Too long (250min) & confusing possession story. Too bad because "Chaser" & "Yellow Sea", by the same author, were totally exciting. Better re-watch "The Exorcist" or Wes CRAVEN's "Serpent & The Rainbow". == Confusion & Grand Guignol vienent gâcher cette interminable histoire de possession. Dommage car "Chaser" & "Murderer", du même auteur étaient bluffant. Mieux vaut revoir L'Exorciste ou "The Serpent & The Rainbow".
The best kind of horror movie. One with comedy and no jump scares. Extra points for being genuinely creepy. After reading a lot of explanations I tend to think that your interpretation may have something to with your theology. I think xenophobia is a big problem, so I see that as an explanation for a lot that's going on. Kind of a global problem.
Shades of both William Friedkin and David Lynch imprint "The Wailing," the new film from Na Hong-jin (director of stellar genre efforts "The Chaser" and "The Yellow Sea"). But unlike Lynch's "Twin Peaks," the movie fails to strike a balance between off-kilter comedy and pitch-black horror. Instead, our protagonist comes across as a bumbling oaf plopped down in the middle of a staggeringly long tale of spiritual evil.
In a compelling, thought-provoking battle between the real and the spiritual, a brooding tale of folklore contours emerges. Powered by a restless atmosphere, Jin never loses control over his impeccable storytelling, slowly deconstructing, in grounded fashion, notions of faith gained and faith lost.
A little bit of mess, but with the director is a the top of his form, it's difficult not to stare at it with fascination. The Wailing serves as a brilliant metaphor for Good vs Evil, and as a deeply unnerving ghost story.
While always interesting this tale of a rash of madness and death in a small village tempered with superstition and the supernatural never really seems to gel into a focused narrative. Even with the added elements of racism, xenophobia and tainted morality its unable to pinpoint the director's intent. Performances vary as does the ever changing tone of the film. Worth a look for the patient genre fan.
Too emphatic and self-overwhelmed with its symbolistic articulation, with several overlapping tracks of plot and counter-plot, in addition to some formal exhibitionism, what, after all, is left here that pleases me? Its lack of restraint before the excess, performative or figurative, resulting in a density that works by accumulation and, in this sense, against any conditional probability.