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Fantasia 2019: ‘Door Lock’ is a Tense, Terror-Fueled Thriller

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Door Lock

Korean cinema has mastered the art of the killer thriller. Films like I Saw the Devil and The Chaser manipulate their audience with a combination of tension and action that pulse through the screen and elicit a strong reaction of fascination and disgust. Door Lock continues this incredible trend of terror with a tech-infused twist. 

The film follows Jo Kyung-min (Kong Hyo-Jin), a quiet and unassuming bank teller who lives alone in a studio. One evening, coming home, she finds the cover of her door lock left open and changes the code. But that night, before she goes to bed, she hears a terrifying sound: “Beep, beep, beep… You have entered the wrong code.” She repeatedly calls the police to alert them that an intruder has come rattling at her chamber door, only to have them downplay her concerns, essentially gaslighting her into the belief that it’s nothing to be worried about. 

via Fantasia Fest

Of course, there is plenty to be worried about when it comes to her personal safety. Kyung-min is haunted by this night stalker; it becomes an obsession that gradually takes over her life. Door Lock is technically a remake of Jaume Balagueró’s Sleep Tight (a phenomenal film on its own), but the two are so dramatically different that they hardly bear comparison. There are certainly parallels, but they hold their own as separate, unique films. 

While Sleep Tight focuses on the villain, Door Lock has a firm focus on its protagonist. Not only does this create a mystery within the story – a “whodunnit”, essentially – but it also allows the audience to empathize with Kyung-min, who must navigate this threat as a young woman in a world filled with overbearing men. 

She is expected to be polite, agreeable, and delicate; a passive woman who makes no fuss and smiles along through awkward flirtations. She sets up her apartment to look as though a man lives there with her, just in the interest of her own safety. After yet another condescending dismissal from the authorities, Kyung-min — feeling her concerns are not being properly addressed — takes matters into her own hands to try and solve the mystery. 

Violence is woven through the film, but it’s not gratuitous; it acts more as a warning of the danger that follows Kyung-min. It amps up the tension and keeps the audience on edge, knowing the horrific fate that lies before her. Visually, the cold, harsh urban scape is alienating, reflecting the isolation that Kyung-min feels.

The door locks in Kyung-min’s building are mechanical, so anyone with the proper code or key fob could gain access to her home. This concept is pretty terrifying; you don’t know who could have your code without your knowledge. Physical keys are harder to copy, but any observant individual could easily learn or guess your combination. This tactic conveniently allows for some astute detective work on Kyung-min’s part, driving the story forward and into some dark, dangerous places. 

via Fantasia Fest

Door Lock preys on the idea that any interaction you have could be misconstrued by the wrong person. What starts as an infatuation can flourish to a full-blown obsession with dangerous consequences. According to a study by the University of Gloucestershire, stalking behavior has been identified in 94% of murders; it’s a sobering statistic. 

Brilliantly directed by Kwon Lee, Door Lock prickles with anxiety; it strips away the safety and comfort of your own home and paints the walls with the worst case scenario. It’s a captivating and compelling film that brilliantly explores the dark and unpredictable side of human nature. The scariest thing about the film is that you could easily see it happen to you; if you live alone, it’s downright terrifying. 

If you’re interested in a good creeping, chilling thriller, definitely check this one out. And don’t forget to lock your doors. 

Door Lock is playing as part of Fantasia Festival’s 2019 lineup. For more films, check out their website or keep an eye out for our reviews.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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