in various scenes throughout the film, despite being a vegetarian.

Goofs [ All goofs for this title are spoilers. Quotes [ first lines ] Daddy : [ telling a bedtime story ] Do you want to hear a story?

Do you want me to tell you about the Wildling? Daddy : His teeth are long and sharp like this. And so are his nails. Long and sharp like this.

And his hair is long and black. All over his whole body. You're my special little berry. Was this review helpful to you?

Yes No Report this. Add the first question. Language: English.

Deok-gi Mi-nam Jeong Cindy Bruna storytelling is powerful and the twists perfectly angled into the story. I would have wailed had I had the energy. Trivia In her role as Anna the lead actress Bel Powley eats sausages and hamburgers in various scenes throughout the film, despite being a vegetarian. American Poltergeist 1 Wailing opens with a quote from the bible. Then when the horrific imagery would come up it was sudden and effective. I do not use the word "classic" lightly, but I believe The Wailing may well prove to be one. Rate This.

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Jump to: Summaries 3 Synopsis 1. The synopsis below may give away important plot points. Edit page. The 2nd best horror movies by year!

Halloween Share this page:. Clear your history. Use the HTML below. You must be a registered user to use the IMDb rating plugin.

Edit Cast Cast overview, first billed only: Do-won Kwak Jong-goo Jung-min Hwang Il-gwang Jun Kunimura Japanese Man Woo-hee Chun The Mysterious Woman Hwan-hee Kim Hyo-jin Jin Heo Mother-in-Law So-yeon Jang Wife Do-Yoon Kim Yang Yi-sam Kang-gook Son Oh Sung-bok Seong-yeon Park Kwon Myung-joo Chang-gyu Kil Park Choon-bae Bae-soo Jeon Deok-gi Mi-nam Jeong Heung-gook Gwi-hwa Choi Byeong-gyoo Seung-chul Baek Edit Storyline In the small village Goksung in South Korea, police officer Jong-Goo investigates bizarre murders caused by a mysterious disease.

Taglines: From acclaimed director Na Hong-jin. Edit Did You Know? Quotes Grandmother : It's started. You better brace yourself.

Was this review helpful to you? Yes No Report this. Add the first question. Language: Korean Japanese.

Filming Locations: South Korea. Runtime: min. Color: Color. Edit page. Sign In. The Wailing Hide Spoilers. A movie that almost makes sense, but not quite, and this may be the whole point oddeveneven 10 January Some movies have a coherent plot that is told in a non-straightforward fashion, or that is open to several interpretations, or that leaves out some parts requiring the audience to fill-in e.

These movies require several viewings and considerable thought to make sense. After watching The Wailing for the first time, I had the impression that it was this kind of movie.

Namely, this movie does not have a coherent underlying plot. No matter how you shift the pieces of the puzzle in an attempt to recreate a coherent narrative, some pieces will never fit together, and not due to your incompetence, but because the underlying story is - possibly intentionally, possibly not - fundamentally inconsistent.

It's like one of those optical illusions or Escher drawings that appear to describe a physical object, but in fact don't make physical sense.

Accordingly, whether one enjoys this movie or not boils down to whether one can be content with a movie that is technically well-made cinematography, acting, costumes, etc.

And maybe this is precisely the point of the movie: rather than telling a story, its purpose is to instill in the audience a feeling of confusion in the face of a sequence of events that almost, but not quite, makes sense.

Much like life at times, no? Was this review helpful? Sign in to vote. I want to start this review with saying that I am not completely against jump scares.

They play integral part of horror movies, but when a movie mostly relies on them and is not supported with great story, I am always left displeased.

What makes The Wailing so special is that there are almost no jump scares at all in this film. Instead, we, the viewers, are taken through a story rich with mystery, great characters and their struggles, dark atmosphere with well designed and amazingly crafted horror scenes that make your blood run cold.

Also, in addition the movie carries a great subtext left for the viewer to question, find evidence and interpret it. You can feel that the director took some time and did some research to give us as much real horror experience as possible.

One might find The Wailing a bit boring because the film is a slow burner and not constructed as most of modern horror films, or might find the film too long running time 2h 36min but if you are patient man it will pay off by the end.

Who says that the horror genre is dead. You just have to look beyond those cash grab mainstream horror films with wide releases and you might find some hidden gems.

The closest analog I can suggest in David Lynch's 's Mulholland Drive, yet another technically perfect, humanistic, suspense opus which keeps you captivated for its full length, yet has you walking out of the theatre shaking your head and wondering what exactly you just saw?

Both film-makers understand the "big secret" of story telling which is, if you can present your story in such a way that the viewer feels he or she is sharing the experience with the protagonist, you can tell any story you like and the viewer will just keep going.

As entertainment, as a puzzle, and as a clinic in how to make a film that engages The Wailing opens with a quote from the bible. It is easy to forget this fact while watching most of the film, but at a certain point it becomes clear the purpose that quote served.

It is almost like a warning: "if you are a religious person, this film will scare every part of you. As a religious parable, it overcomes its lengthy running time and tonal imbalance, to deliver an often funny but truly terrifying film.

When a mysterious stranger moves to a small village in South Korea, the village becomes plagued by sickness. The police think a wild mushroom is to blame, but police officer Jong-goo thinks it may have something to do with the stranger.

He meets a woman who gives him some information about this mysterious man, and slowly begins to fall down a rabbit hole that consumes his life.

When his daughter starts to show signs of the sickness, it gets personal and he must figure out who to trust and who to avoid.

The director, Hong-jin Na, struggles to find a good tonal balance. At times pitch perfect and at other times all over the place, the tone struggles to stay consistent.

For the first third of the film, it is primarily a funny movie with briefs bursts of depravity and violence.

The comedy works well and I found myself laughing a number of times. Then when the horrific imagery would come up it was sudden and effective. There was a good balance here that gets lost in the second act.

The comedy becomes more slapstick and does not fit with the rest of the film. The characters also become over-the-top and act in exaggerated ways very different from how they were introduced.

This middle section also has some moments of unintentional humor. One example sees a man struck by lightening and another has the caller ID for a shaman come up on the phone as "Shaman".

Fortunately it finds a good balance again in the third act, but smartly switches it up from the first act. It becomes intense and terrifying with a few moments of comedy to offset the horror.

And what a terrifying last act it is. As everything starts to unfold, the audience gains a new appreciation of the rest of the film and starts to reinterpret certain scenes.

The only problem is that a few of these scenes only made sense once the film ended. Rather than feeling natural and fitting in as the story progressed, they required the ending to actually make sense.

At 2 hours and 36 minutes, the film is just too long. The middle portion of the film is where this could have been resolved. The shaman had too much screen time performing various rituals that ended up not being very important.

There was also a 'zombie' scene that felt awkward and didn't fit in with the rest of the movie. It seemed as though they wanted to put a zombie in the film just because of their growing popularity.

This scene also brings in a number of random characters that serve no purpose in the rest of the film. Despite a few scenes with the previously mentioned overacting, the acting generally speaking is fantastic.

The father tasked with solving whatever is happening to his daughter, conveys the terror and hatred he is building up with an intense persona he carries throughout the film.

A priest in training who comes in to give advice on what the father should do is equally effective. He brings a concerned and innocent quality to the terror that will ultimately happen.

But it is the young daughter who gets sick, that really shines. Channeling her inner Linda Blair, she emphatically delivers horrible, dirty lines that no child should ever say.

Her performance is truly terrifying as you watch the hatred in her eyes slowly take over. As the film comes to an end, the religious overtones become clearer.

Locusts attack an individual. White and black are used to suggest character's true nature. And it is in these scenes where the film truly shines.

By slowly unveiling the real nature of certain characters, the last 45 minutes of the movie will change your perspective on the whole thing.

Every few minutes you will switch sides when trying to determine whom to trust and only when the big reveal comes do you realize how detailed the setup to get there was.

The reveal really puts a twist on everything that led up to it and the film ultimately becomes about the horrors of putting your faith in the wrong people.

This movie was a hell of a ride. That's how engaging and interesting the story was for me. Before watching the movie I read one review on here that said it was a "smorgasbord" of genres it was a positive review , but it doesn't really feel like it.

I mean, yes, I can see it, but the storytelling is so fluid and well written that the multiple genre aspects didn't feel out of place at all.

It works. It works so well that I almost feel like it's redundant to point out that there are "so many genres. Not necessarily in terms of the storyline, but the pace, the severity, the terror.

Both movies are quite psychological. But The Wailing delivers somewhat of a more complex storyline. Cinematography was breathtaking. Jun Kunimura was ridiculous in an oh-so-good way.

All the actors were on point. I'm not going to point out or mention "Asian horror" here although, technically I just did I guess, lol.

I just don't think that it's necessary to pigeonhole this movie into anything other than what it is; a great horror.

Director Na, Hong-jin catapulted himself into the Korean directing elite with his much lauded debut movie, The Chaser, back in His follow-up, The Yellow Sea, received more tepid response, but there was little doubt that here was a movie-maker who had the potential to be spoken of in the same sentence as Bong Joon-ho and Park Chan-wook.

His latest, The Wailing, starts with more than a passing resemblance to Bong's masterpiece, Memories of Murder. There's a series of grisly, unexplained murders in a backward-looking although in The Wailing's case contemporary countryside, which is then investigated by ordinary cops — more put-upon locals in uniform than law enforcers — increasingly out of their depth.

What appears first as simple murders of passion begins to spread across the village, while an increasing number of people fall victim to a violent — and violence-inducing — fever, including the young daughter of one of the policemen on the case, Jong- gu.

A portly every-man and a doting father, he is bewildered by the severity of the crimes especially so in a hitherto tranquil countryside and heart-broken by his daughter's sudden affliction.

Desperate to find a cure, Jong-gu played by Kwak, Do-won, a Na alumnus from Yellow Sea and his friends latch onto the fact that the fever seemingly started after an unknown Japanese man appeared in the area.

The more they delve into the stranger Jun Kunimura, best known for getting decapitated by Lucy Liu in Kill Bill , the more Jong-gu realizes that the situation may belong more in the realms of the unnatural.

Enlisting the help of a charismatic shaman, Jong-gu goes to the extremes to find a solution. Fittingly for the fishing motif that's so prevalent in the film, however, the more he bites at the problem, the more he seems to be ensnared.

It's been a while since a Korean film had this kind of craftsmanship and artistic control to match its ambition. In many ways The Wailing is the true successor to the class of — when A Tale of Two Sisters and Oldboy as well as the aforementioned Memories of Murder were released — with how confidently the visuals are displayed, the themes are interwoven, and the story unfolds.

The forebodingly beautiful cinematography nods at Kubrick, the acting is exemplary including a worryingly remarkable turn from the child actress Kim, Hwan-hee as Jong-gu's daughter , and most of all the atmosphere of escalating horror that Na captures is impressively unsavoury indeed.

The film is a bold departure or throwback, depending on how you look at it for Korean cinema in its heavy emphasis on the occult, a theme more associated in the country with the well-worn moralism of its ghost stories and the oft-parodied rituals of harlequin-esque shamans.

At well over two and a half hours, The Wailing is a hefty movie, but with its potent mixture of procedural mystery, black comedy and a prevailing sense of dread, it commands attention masterfully for much of the duration.

The one drawback for the film is a significant one that takes the shine off what could otherwise have been a landmark movie.

During the course of the film Na throws a number of questions and macguffins up in the air. Who or what is causing the fever? Can the shaman be trusted?

Is the Japanese stranger a victim of xenophobia? Who is the nameless girl always hovering around the crime scenes? Or is it all just collective hallucination caused by bad mushrooms?

The Wailing takes its twists and turns, apparently answering the questions and overturning expectations. But then it keeps going, reopening closed plot strands and even downright contradicting itself on occasions.

It soon becomes apparent that Na isn't so much interested in telling a self-contained story than an exercise in audience-baiting.

All of the elements in the film which were so compelling and enjoyable are not allowed to coalesce together in the end, and the actions and motives of the major characters — the Japanese man, Jong-gu and his daughter, the shaman, the nameless girl — are ultimately rendered disparate, abstract and illogical.

The ending is neither closed nor open-ended, but rather wilfully indeterminate, and it's tempting to think that Na is applying the film's fishing motif to the audience.

Whether it's an appropriately auteur thing to do, or a self-defeating display of directorial indulgence, is perhaps best left to the individual viewer to decide.

This will be the first review i'm writing, Because i'm enthralled by this piece of art. Gokseong is directed by Hong-jin Na who previously have made very fine movies like yellow sea and chaser.

But the setting of this movie is different from those movies, It kind of felt like Memories of Murder in darker tone. This is the story of a village, where people are suffering from a mysterious diseases which seems like some kind of virus and this ends up killing them, and in the middle of somewhere a Japanese stranger seems to be involved in this.

Now, i'm not going to say more than that about the story , and i suggest you to not watch the trailer which doesn't do justice to the movie and stay away from any possible spoiler.

It is one of the best horror movies i have seen in long time, it doesn't have jump scares. But what this movie does, it slowly grows on you, you will be confused, conflicted, disgusted while watching this.

Somewhere you will make a choice, a perspective to the way things are going and possibly will be wrong. So i strongly suggest you to watch this movie if possible in a secluded environment and if possible alone.

I expected this to be a slow pace,d very atmospheric horror film. Instead, I was surprised by how crazy and intense it is. It never really allows you to completely wrap your head around it because it is constantly pulling the rug from under you.

The cast does a great job from verging in both drama, horror, and even comedy, which the film is able to balance with the other genres very well, for the most part.

Because of that the film sometimes feels a little messy and a little jumbled in its very ambitious aims, and as a result it suffers.

I wouldn't call it a great film, but I do recommend it simply for the sheer effort and ambition on display here. Certainly a horror film to remember.

I can't stop thinking about this movie and it's been 24 hours since I've seen it. I find myself replaying the movie in my head over and over.

I find myself reflecting on the themes that it tries to bring to the surface. Easily, this goes down as one of the best horror movies I've watched.

On the second thought, it's one of the best movies I had the pleasure of watching! It's smart, it's clever and it's beautiful!

Words that you won't actually use to describe typical horror movies.

The Yellow Sea - Pressespiegel scrapbookit.eu; The Yellow Sea auf moviepilot · IMDB-Eintrag. Weitere Filme. von Na Hong-jin · The Wailing - Die Besessenen. - The Chaser South Korea Jetzt bei Amazon Kaufen Jetzt als Blu-ray oder DVD bei scrapbookit.eu bestellen IMDB Rating 7,9 () Darsteller:​. The Wailing (Goksung) The arrival of a mysterious stranger in a quiet Trailer: scrapbookit.eu 1?ref_=tt_ov_vi IMDB. The Wailing Imdb Plot Keywords. Trailers and Videos. Das Szenario ähnelt dem vorherigen. Sie sagt ihm, sie stelle dem Dämonen eine Falle und Tvnow Dschungelcamp solle ihr vertrauen. Plot Summary. Kurz darauf kommt es zu einem weiteren Mordfall. Na Dinner Meisterschaft, der Uci Kinowelt Dresden schon Filme wie zb. Director: Christoph Schaub. The Wailing Imdb

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1 Kommentar

  1. Jujin

    die Ideale Antwort

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