Office (O piseu)


You never know what lies beneath the surface of an office drone.

You never know what lies beneath the surface of an office drone.

(2015) Suspense (Little Big Pictures) Ah-Sung Ko, Sung-Woong Park, Sung-Woo Bae, Eui-Sung Kim, Hyoun-Kyoung Ryoo, Soo-Hyun Son, Chae-Eun Lee, Dae-Hwan Oh, Chang-Yong Lee, Jung-Min Park, Sung-Chan Son. Directed by Won-Chan Hong

If there is a more cut-throat environment than the modern corporate office, I can’t think of one. Office politics are as savage a human undertaking as any lion hunt. The backstabbing and venal office gossip can not only destroy careers but also lives.

&Byung-Guk Kim (Bae), a sad-eyed sales manager for Cheil, a huge food and beverage distributor, returns home after a long, rough day at the office. Taking the train home from work, his almost zombie-like expression is troubling, but when he comes home to wife and son all seems well…until he picks up a hammer.

The next day, Kim’s sales team intern Mi-Rae Lee (Ko) hurries into work, late again. She arrives there to find the police questioning the team about Mr. Kim, whose family has been brutally murdered. Her manager warns her to not divulge anything that would place the company under a negative light, but still under the questioning of Detective Jong-Hoon (S-W Park) she admits that Kim had been under intense pressure and was desperately unhappy.

It turns out he had plenty of reason to be. Sales director Sang-Gyu Kim (Kim) runs sales meetings like the Spanish Inquisition, berating his team with profanity and belittlement. Setting unreasonable sales goals, he mocks even those on his team who meet those goals for not having done it soon enough, or in the manner that was expected of them. The drones, terrified for their jobs, work brutal hours, haunting the office well after dark, ghosts shuffling in the hallways as hard drives whir and printers vomit out ream after ream of sales figures.

As the police investigate, it is determined by reviewing surveillance footage from the company’s security system that the murderer returned to the office after committing his crimes and that none of the security cameras recorded him leaving. Jong-Hoon is convinced that the killer is hiding in the building itself. When bodies start turning up on Sales Team 2,  his worst suspicions are confirmed – but not in the way he thinks.

We mostly see this movie through the eyes of the intern Mi-Rae. Ko turns in a magnificent performance as the put-upon intern. Through her perpetually hunched body language, we see physically her subservient demeanor and through her often panicked eyes we see how desperate she is to be promoted to full-time. When a pretty, foreign-educated new intern (S-H. Son) is hired for the team, her anxieties increase. She is well past the time when most interns are hired on the company. She has a lot going against her – she’s a country girl rather than a Seoul sophisticate, and she can’t understand why her hard work seems to get derision rather than praise.

First-time director Hong has crafted a wonderful thriller here. While some have characterized this as a horror film, there really isn’t enough gore or other horrific elements to really fit the bill. The first murders of Kim’s family are done in a Hitchcockian style, in which the viewer appears to see more than they do; the hammer he uses to massacre his family falls, we see blood spattering the walls but never the hammer connecting with flesh. That contrasts with a later murder of a bitchy assistant manager who is stabbed repeatedly until she falls into a heap to the floor and even that is relatively bloodless, although not blood-free.

Hong utilizes the bland environment of a modern office nicely, creating a creepy atmosphere that heightens the tension as the late night silence of a bustling office becomes threatening and frightening. The electronic score heightens the tension nicely, and most viewers should find themselves perched resolutely on the edge of their seats.

As much a satire of the corporate culture of Korea as it is a thriller, this Office is a solid although not spectacular suspense film. There are a few twists and turns but the main twist should be easily picked up by most veteran movie buffs. The pacing is a bit slow and the film at nearly two hours probably a good 20 minutes longer than it should be. Still, for those looking for something a bit different, this Korean film which has yet to acquire U.S. distribution should be one to look out for on the festival circuit and hopefully on streaming sources sometime next year. It was the opening night film at the New York Korean Film Festival.

REASONS TO GO: Hitchcockian suspense. Terrific performance by Ko. Utilizes environment to perfection.
REASONS TO STAY: A little bit too long. Pacing could have picked up a little.
FAMILY VALUES: Violence, some of it bloody, a bit of profanity as well as a surfeit of smoking.
TRIVIAL PURSUIT: Debuted at Cannes as part of their Midnight Madness series, and made it’s American debut at Fantastic Fest in Austin October 1st.
CRITICAL MASS: As of 11/9/15: Rotten Tomatoes: No score yet. Metacritic: No score yet
COMPARISON SHOPPING: Rear Window
FINAL RATING: 7.5/10
NEXT: Bridge of Spies

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Sinister 2


Bughuul reminds us there's no talking in the theater or else he sends these kids after you.

Bughuul reminds us there’s no talking in the theater or else he sends these kids after you.

(2015) Horror (Gramercy) James Ransone, Shannyn Sossamon, Robert Daniel Sloan, Dartanian Sloan, Lea Coco, Tate Ellington, John Beasley, Lucas Jade Zumarin, Jaden Klein, Laila Haley, Caden M. Fritz, Olivia Rainey, Nicholas King, Michael B. Woods, Tory O. Davis, Howie Johnson, Grace Holuby, John Francis Mountain, Nicole Santini. Directed by Ciarán Foy

There are monsters in this world; people who beat their wives, their children. People who create an atmosphere of fear, all so they can feel like a big man. One can run away from monsters like that; but then there’s no running away from the demons that follow you.

Courtney Collins (Sossamon) has separated from her husband with the intention of divorcing him. He is an abusive, evil man who has turned her twin sons Dylan (R.D. Sloan) and Zach (D. Sloan) into a terrified, nightmare-ridden boy (the former) and a mean, spiteful kid (the latter). She has found an old farmhouse with a de-consecrated church in the yard.

What she doesn’t know is that the house was the scene of a horrible crime in which an entire family was slaughtered – chained to the church floor and eaten alive by rats – with the young son missing. Investigating the crime is a Detective (Ransone) who was once a Deputy investigating a similar crime in the first Sinister. It weighs heavily on his mind that he couldn’t save his friend Ellison Oswalt and his family from the same fate; in fact, he was accused and later acquitted of the heinous crime, although he lost his job over it.

Now he has made it his mission to stop the demon Bughuul who is responsible for these murders. Bughuul, through the lost children he abducts, influences a child in a family moving into the home where one of these murders occurs to become his minion; when the family moves out, the child films the gruesome murders he commits. Afterwards, Bughuul takes his soul to join his legion of lost children.

Now the kids are after Dylan, showing him the murder films which stop the nightmares. The Detective is unnerved to find people living in the house – he’d been told it was vacant and had plans to burn it to the ground, stopping the demon’s reign of terror. He grows attracted to Courtney and the feeling is mutual. But with her ex Clinton (Coco) hot on her trail and hell bent on taking the kids back home with him, with no judge or law enforcement official in rural Indiana willing to stand up to the wealthy Clinton, Courtney is caught between hell and a hard place – literally.

Although a sequel pretty much to the first Sinister, this has little in common with the first film. No Ethan Hawke, for one thing – Sossamon is the biggest name in the cast which helps keep the costs low and the profit margin high. Scott Derrickson, who directed the original, is still on board as co-writer and producer but it is Irish director Foy, who has a nifty thriller called The Citadel to his credit, in the chair here.

The first film was incredibly creepy; the atmosphere was much more intense than it is here. There is more a Children of the Corn vibe which is said to be on purpose; Foy had wanted the film to be a tribute to the Stephen King story which spawned a plethora of cinematic stinkers – and has a lot in common thematically with both of the Sinister films. While some might find the homespun Indiana cornfield look frightening, it doesn’t quite do it for me personally.

Ransone does, though. Moving from a background comedy relief character to genuine horror hero, we get the kind of hero we can all get behind; he’s not brawny or a particularly good fighter (he gets beaten up at least twice during the film) but he is smart and sympathetic. He’s a nice guy whom we fear is going to finish last.

The movie’s subtext having to do with abusive husbands/fathers is welcome. Often the physical abuse is given as a reason as why abused kids turn into psychotic serial killers but here it is shown as terrifying as anything the demon can conjure up; there’s a scene where the Collins family is having dinner and Clinton eats first while the others sit in frightened silence, awaiting the signal that they can eat. It’s as stark and scary a scene in any horror movie this year. Sadly, none of the Bughuul stuff can equal it.

Part of the problem is that the kid actors in the movie who take up most of the screen time range from adequate to hard to watch. A movie like this by necessity requires a good number of child actors and that’s a double edged sword; if you can get good ones, it ratchets up the fear factor. If not, it can make your film look amateurish. It doesn’t quite sink to that level, but it certainly isn’t elevated by the performances of the children. And that’s not a knock on the kids, mind you – I don’t think it’s for lack of effort on their part, but they do have an awful lot of burden on their shoulders and that might be a little too much to ask of them.

Another issue I had with the movie is the various snuff films. The death scenes are so elaborate that to a large extent they aren’t believable. Sure, the kids are being helped by a demonic presence but it doesn’t feel like a kid could come up with these complex killing methods, ranging from putting a family on crucifixes and burning them alive to hanging them upside down above a swamp where alligators take their heads off. Gruesome fun to be sure, but not believable gruesome fun.

Even despite the deficiencies this ends up with a slightly higher rating than the first Sinister, largely because the ending of the first one was such a stinker. The ending here is a lot better; and while Bughuul is not the terrifying monster that maybe this franchise needs, the movie is scary enough in a white bread kind of way that it makes the movie worth checking out.

REASONS TO GO: Fairly creepy. Ransone steps up nicely. Like the inclusion of the abusive father.
REASONS TO STAY: Children of the Corn vibe doesn’t work. The filmed death scenes too elaborate. Overreliance on kid actors.
FAMILY VALUES: Plenty of violence, much of it gruesome; bloody and disturbing images, and some fairly foul language.
TRIVIAL PURSUIT: The only returning characters from the first film are Bughuul himself and the Detective, who in the first film was Deputy So & So (he never gets a name); here he is Detective So & So.
CRITICAL MASS: As of 8/30/15: Rotten Tomatoes: 12% positive reviews. Metacritic: 31/100.
COMPARISON SHOPPING: :Insidious
FINAL RATING: 6/10
NEXT: Mistress America