A frenzy of annual releases proves that South Korea is ardently creating more horror flicks to appease the rising interest in the genre
Let me be open and honest about my experience with horror movies: I enjoy watching them despite being terrified of them. It is likely that a lot of you share my enthusiasm for the genre. The emotions of terror, dread and trepidation stimulate us and have the power to set off the fight-or-flight response. It is our natural reflex to a frightening condition that equips one for either forcible resistance or escape. That’s why many people, including me, like the rush of being scared. Unsurprisingly, as a fan of Korean entertainment, my fondness for Korean horror films is significantly stronger than their western counterparts.
Like its Japanese equivalent, Korean horror is well regarded for its original approach to the horror brand. A great example of this is
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As a “consensus pick as one of the top three Korean films of all time.” The popularity of Korean horror films compounded incrementally thanks to works like
Korean horror is renowned for taking an innovative stance on horror. The Housemaid, which is largely credited with introducing the theme to Korean cinema, is a fantastic illustration of this
Korean horror cinema is also viscerally captivating due to its meticulously planned bloody mayhem and crushing excitement. If you’ve seen Kim Jee-woon’s
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(2010), you’d recognize my point. The element of heart-pounding adrenaline in the film is something that ought to be experienced. Jim Vorel from
Deemed it the finest horror movie of that year and said of its climax, “It’s one of the great, empty victories of horror cinema in the 2010s.”
I Saw the Devil and other movies serve as the painstakingly designed gory mayhem and heart-pounding adrenaline of Korean horror movies rendering them intensely intriguing.
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That South Korea is among the world’s major hubs for horror cinema. As I see it, with audiences increasingly interested in the monster, the ghost and the darkness, contemporary Korean horror blockbusters like
Train to Busan, a cult Korean zombie film, served as a precursor to later, bloodier zombie outbreaks on screen like Kingdom, Peninsula, Alive, Happiness, and the blockbuster All of Us Are Dead
Horror, therefore, will always be well-liked in South Korea as long as the country keeps investing in it, regardless of how gruesome and graphic the visuals may be. On the whole, a frenzy of annual releases proves that the country is ardently creating more horror flicks.
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– a horror anthology film that Hong Won-ki has directed – embodies his vision of abject terror. The omnibus movie is a collection of 10 short stories about fears that are set in real-world situations, featuring K-pop and K-movie stars.
Is my favorite of the lot – a story that follows a man with chronic toothache who seeks dental care. Oddly enough, the dentist (Choong Jae) can’t figure out what’s causing it. He doesn’t realize that the toothaches are more serious until he consults with his mentor and conducts studies. The ability to immerse viewers into a world of darkness where facts and fiction are muddled is
. Kim Da-mi, Lee Jong-suk and Uhm Tae-goo make cameo appearances alongside the leads, Shin Si-ah, Jo Min-su and Park Eun-bin. At the center of
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Is a “girl” who escapes from the “Ark, ” a clandestine research facility, and befriends siblings Kyung Hee (Park) and Dae Gil (Shin). As the plot progresses, we see Kyung Hee striving to keep the girl safe from a group looking for her. They eventually locate the girl, but when they do, unexpected savagery overtakes them.
The premise of Park Kang’s brainchild – an inventive Korean horror film – is based on the legend of ‘Seire’, a sacred term that denotes the 21 days following a baby’s birth, during which the family must refrain from stepping outdoors or breaking specific taboos to protect the child from negative energy. Woo Jin (Seo Hyun-woo), who has only recently become a parent, learns of the demise of his ex-girlfriend, Seo Young (Ryu Abel). He visits the burial in stealth and meets Seo Young’s twin sister. Following this episode, Woo Jin and his family begin encountering a spate of bizarre, cataclysmic events.
, which had its world premiere at the 26th Busan International Film Festival in October 2021, is anticipated to hit theatres this year. By replicating a classic horror film cliché and concurrently redefining the terror element that emerges from breaking cultural taboos,
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Being averse to electronics, Korean immigrant Amanda (Sarah Oh) and her daughter Chrissy “Chris” (Fivel Stewart) live off the land on a farm, raising chickens, selling honey, and keeping bees. Their idyllic routine is upended when Amanda receives a bag bearing the cremated remains of her estranged ‘umma’ (mother in Korean). Soon after, she grows anxious about being possessed and begins to panic. Life becomes a nightmare when her fright is realized, and umma’s vengeful spirit takes control of her while Amanda tries to bury the ashes.
Despite the movie’s conflicting reviews, I found it to be an effective horror story that expertly addressed a mother-daughter relationship and the issues of guilt and regret. It’s worth a watch.
This Korean action thriller will satisfy you like nothing else if action movies are your thing. But hold on, where is the horror in this? I’d say, to experience horror on a new level, watch
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Begins amid a fatal pandemic brought on by a virus that originated in the Korean Demilitarized Zone and turns its victims vicious and zombie-like.
At the outset, we witness a man (Joo Won) waking up in a hotel room in Seoul, unaware of who he is or why he is there. A female voice within his ear (that only he can hear) informs him that his name is Carter and he must follow her instructions in order to survive. What ensues is a frantic rollercoaster of horrific violence and fight scenes that Joo Won pulls off flawlessly. Extra points for his exceptional athleticism. Notwithstanding criticism from some quarters for its brutal violence,
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