Top 10 Zombie Killers!

Oh, and you thought the horror season was over?!

So, I've completed six reviews as pick-of-the-weeks of the scary, gory and dark variety, along with a combined horror-Easter list with Top 10 Scary Rabbits but I couldn't leave without doing another one. Also, through the last six weeks I've covered a number of sub-genres of horror but failed to include my favourite of them all...the Zombie movie! What better way to pay homage to zombiedom than mentioning not just one, but ten brain craving pictures of gory delight.

Below, I pay tribute to mad kings of bat swing, to lords of the chainsaw, to hot thumbs on the shotgun, with filmbore's Top 10 Zombie Killers!

The criteria:

• We're after characters from zombie films, not the film names themselves. This is about the acts of the individual, not the plot of a movie.
• Sorry Walking Dead fans...it has to be zombie killers from films only (this is filmbore after all!), so we cannot include Rick Grimes, Daryl or Michonne in this list.
• And, it's people killing zombies, not zombies killing people, which does mean (unfortunately) that there will be no appearances from everybody's favourite household ghoul, Bub from Day Of The Dead. Pity...
• Most importantly, NO EVIL DEAD! I love the films, but the beings in the trilogy ARE NOT ZOMBIES! They are people possessed by evil spirits to become Deadites, and can still return to normal form.
• And finally, if you want to suggest someone who isn't here but you think deserves to be do the usual and add your input into the comments box at the bottom of the article...except this time I expect you to back up your claim with at least one example of their awesome kills.

WARNING! Mild spoilers and rotting brains are just ahead!

10. Ben (Duane Jones) from Night Of The Living Dead (1968)

What better way to begin but with the man who started it all. He was the first person to not be scared of the creeping horde, and the first to pick up a weapon and strike back against them. His actions couldn't prevent the inevitable but they did begin a train of fellow bravado-filled defenders of humanity, and for this Ben, we salute you!

9. Shaun (Simon Pegg) from Shaun Of The Dead (2004)

Edgar Wright's rom-zom-com was successful for many justified reasons, but it's the central character of Shaun that let us enter into the comical yet starkly real world of zombie aping, ghoul raving, beer craving, queen song bashing goodness. Cricket bat or pool cue, Shaun's relentless in dispatching the neighbourhood rotters to save the girl he loves and get to the pub he loves more!

8. Selena (Naomie Harris) in 28 Days Later (2002)

So zombies can run now?! We better step up our game then! Enter Selena, who spares no thought to slaying these ghouls with the coolness of a puma and survival instinct of a shark. Even when one of her friends receives the slightest of scratches she pauses ever so briefly to contemplate her next action...severing her still-human pal's arm with her machete, then finishing him off. Take no chances...

7.  The Biker Gang in Dawn Of The Dead (1978)

I couldn't be specific to one biker here, as the entire mob that infiltrate our heroes' shopping mall utopia act as one overbearing force in Romero's 10 year follow up to Night Of... Led by the enigmatic make-up effects genius Tom Savini (who some of you know as Sex Machine in From Dusk Till Dawn) they lighten up the movie bringing both fear and comedy to the mix.

6. Vegard (Lasse Valdal) in Dead Snow (2009)

Nazi zombies in Norway. Genius! There are some crazy kills throughout this comical picture from all of the characters involved. But the prize in this Scandinavian hidden gem goes to the craziness of Vegard, for blending vehicle and weapon by mounting a high-calibre machine gun to a snowmobile. Now that is a ghoul slaying car if I have ever seen one!

5. Cherry Darling (Rose McGowan) in Planet Terror (2007)

Oh, but welding a gun to a snowmobile is nothing. How about we have it grafted to the stumpy remains of my leg instead? Never has film been some blasé in its self mocking as Rodriguez's answer to Grindhouse, as Cherry turns her disability into a zombie massacring machine. She even uses her new firepower to propel herself at inhuman heights just to get over walls. Now she wanna kill some zombie!

4. El Wray (Freddy Rodríguez) in Planet Terror (2007)

But even with a gun-toting limb, Cheery is nothing compared to her mysterious ex-boyfriend, El Wray. This realised at its best when Wray has to enter a hospital chock full of zombies and their victims to rescue Cherry. And how does he get by a swarm of flesh rotting critters? With just two knives and plenty of skill!

3. Alice (Milla Jovovich) in the Resident Evil series (2002 - present)

Yes, these movies may not be up to much, but you cannot dispute the powerhouse of zombie -slaying super hero Alice from the ongoing Resident Evil series. For over 12 years now she's been dispatching ghouls in the hundreds in more ridiculously over the top ways, including one where she unloads on a horde, then when out of ammo drops the magazine out of her gun and kicks it into a zombie's face! Boom!

2. Lionel Cosgrove (Timothy Balme) in Braindead/Dead Alive (1992)

This list wouldn't be complete without including the goriest film of all time. One of Peter Jackson hilarious early films, Braindead still stands out to this very day. And yes, I love the Father McGruder "kicking arse for the lord" but it's Lionel's infamous slaughter of gatecrashing ghouls with his trusty lawnmower that puts him firmly in the runner up spot. I can still hear the crunching of bones against mower blade...ueeuurrghh!

And the winner is...

1. Tallahassee (Woody Harrelson) in Zombieland (2009)

Okay, he may not hold the level of body count of Lionel's mowingly blood-spattering attempt in Braindead, or exude the near super human skills of Alice or El Wray, but there is more style in Tallahassee's bat-swinging little finger than any of our other walker slayers.

Tallahassee isn't just good at what he does...he enjoys it! He takes out ghouls purely for sport, laughing as he does so, even going out of his way to make some kills more complicated just to so they'll be that little bit more appealing. He'll ring a shop bell to summon the walker, only to be waiting to the side of the entrance as the confused beast runs past him so he can shoot it "on the burst"...

...all in the name of trying to achieve the zombie kill of the week.

Hell, he even takes one out with a banjo. Eat that Lionel Cosgrove! A BANJO! Such inventive ways to dispatch the invaders not only brings humour to the film but an air of humanity. After a while, surely some people will bored of the standard weening of the rotten, and start to tamper with the system with unusual weapons in strange scenarios. Columbus (Jesse Eisenberg) may be our narrator, as a normal young man, confused in this new world, but we connect more with the wildness and ferocity of the Twinkie-craving fool who just wants to forget the past and take out the dead in intriguingly different methods.

Speaking of events gone, most touching about his character is the reveal of his inner turmoil, with the loss of his son (earlier, believed to be a puppy). His vulnerability takes you deeper into his longing and helps us to understand how lost he truly is. His defence is his cocky manner and his ability to smash some undead scum and all of this is achieved effortlessly by Harrelson. This role was made for Woody. It's the part he was always meant to play, allowing him to showboat his swagger and charisma in a role that you could easily have hated if played by some else. Instead, he infuses Tallahassee with vim and balls, making actor and character one and the same.

If I survived the first few days of a zombie holocaust, and needed to turn to one of the above assassins, come hell or high bloodied water I'd make sure that Tallahassee was at my side. You can rely on him for his weapon stash, relentless aggression, daily entertainment but mostly...

...Cos he kills 'em like a boss! 

Just Missed Out: Ray (Cockneys Vs Zombies), 

Cholo  (Land Of The Dead), 

Burt (Return Of The Living Dead), 

Martin (Dead Snow), 

Roger (Dawn Of The Dead)

If you disagree, and have other suggestions, please post comments at the bottom of the post. Or, email me directly on topten@filmbore.co.uk.

And don't forget, you can tweet me @filmbore or post on my Facebook page here.

filmbore pick of the week - Let The Right One In

Let The Right One In

Director: Tomas Alfredson
Screenplay: John Ajvide Lindqvist
Starring: Kåre Hedebrant, Lina Leandersson, Patrik Rydmark, Per Ragnar
Year: 2008
Language: Swedish
UK rental release: August 2009

IMDb
LoveFilm
Rotten Tomatoes

And so, we enter the final part of my horror season. But what sub-genre will I tap into in the last round? Well, this isn't strictly a sub-genre, but a category of great importance...

Some of you may remember the article I wrote back in August on like-for-like remakes here. And today, we are still continually reminded of the lack of originality in the Hollywood machine thanks to their constant stream of re-do's, including some awful reworkings of incredible world cinema. One of the biggest of these tragedies comes in the form of an incredible Swedish horror directed by Tomas Alfredson, Let The Right One In.

Oskar (newcomer Kåre Hedebrant) is an insular child and doesn't fit in with other kids. He's an awkward, eccentric lad who nobody seems to understand. Due to his mother regularly working nights he's left at home nearly every night to fend for himself. His parents are separated, the segregation possibly feeding his distance from those around him.

He's getting bullied at school for being so different, so unique. In particular, a gang of boys pick on Oskar frequently, led by head bully, Conny (newcomer Patrik Rydmark).

Eli (newcomer Lina Leandersson) is a sickly looking girl who's just moved into the area. On her first night in her new home she ventures into the park outside and encounters Oskar. She seems other-worldly and older than her years, holding a lifetime in her eyes. She stresses to Oskar that, although they are neighbours, they can never be friends.

Maybe this is due to the actions of Eli's father/guardian, Håkan (Per Ragnar, Storm, Fire-Eater). At night, he is chloroforming & kidnapping local folk. Unclear as we are of his motive, we bear witness as he drains his hanging victims of their blood, like slaughtered cattle. He is clinical and calculated in his methods.

After a little time Eli starts to befriend Oskar. She slowly realises that she understands him and finds his reluctantly aloof persona endearing. She wants to protect him; to help him fight back against Conny and the others. As they grow closer, Oskar sees some peculiar sides to Eli's that interest him too: she doesn't feel the cold when outside in the icy night air, on occasion she moves with an ethereal quality, and when he feeds her sweets she can't seem to keep them down, regurgitating them moments after eating them. She's clearly unlike anyone he's ever met.

As their relationship flourishes, Oskar discovers Eli's link to the horrendous killings in the area. Yet, when Eli's relents to disclose her secret, it fuels more intrigue and mystery. Oskar is entranced as Eli allows him to enter her bizarre and dark world.

 

Adapted from the novel of the same name by its own author, John Ajvide Lindqvist, Let The Right One In is an enigmatic piece that slowly draws you in right from it's snow-filled opening sequence. We're welcome by an emotional and hefty score that continues to penetrate at subtle points throughout the story. It's tones bring a stark air, emphasising Oskar's loneliness, Eli's pining for friendship and both of their needs for acceptance. 

Full of hope, the score intently contradicts the horror element of this movie. Softly chilling like the icy air of the wintry weather, it seeps into your core, ready to shock you in it's poignant ferocity. (Slight spoiler alert!) The first vampiric kill is a brutal, animalistic moment, contrasting against the feeling of conflicted anti-heroine, Eli. It illustrates the crucially natural, if calmly barbaric, vein of the whole picture, imbuing it with a cool edge.

There are aspects of symbolism demonstrating this conflict in other parts of the film, such as the distinct vibrancy of fresh blood post-kill, soaking into the harsh blankness of the constant settled snow. There's no disputing the gruesomeness of Eli's actions but due to the careful hand that Alfredson applies to Lindqvist's tale you're left feeling both pity and fondness for her character, especially through the resilience that she starts to reveal in Oskar. Through the grim undertones there are touching moments between the two as they grow closer.

It's also a conduit into the minds of misunderstood, bullied children, and how far they and their friends are willing to go to stop the unrighteousness of their oppressors. Through your own experiences in life, you're bound to feel some familiarity with their cause, which is thankfully assisted by this wonderful pair of young, enlightening performers.  

As Oskar, Kåre Hedebrant is quirky and reclusive, played deftly with an adorably secluded quality. Lina Leandersson is haunting and infallible, portraying the role of Eli with grace and wisdom; unfathomably astute for someone her age. They both, through fondness, obscurity and awkwardness reveal an enchanting chemistry that holds the film through each moment, whether paced, tender or intense.

 

Along for the ride, the frosty Swedish neighbourhood becomes a character of its own. As the backdrop to the pair's companionship it behaves like a kind of matchmaker for adolescent friendship. This richness has been successfully achieved thanks to how the local environment has been captured. Along with cinematographer Hoyte Van Hoytema (who since has been DOP on such films as The Fighter and Tinker Tailor Soldier Spy), Tomas Alfredson created a method he refers to as "spray lighting", where distant lighting, mainly overhead, creates a diffused look on the lens, and helps to create dulled illumination on what were originally bright surroundings and softening facial contours and eyes in close ups. 

Combining this technique with a array of jaunty angles, purposeful soft focusing and slow-to-sudden pans, it's a Swedish smörgåsbord of filmic delights. Drawing attention to one scene in particular, the penultimate shots in the swimming pool have become some of the finest and most memorable of modern cinema, capping off an already beautifully filmed picture.

With this distinctive look, combined with delightful performances and deep, meaningful thematics, Let The Right One In tries to be many things: a drama, a thriller and, obviously, a horror. But inside its blood-soaked heart and through its scarlet drenched eyes it's purely an alternative love story.

Winning over 40 awards worldwide should have made Let The Right One In successful enough. Instead, through making mainstream producer's eyes roll with dollar signs, somehow it merited another copycat remake of world cinema with Let Me In. Hopefully, I can convince you to tap into the original and best instead. And if so, you'll be greeted with a genuine modern classic. 

A horror disguised as a sweet romance, or a romance disguised as a bitter horror; either way, its combination of genres makes it stand alone next to other films of its ilk, or any other picture for that matter.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

April Overview

One season ends, another begins...

And I'm not talking about the weather! In the UK, we've been wrestling with the strain of working out what season we are supposed to be in, with snow, hail, sun, rain, wind, more sun, some rain - you get the picture. I can only hope that those of you across international waters have been more fortunate. Nevertheless, while barometers sweat, meteorologists ponder and ground hogs debate the benefits of surfacing when it's tipping it down, filmbore keeps it simple.

In April, we saw the tail end of the awards season on the site, while welcoming the darkness of the horror season straight after...no confusion, no fickleness. If only the skies could behave the same!

So, in a busy month you got the usual honest reviews on the lesser known cinema, an unusual Top 10 combining Easter and horror, and had to say goodbye to a legendary film journalist. Let's recap...

Pick of the week - Recap 

Capping off my awards awareness season was Michael Haneke's beautiful tale of love & dependance, Amour. Blitzing the awards, including taking the Oscar for Best Foreign Film, this endearing but brutal drama is unmissable for Haneke's deft attention to detail and astounding performances from Jean-Louis Trintignant and Emmanuelle Riva.

And so, to start my horror season...beginning with something with a little depth I looked at Peter Strickland abstract stab at the genre, Berberian Sound Studio. With some great references to giallo films and a real art-house approach to horror, this will both disturb and perplex you. Plus Toby Jones is on form, as usual.

Hitting a lighter note but staying in the "lair of scare" is horror comedy, Grabbers. Following the formulae of "alien visitors terrorise local town" it doesn't try and act like something it's not; expressing it's open humour, great jump moments and some special effects that look excellent for such a low budget. It's in danger of slipping under the radar, so do yourself a favour and rent this baby out.

The third film in my horror-fest, taking us to the halfway point, is controversial, new wave slasher, Switchblade Romance. This courageous, French chiller has received some serious flack over the years, unfortunately tainting the promotional edge it needs to get out there. Form your own view on this alternative horror by getting hold of a copy and dare to watch until its shocking finale.

A Top 10 with a twist (what else?!) 

Missing out of publishing a top 10 on the Easter Bunny due to time constraints came as a blessing in disguise, as by blending the idea with my horror season gave birth to a bizarre list...the Top 10 scariest rabbits in cinema!

Fluffy tailed, soft-toe-thumping, cute hopping bunny wabbits...

...doused in blood, fang-tastically attacking our victims in gore soaked ambushes, nightmarish visions of the future or just flat out petrifying in a stew! Mwahhahhahh hhaaah haaahhh!


Never will you see such a disturbing, alarming and freaky collection of conies as this.

But if you think any have been missed out, then please comment at the bottom of the Top 10 blog post with your submissions, and I will consider them.

In memory of Roger Ebert

Few film critics have sparked more response to their views than the acid tongued, no-holds-barred of who I consider to be a lyricist in his own right.

Sometimes jarring public opinion with his honesty, Roger Ebert was never ashamed of flaunting his perspective on cinematic outputs big and small, and has become a renowned expert of his field. Many, like myself, attempt to emulate his poetic approach to reviewing but pale into insignificance when comparing to the great man, who we lost to cancer on the 4th April.

In this article, I summarise on the rise of one of the most famous film critics of all time, while reminding us why he was so loved/hated by including some of his brilliant comments on Hollywood's biggest films of the time.

From a fledgling critic to an epic one...I salute you Roger.

Roger Ebert (1942 - 2013) R.I.P.

And don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Or, you can email me directly at overview@filmbore.co.uk.

filmbore pick of the week - V/H/S

V/H/S

Directors: Radio Silence, David Bruckner, Glenn McQuaid, Joe Swanberg, Ti West, Adam Wingard

Screenplay: As above plus Brad Miska, Nicholas Tecosky, Simon Barrett

Starring: Calvin Reeder, Lane Hughes, Kentucker Audley, Adam Wingard

Year: 2012

Language: English

UK rental release: January 2013

IMDb
LoveFilm
Rotten Tomatoes

We're nearing the end of the filmbore horror season now. Our fifth and penultimate entry is another misunderstood indie film of recent release.

No compendium of horror movies is complete with the staple sub genre of portmanteau. We've received many anthology movies over the years like the chilling British classics from Amicus Productions in the 60's and 70's to the more renowned 80's efforts like Twilight Zone: The Movie and Creepshow. And now, the modern portmanteau has had a face lift in the indie multi-directorial scare-fest, V/H/S

A group of lads out for petty crime also fill their time with creating scuzzy sex films in a "happy slapping" format: they grab strangers out-of-the-blue and lift the lady's tops on camera to sell for money. They have no shame and are destructive in their very nature.

One of the gang members knows of a job that will make them a lot more cash than their reckless home movies can, and in just one night! The must break into a remote house and locate a mysterious video within. They have no idea what is on this tape but know that they'll be well paid for retrieving it.

They continue to film the events and manage to invade the house in question. During the first few minutes of searching they find a room with TVs stacked against a wall, lighting the space with their images of static, while a dead man bears witness in an armchair opposite. 

Disturbed by their discovery, most of the group investigate the basement for more tapes, while our camera man waits in the room with the corpse and peruses some of the videos strewn before him. But with so many to choose from, which does he watch first?After selecting a cassette he slots it into a machine and presses play.

Our first chapter is of three young men in a motel room preparing for a night out. One of the crew has been made to wear some glasses that contain a hidden built-in camera. Using the spy-wear, they aim to get lucky with a few ladies and film the act wearing their new gadget in order to make their own amateur video.

They manage to meet some women in a bar, and get considerably drunker as the evening wears on. Yet, one of their new found female friends is acting very peculiar. This odd lady takes a fancy of our spec's wearer and he takes her back to their motel along with the other girls. It's not long, however, that he'll find out the secret behind her strange behaviour.

Firstly, I just want to ask that if you decide to watch this, please be patient and give this picture a chance. If you're open minded enough this film may surprise you in parts. I wasn't expecting to like it that much (which is a rare feeling for me, as I try not to prejudge a movie before I see it) but I was pleasantly taken aback by this picture.

In V/H/S we are presented with six short films - five connected by one core story in the usual style of the portmanteau - shot on a mix of film and HD, with a blend of digital effects which are subtle and look quite real. This is refreshing these days, what with the farcical, blatantly obvious computer generated efforts in more recent horrors. I also like how the quality of each video segment alters each time, bringing further authenticity; some are soaked with old-school grainy flecks, others flirt with the clarity of high definition.

These difference may exist, by accident, due to the crew selected. Instead of one director handling the whole anthology, instead each chapter is handled by a different helmer, with directing quartet, Radio Silence (consisting of Matt Bettinelli-Opin, Tyler Gillett, Chad Villella, Justin Martinez) complete the compilation with their Halloween based effort. 

They are given the chance to run amok with stupefying concepts and adventurous plot lines. Stories are concentrated, bringing sturdy plots to each vignette. It's good that unknowns, wanting to flaunt their wares, were given the opportunity to craft something unique here, as better known filmmakers may have been reluctant to share strong ideas in a portmanteau piece in fear of drowning amongst the flock. Each director takes a risk with their respective chapters, allowing their outputs to appear audacious, defiant and unexpected.

There's real originality in each of these pieces, if all a little out of balance at times, yet I feel this shake up between stories strengthens the movie with its unease. In fact, the anthology concept itself is put to good use here with a literal reason for chapters. The multi-video premise allows each director to experiment a little and to tamper with different genres. Not only do we witness some good homage to different horror houses, but we also get good cocktails throughout (for example, paranormal body-shock, or cabin-in-the-woods techno killer). These crazy mixes of sub-genres helps to bring an extra flavour to the movie and it's great to have these fusions within the overall blend of found footage and portmanteau.

That said, it will not be to everyone's taste. It does have "cult film" written all over it but this isn't always a good thing. The rapid switches between chapters and the lengthy run time (nearly two hours, which is long for an anthology piece) may be off putting for some also. However, I feel that what severely polarises views is its substance. It's brash in it's vulgarity and completely unfazed by it's flaunting nature.

It's fearless in its fearful content. Whatever your view though, you also have to admit that it holds some serious horror mastery.  At points, it's incredibly creepy amidst the normality it presents. It feeds you some good chunks of terror when it desires and there are some parts that are successfully scary, which is a great achievement when considering the small budget it was made from and the limited time each story has to be able to build the necessary tension.

It's dark, it's rude and it could offend; those averse to nudity, gore and stark realism will be shocked by some of the footage, hyped up by the fact that this is in the home-video style. However, if your stomach is strong and your heart is incorruptible then this brutal horror compendium might just tickle your tracking. Amidst the brave, dark and depraved is a fun movie for those with the stamina for it. 

Check some reviews and you'll see that the ratings are questionable. Yet, check some other articles, including those on horror specialist sites, and the scores are more promising. This is because V/H/S is for horror fans only. With great nods to modern movies of this genre (especially of the found footage variety) it's a reminder that great horrors can be made without the need for an endless stream of remakes. 

I must admit that overall this movie doesn't stand tall against some of the other films I generally select for my website. However, I have to acknowledge both the bravery and conceptualisation of the tales in this unusual anthology. Big steps were attempted at telling some original stories, and for that reason alone I have to stand by the film. V/H/S deserves to be on filmbore amidst some great films purely for it's guts!

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - A Tale Of Two Sisters

A Tale Of Two Sisters

Director: Kim Jee-Woon

Screenplay: Kim Jee-Woon

Starring: Lim Su-Jeong, Yum Jung-Ah, Kim Kap-Su, Moon Geun-Young

Year: 2003

Language: Korean

UK rental release: November 2004

IMDb
LoveFilm
Rotten Tomatoes

Part four of my horror season takes us further overseas to Asia, where some of the most prevalent and ground breaking horrors of the last 15 years have surfaced from. And, as I'm a fan of Korean cinema, and would like to avoid the more obvious choices, like Ringu or Ju-On (The Grudge) I think that it's fitting to unearth something unique for you. This is filmbore after all!

So, this week I have selected A Tale Of Two Sisters. Based on a Korean folk tale, it's Asian horror but not as you've seen it.

Beginning our tale in a mental institute, we're introduced to Su-Mi (Lim Su-Jeong, I'm A Cyborg..., All About My Wife). She sits there in silence, unable to answer her doctors questions of the events that happened on a specific day. 

The mystery stays locked up for now, as Su-Mi and her equally ill sister, Su-Yeon (Moon Geun-Young, Korean TV star inc. Autumn Tale) are taken back to their family home following the death of their mother and their mutual spell in a mental hospital. Though related, they're very different to each other - Su-Mi is forward and confident, while Su-Yeon is quirky and aloof. Despite these differences, they're inseparable.

They're to be looked after by their father, Mu-Hyun (Kim Kap-Su, another Korean TV and stage star), who is clearly having to handle the loss in the family in his own way. He's worried that his daughters will get sick again and have to return to the institute. Yet, he doesn't have to parent the girls alone though due to the presence of Eun-Ju (Yum Jung-Ah, Tell Me Something, Lovely Rivals), their step mother. Strong-willed and opinionated, she is trying her best to make an effort, in her own special way - but the sisters are unsure of her. Su-Mi in particular has issue with her, initially disagreeing on how things are done around the house - chores, clothes storage, etc.

Even with this divide brewing, the two sisters remain very close going nearly everywhere together. Eun-Ju is lonely in contrast to the strong companionship between the two girls, which could be drawing more disdain between them. This is worsened when Su-Mi suspects that her step mother is twisted, infecting the family from much earlier in their lives purely with her presence and trying to take over the role her real mum left behind. She also believes that she is abusing Su-Yeon too, harming her physically and locking her in the bedroom closet to punish and torture her.

While all of these problem develop, there's no ignoring the strange things starting to happen in the house. Su-Mi in particular has horrifying dreams of a woman in the forest and of her own blood-soaked hands. In the waking world, however, there's some paranormal entity terrorising the family. These weird occurrences start affecting the girls and their step mum, until they become entombed in fear and paranoia. 

Only Ma-Hyun seems to see past what the rest of the family are experiencing.

 

Kim Jee-Woon is better known for his more recent pictures, hitting the comically dark in I Saw The Devil and bringing "The Great Oak" back to our screens in the action romp The Last Stand, but it's his delicious work on this film that I feel he will always garner the most respect for.

One key element to this view is down to how A Tale Of Two Sisters has been filmed. It's elegantly framed, with art-house style captures of symmetrical close ups and stark medium shots. In the first few minutes of this movie you'll realise that it isn't your standard horror. It also looks fantastic on Blu-ray, if you have access to the medium. It's not shot in HD, of course, plus it hasn't gone through an extensive hi-def treatment either unfortunately. But, even without the expected level of clarity and sharpness that you expect with Blu-Ray the film is so visually pleasing and vibrant enough that it stands up well in this format. It's just a shame that advantage wasn't taken of HD treating to expand on the look of this film.

Those with surround sound will get plenty out of this too, with some creepy effects in parts and some smart sound placement for all you techno-geeks out there. In fact, the sound treatment on this Blu-Ray is where the technology really emphasises the original design - it truly shines on this version.

Most noticeably though, on any format the audible queen of this phonic pack of cards is the music. It's sensationally beautiful score, using classical riffs, which juxtaposes against the horror background. It's used to great effect in allowing the right emotions to surface at poignant moments in the tale. The main theme, which is stunning piece, is played at points throughout the film at different tempos, creating different moods accordingly.

This really helps in some of the more atmospheric scenes, where we see the burning tension hype up a notch each time. Kim Jee-Woon handles these slow pressured build ups deftly, while combining them with sudden startles that will make you jump out of your skin. There are some genuinely terrifying moments throughout this picture, and you easily get drawn into each character's personal neuroses, experiencing the shocks with them.

These are such, rich characters too: the step mother. neurotic and head strong - extremely reactive; the father, perplexed and ponderous - a calming element in the torment; Su-Yeon, the quieter sister, scared and timid; Su-Mi, rebellious and strong willed - the heart of the story. With exquisite performances all round, these personas are realised with such delicate form thanks to the stunning execution of the small but perfectly chosen cast.

I have to take a moment to highlight one performer in particular, and that is Lim Su-Jeong. For those of you who have followed filmbore for some time may remember me hyping up another film that she leads, Park Chan-Wook's I'm A Cyborg, But That's Okay (read the review here). Well, like in that film where she was exceedingly strong, so is she here as the movie's central pinion; a fulcrum to the spectrum of characters she is connected with. She has an incredible range, showing that she is clearly one of Korea's finest young actors, and Su-Mi's personal adventure is infused by her talent.

Yet, I feel that the tale really highlights the journey of the step mum Eun-Ju as much as it is the two girls, and the simmering turbulence brought on by their tumultuous relationship. Yum Jung-Ah's electrifying portrayal of this fiendishly deep character really plays off Lim Su-Jeong's angle, creating an internal battle driving the under surface of the gradually evolving plot.

What a story too. It's a "second watcher", if you know what I mean. Carrying some emotional reveals, there's a lot that may ring true with some viewers. Pleasingly, there is enough in this tale to take you round a few corners. So, even if you think you're on it, you'll still be surprised.

The finale is patiently and tenderly played out too, considering the heftiness of the unravelling dark tale, and it's extremely moving. Actually, if you don't shed a single tear by the end of this picture then you are either an android or haven't fully bought into it story - and shame on you if that's true! 

A Tale Of Two Sisters is one of the finest pictures to come out of modern Asian cinema. When I first watched it on it initial rental release it commenced my love affair with Korean films. And, watching it again this week has emphasised my existing passion for the country's creative output. If you're unfamiliar with Korean cinema then A Tale Of Two Sisters is a good window to begin climbing through, and could lead you to more interesting pictures inside! 

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