(2000)
Overall: MEH
The ole "accidentally murdered outcast back for revenge" concept serves as the basis for South Korean filmmaker Ahn Byeong-ki's full-length debut Nightmare, (Gawi, Scissors, Horror Game Movie, Gawi: The Nightmare). Elements of American blockbusters like Scream and I Know What You Did Last Summer make their way into the story where an attractive group of young adults cover up a wrong that they committed, only for it to supernaturally bite them in the ass two years later. Each of the characters have their own quirks, (one is a baseball player, one a lawyer, one an aspiring filmmaker, etc), and they also react differently to their newfound paranormal slasher problem with some of them suffering more guilt-ridden mental breakdowns while others aggressively lash out in denial. The twist might be refreshing to some while disappointingly schlocky to others, but it is in keeping with the early 2000s styled tone from similar movies, which is further enhanced by an industrial/nu metal soundtrack. Speaking of redundant, Ahn later remade it virtually shot-for-shot thirteen years later as the second entry in his Bunshinsiba trilogy.
(2002)
Overall: MEH
South Korean filmmaker Ahn Byeong-ki jumps on the technological J-horror train with the aptly titled Phone, (Pon, The Phone), which is schlocky and derivative enough of the movies that it is clearly stylized after to please such fans. As one could properly surmise, the electronic devise in question that is host to supernatural activity is a cell phone with a cursed number, but to Ahn and co-screenwriter Lee Yu-jin's credit, they also toss in possession, stalker, and infidelity thriller motifs to differentiate it from just another carbon-copy of Ringu. Unfortunately, this is the very thing that over-stuffs the narrative and makes the movie feel its one-hundred and three minute length. Otherwise, it sticks to the formula with blue-filtered night scenes, loud noises accompanying every rapid-fire scare, an adorable kid acting all evil while making angry faces and using profanity, plus a persistent musical score that could fit just as easily in any other film of its kind. Though bloated with cliches and melodrama, it is not done so offensively and is no worse, (or better), than one would expect.
(2006)
Overall: MEH
This adaptation of Kang Full's webtoon APT, (here also cinematically released under the titles Apateu and 9:56), is another by-the-books supernatural entry for filmmaker Ahn Byeong-ki. The writer/director/producer keeps his spooky, serious tone in check with zero humor and his steadfast insistence on bathing most scenes in a blue filter and persistent scary music that usually only turns off when a mild jump scare is just around the corner. Unfortunately the narrative tactics are equally as pot-boiler as we are introduced to yet another twitchy, black-haired, face-covered female spectre out for vengeance. Even if Kang's source material provides an occasionally intriguing mystery involving the hook of an entire apartment building's electrical wiring going all haywire at a specific time in the evening which results in numerous alleged suicides, the movie follows all of the appropriate motions in exploring this, without a single attempt made at distinguishing it from the herd. Ahn certainly knows and adheres to the poprcorn, J-horror formula, so fans of such films who want to see the South Korean carbon-copy will have no surprises here.
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