Three

As a post-Halloween presentation, Titus Brandsma Center, a Carmelite-run service organization here, held a screening of 3 Asian horror films:Higuchinsky's 'Uzumaki'(Japan), Youn-Hyun Chang's 'Tell Me Something'(South Korea) and 'Three', a trilogy of shorts by Ji-Woon Kim(S. Korea), Nonzee Nimibutr(Thailand) and Peter Chan(Hong Kong). The conceit behind the event was to "run along the same vein" as 'The Ring', a trend-setting, box-office hit Japanese spine-tingler(recently shown on Philippine television in a tolerable Filipino-dubbed version).

OK, 'Uzumaki'(which translates in English as "spiral" or "vortex")is a bizaare study in communal fixation and paranoia, with any swirl-shaped object as the ubiquitous motif. This debut film by Higuchinsky(who worked before as a director of music videos)succeeds in conveying the sense of collective disturbance and fear that grips the small community of Kuzouguchi, its distinguishing claustrophobic quality brings to mind the kind evoked by David Lynch in 'Blue Velvet'--it's only that the Japanese director takes one step further with his really, really fantastic and grotesque turn of events. But I guess that to fully enjoy the film, one should take it AS IT IS, with any "interpretation" of the purported "metaphorical" significance of the spiral following later(in my case, much, much later, if ever).

While 'Tell Me Something', bad luck of all bad lucks, was the much-maligned film in the line-up--with good reason. For despite its fair share of gore and tension, and a good-looking lead pair(the lieutenant and the lady under surveillance), a stubborn fact still shows up:that the film is another jaded offspring of the jaded serial-killer genre(it doesn't really take a lot of mindwork to guess, about 45 minutes--or even less!--into the film, who the murderer is;now, even this is a jaded remark!). Strangely though, on 2nd viewing, I began to find 'Tell Me Something' to be kind of interesting(it appeared that it wasn't really that bad), for at least, it scored a few points in the following:having a toned-down tension, evoking a noirish atmosphere with its rain-drenched urban locale at night and going against the "obligatory" fate of the lead pair being eventually romantically or sexually involved with one another(never mind the lack of a well-defined motivation, anyway, the two are as aloof to each other as they are to the viewers)--sigh, even this is a jaded indulgence!

But I still believe that Korean Cinema is one of the exciting film industries that we have, serving us with a good number of brave and provocative films in recent years, among them, Chul-Soo Park's '301/302', Jin-Ho Hur's 'Christmas in August', Ki-Duk Kim's 'The Isle' and 'Address Unknown', Jung-Ji Woo's 'Happy End' and Ji-Young Chang's 'The White Badge.'

Thankfully, the best was saved for the last, for 'Three' was the clear favorite of the audience(including myself). To be noted particularly are the 1st and 3rd episodes:Kim's 'Memories' and Chan's 'Going Home'(I wish I could say the same for the 2nd short). What I'm interested is how did these 2 episodes work upon the emotion of fear, as it's a given fact that such feeling is the one that films of the horror genre want to arouse mainly from the audience.

In 'Memories', where does fear spring forth? As it turns out, it's from the husband's(Bo-Seok Jong)"ghost of his own making", so to speak, as there's a terrible secret that he tries painfully to conceal. He may have succeeded in keeping it from other people's notice, but definitely not from the prodding of his own conscience, thus the hallucinations and nightmares(even if it appears that these don't seriously bother him at all!).

As it should be, the viewers don't completely have any idea about this "secret" at the start of the film, but through Kim's skillful interweaving of the husband's and the "lost" woman's(Hye-Suk Kim)respective scenes--he, as he confronts his terrifying nightmares;she, as she wanders through a barely-inhabited city, where various omens singularly happen to her--all told with little use of dialogues, it little by little builds up toward the grisly revelation, its utterly nightmarish quality is like Franz Kafka and Edgar Allan Poe have joined forces for the modern times.

The director may have relied on "old tricks" to scare the audience(anyway, it worked), but the best thing is that we can make sense of the fear thus evoked, we can "connect" with it. And this, the fear of having done a terrible misdeed and of having to face up with the nightmares(or "bad memories")that consequently spin out of one's own sinful act--whether one gets away with it or not.

On the other hand, watching 'Going Home' is like watching an assortment of 'Psycho', 'Awakenings' and 'The Sixth Sense.' However, it's of such a potent tragicomic quality that the viewers are still put under the spell, brought into force by a marvelous confluence of terrific performances(with Leon Lai at the forefront)and astounding mood photography(predominantly slimy green)by Wong Kar-Wai's "recording angel", Christopher Doyle.

Going through my files, I came upon my few notes on an early work by Chan, 'He's a Man, She's a Woman'(featuring the late Leslie Cheung), a hilarious comedy of errors-cum-ugly duckling tale-cum-gay film. Having this film in mind as I try to recollect 'Going Home', it makes sense why odd humor shows up from some nooks and crannies of this otherwise poignant and eerie tale of the transgressive power of love. Handled foolishly, this uncomfortable blending of humor and horror might've churned out another low-grade and campy shocker('Starship Troopers' and 'The House on Haunted Hill', anyone?).

Whenever the emotion of fear is aroused in us by this awarded episode, it's FOR Leon Lai's bespectacled, agonizing character--for his not being able to bring up the kind of family that he deserves, for his failure to achieve what could've constituted his happiness in this temporal life(the episode's title, in fact, implies "being with one's family"). And so, as in 'Memories', the "fear factor" here makes sense.

An ominous package consisting of three short films by different Asian filmmakers, Three suffers from the same set of issues that plague most anthology films. Each story has its positives & negatives. Each tackles an intriguing idea which it fails to explore or execute to the fullest. And coz of that, the end product as a whole feels decent at best.

The first short is Memories. Directed by Kim Jee-woon, it benefits from its ominous mood, flexible camerawork & smooth tracking in addition to excellent use of sound. The story isn't that riveting or original but the execution of the plot is still the best of the bunch. The uneasy aura, foreboding tone & graphic imagery alone make it look better than it actually is.

The second one is a Thai short called The Wheel. Directed by Nonzee Nimibutr, it is the least impressive of the three segments. It deals with puppet & voodoo elements but its characters remain distant while unfolding events fails to pique our interest. A better grasp of Thai culture may alleviate some confusion but that still won't make it better than the other two stories.

The third & final short is Going Home. Directed by Peter Chan, it is easily the most original of the three. The concept is an interesting one and the inhospitable setting & creepy vibe provide the right environment for the plot to unfurl. What undoes it in the end however is its half-hearted execution & overdone sentimentality. Compared to the other two, it still leaves a better impression.

Overall, Three makes for a serviceable horror anthology that's satisfying to an extent but there is nothing about it that stands out from the norm. Kim Jee-woon's name in it is why I went for it and although his segment impresses in bits n pieces, he is capable of much more than what he delivers here. Horror anthologies are more a miss than hit, and Three unfortunately ends up with the same fate as most.

Three, internationally marketed as 3 Extremes 2, consists of three horror short films by renowned Asian directors. All three short movies had something different to offer and were quite entertaining since they didn't overstay their welcome. However, these short movies aren't among the directors' greatest hours either.

The first short film is entitled Memories and was created by South Korean director Kim Jee-won, who made masterpieces like the psychological drama A Tale of Two Sisters, comedy western The Good, the Bad, the Weird and grisly horror shocker I Saw the Devil. Memories tells two stories that slowly but surely intertwine. The first story is about a man whose wife has disappeared and who suffers from memory loss as he can't remember why or how she left. The second story revolves around a woman who wakes up in the middle of a street, can't remember who she is and tries to figure out her identity and what happened to her. On the positive side, the movie convinces with gloomy atmosphere and moody cinematography. On the negative side, the story is somewhat predictable and slow-paced.

The second short film is called The Wheel and was created by Thai director Nonzee Nimibutr, who is known for action movie Dang Bireley and the Young Gangsters, romantic horror film Nang Nak - Return from the Dead and romantic drama Jan Dara. The Wheel revolves around cursed puppets that haunt a group of puppeteers living and performing in rural Thailand. The curse starts when the master puppeteer puts his soul into said puppets but later on orders his wife and child to get rid of them. His wife and child drown and the old man burns alive in his house. A rival puppeteer plans on using these puppets but other grisly events soon start to take place as performers collapse on stage, commit suicide or start to see ghosts. On the positive side, this film is the grisliest of the three and includes several haunting deaths. The locations in rural Thailand are stunning to watch. The movie also introduces us to a part of Thai culture which isn't very known outside the country. The film's sinister conclusion is also memorable. On the negative side, the acting performances are a little bit stiff at times and the movie was obviously suffering from a very low budget.

The third and last short film is called Going Home and was created by Thailand-born Hong Kong filmmaker Peter Ho-Sun Chan, who directed movies such as romantic comedy drama The Love Letter, historical drama The Warlords and action epic Dragon. Going Home tells the story of a single father and cop who moves into a decrepit apartment complex with his infant son. His son soon befriends the strange daughter of the only other family living in the building and then goes missing. His father suspects the weird father of that family who nurses his mysterious wife back to health to be responsible for his son's disappearance. On the positive side, the characters in this movie are really strong, the story takes a few unexpected turns and the movie even has a romantic underlying message which one couldn't expect from a horror movie. On the negative side, several questions in this movie remain unanswered which make it feel somewhat unfinished. This movie should have been elaborated into a full length movie to have a bigger impact.

In the end, all three movies have their merits but also a few minor disadvantages. Expect solid psychological and supernatural thrillers but no grisly horror episodes. All of these short films were entertaining and are worth to be discovered, presented or watched again.

Three is an omnibus supernatural horror film comprised of three one-hour long mini-features. Each one was produced in a different country, Peter Chan representing Hong Kong, Kim Ji-Woon representing South Corea, and Nonzee Nimibtr representing Thailand.

The opening film, Kim Ji-Woon's "Memories" follows two individuals as they grapple with seemingly missing memories: a man who's wife is missing and a woman who's trying to figure out who she is. The work actually foreshadows a lot of what will eventually show up in Kim's following feature, A Tale of Two Sisters, which I really liked. While the film does feature a number of eerie moments, it also suffers from a lack of a strong story. There's not much to its revelation and the characters are fairly static. To its merit, it's probably the most technically proficient of the three films and certainly the scariest.

The second piece is Peter Chan's "Going Home" and this is probably the best overall of the bunch. While its production values are actually the roughest of the three, the story is probably the highlight of the three. The story is divided into two segments, the first where a cop and his son move into an aging complex where few people live and is seemingly haunted. The second, the cop grapples with a seemingly mad homeopathic doctor who is appearing to pursue the resurrection of his dead wife. The film grasps well its theme and the story has a few interesting revelations to provide while also having something to say about the power of love/hope.

It's not a scary piece for the most part, but despite the production values, the direction appears sure and makes great use of its setting and limitations.

The final film is Nimibtr's "Wheel", which is about an arts troupe grappling with the curse of an evil puppet. This is probably the weakest segment. While it does have some good imagery to offer, the story is confusing, aimless and the scares are without method or meaning. Some of the visuals are chilling, but because of the rather slapdash and sometimes illogical story, the overall effect of the piece is muted.

All in all, I have to say that Three isn't a complete waste of time due to the solid piece by Peter Chan and the stylish opening act. On the other hand, it's weakened by the third piece and while the three do try to take on the same overall concept, they seem to be too divergent to really make a cohesive whole, with Nimibutr's "Wheel" really on a different plane than the other two. Probably better viewing for genre lovers of horror or supernatural films and perhaps for more curious cinephiles, but I don't see that it's going to be particularly impressive for anyone else. 6/10 for Memories, 8/10 for Going Home, 4/10 for Wheel. 6/10 overall.

Note: The US release of this film changes the order of the films around so that it opens with Memories, then goes to Wheel and closes with Going Home. I'm not certain how the Hong Kong and Thai versions of the film orders the three; I watched the Corean version.

After the vast success of "Three Extremes" three other Asian horror savants (South Korea's Kim Je-Woon, Thailand's Nonzee Nimibutr, China's Peter Chan) stepped up to the plate to deliver us a successor.

The original had three tales of distinct horror methods--one of gross-outs, one of violence, and one of psychological maiming. "Three Extremes II" however, seems to have a common theme about all three which is the voyage of the afterlife.

Due to atmospheric and thematic similarities I found the stories a little less engaging when viewed back-to-back. Perhaps this could've been that the first two films of the movie (the first especially) were rather uneventful.

Starting chronologically, the short "Memories" by Kim Je-Woon is South Korea's entry into the anthology. It starts with promise as it shows a man presumably sleeping on a couch and very gradually pans closer and closer to him. Then it shows us more of the room he is in, and immediately Je-Woon strikes a nerve of undeniable creepiness with a huddled women rocking to and from in a corner. This sense of uneasiness quickly dissolves as the story progresses. Nothing really happens throughout. Like I said above it was uneventful--sure people are talking (though there's an odd lack of dialogue in "Memories"), sure they're walking and driving around trying to discover a mystery, but it's a mystery most viewers have probably solved. There's also a woman who seems to have lost her memory, but almost immediately I put two-and-two together and figured out her connection with our main character. Je-Woon uses rather cheap shock-tactics like sudden movements and sharp music to make us jump. Its unfortunate Kim Je-Woon's entry was so weak narrative-wise and predictable story-wise, because he is the director of one of my favorite movies ever "A Tale of Two Sisters". I went in hoping for something exquisite from him but got a rather generic story. I do not dislike the movie, because it does have its pluses like solid acting, beautiful camera-work, and the cutest child you'll ever see in any movie, but I cannot say I liked it either because there was so little story. All-in-all, Kim Je-Woon's "Memories" is forgettable, shiny, and predictable--nothing more than you'd expect from one of Hollywood's J-horror remakes.

The middle segment on the disc is one of Thai origins called "The Wheel" from director Nonzee Nimibutr. Being only briefly acquainted with Thai horror, I found myself excited to see what Thailand had to offer. Many reviews claim this to be the flimsiest entry, but I have to disagree. I think most of "The Wheel" was lost in translation because it is a piece so close to Thailand. It's a cultural short involving Thai beliefs that we North American viewers simply cannot grasp--or at least not appreciate fully. That being said, I personally loved the cultural experience of watching "The Wheel" and felt almost like it was a documentary of rural Thailand. The set design is beautiful and exotic; the costumes and puppets are breath-taking and unique; the entire piece rings with foreign flavor, and was a nice contrast to "Memories" which could've been copied and pasted into any country's film. That being said, while it dealt with horror (spirits, possession and vengeance) it didn't feel like a full-feldged horror. The very opening is chilling but like "Memories" it fades to black rather quickly. Unlike "Memories" I found myself interested by the foreign aspect and the beauty of the setting, from the murky lagoon to the unique houses to the vibrant costumes. The acting throughout is rocky--there's a few actors who deliver questionable performances, and that is probably my biggest qualm with the film. Aside from that it had a very redeeming ending, and in more ways than one.

The closing piece is absolutely and without question my favorite of the three, and probably my favorite out of the original three as well. I think the DVD editors placing Peter Chan's "Going Home" last was strategy, as they started with the most feeble and the "Going Home" segment is powerful enough to make you forget about "Memories"'s weakness and leaves you with a very positive feeling after watching. Had they reversed the order, the haunting touch of "Going Home" wouldn't have survived through the end of "Memories" and my review would be two starts instead of three. That may sound ridiculous but it's all too true. The story starts with a single father and his son who are moving into a new complex, one that looks decrepit and neglected. This dirty setting is awesome for capturing what will happen later. Chan's direction then switches from the father-son relationship and to a much more aberrant relationship concerning a rather shoddy character we're introduced to through the young son and a wife who is seemingly long-dead. This is a ghastly, provocative, touching story of requited love and the testing of lengths one will go through for that love. I will not delve any further into the story--discover this gem on your own. If anything this DVD is worth the $15 for this piece alone--I wish it could've been a feature length film.

Overall, "Three Extremes II" doesn't succeed as horror but are an excellent trio of chilling dramas. It was a disappointing follow-up to "Three Extremes" but the two shouldn't be compared because they are different films with different messages. I picture only a fan of Asian horror liking this DVD, so if you're new perhaps go with something more user-friendly before diving into this piece.

6.5/10