English remakes of "foreign" horror hits are commonplace, but one non-English-speaking breakout movie is rarely remounted in another ... but the various Asian film industries are empowering. As it grows, I won't be surprised it's a phenomenon we start to see more. Here, screenwriter Chang Jae-hyun (priest: Exorcism) and director Lim Dae-wung (whose guest is not a remake of Adam Wingard's movie). Moving the story to South Korea brings some extra elements, giving the named house a backstory, including the evil Japanese oppressors and occupations, expanding the retained Catholicism and staying outside. His depth when faced with the mental and temporal complexity surrounding the annoyed heroine includes elements of Asian beliefs, including Feng Shui Consultant, who admits that.
On November 11, 1982, housewife Kang Mi-hee (Kim Yunjin) was arrested for the murder of a policeman's husband (Jo Jae-yoon) and her little son Hejo. Twenty-five years later, Mihi, suffering from her laryngeal cancer, was released with her license and she returned to an unmanned home, but police officers do not expect her to be very welcome in her neighborhood. Said to. Aside from the stones thrown out of the window, the only attention she gets is from a serious young priest Choi (Ok Tae-yun), who was once a friend of Hejo and finally reveals the story of her version ... Its most reliable version is that her husband abused violently after the death of his birth son and wanted to bring it to Hejo. And Mihi stabbed him. But the final version we see includes a time warp that connects the days of a house 25 years away, and seems to be plagued by people who have disappeared there regularly since before 1982. The story continues with gray-haired Mihi. She still seems to be plagued by the lost soul of the house, and in 1982 her young self was tragedy and complicated by the first attempt-after relocating the furniture, it is no longer an option. Doesn't seem to-give ghosts with rituals and demons.
Viewers who have seen a relatively recent original movie need to sell a very complex concept while composing it as a drama of familiar paranormal phenomena such as shocking appearances, lots of internal darkness, and jump scare. So this may feel a bit slow. This is one of the most popular setups since the orphanage, where the apparently malignant supernatural phenomenon turned out to be neutral or benign. The house here seems to afflict Mihi and others, but actually gives him a second or third chance. Allows for highly influential home stretches, including maternal sacrifices and redemptions that resonate with South American and Korean culture. An American remake is probably unavoidable, but you may need to tweak it to avoid ridiculous things. A solid ride of Kim Yun Hee, the internationally most well-known Korean star in her usual role in Lost-this gives the star the opportunity to play several versions of the same character, Body language with some compelling old age makeup and 2017 frame sequences.
Kim Yun-jin as Kang Mi-hee
Ok Taec-yeon as Priest Choi
Jo Jae-yoon as Chul-joong
Park Sang-hoon as Hyo-je
Go Woo-rim as Ji-won
Hwang Joon-woo as Joon-ho (young Priest Choi)
Kwak Ji-hye as Yeon-hee