ten things tagged “suspense”

The Wailing (2016) · IMDb · A

Saw with LD. Long, slow, visceral, beautiful, gory. Kept me guessing. Excellent stuff.

There’s a pervasive hush and sense of stillness that lingers over the region of Gokseong, and scenes of brazen, crazed madness are often preceded by shots of tranquil mountain vistas whose lush, thickly forested landscapes increasingly feel smothering and secretive. This is a film as beautiful as it is gory, as painstakingly scenic as it is committed to stark visual interplays between darkness and light.

All the while, the story of Gokseong unfolds in fits and starts, each puzzle piece more confusing than the last. Are the residents of the town being systematically poisoned with a drug that causes them to become frenzied, savage killers? Are they being cursed? Or is it both, and for what reason? Na’s writing layers tension upon tension, particularly through the escalating paranoia that each of the townspeople comes to feel for any and all outsiders.

However, answers are much harder to find in this film than accusations. Horror fans wanting a plot whose ending dovetails nicely with all the elements that preceded it may wind up feeling frustrated, though many more may be drawn into the heart of its darkness: the conviction that terror has come to this town and there is no escape to be had.

– Aja Romano, The Wailing is the most unsettling Korean horror film in years, but it offers more chills than answers

Hereditary (2018) · IMDb · A

Deeply upsetting. One of the best horror movies I’ve ever seen. Anthony Lane of The New Yorker on what gives it its potency

Should you want to measure the psychological disturbance at work here, try comparing “Hereditary” with “A Quiet Place.” That recent hit, for all its masterly shocks, is at bottom a reassuring film, introducing people who are beset by an external menace but more or less able to pull through because, as a team, they’re roped together with enough love to fight back. “Hereditary” is more perplexing. It has the nerve to suggest that the social unit is, by definition, self-menacing, and that the home is no longer a sanctuary but a crumbling fortress, under siege from within. That is why there are no doctors in Aster’s film, and no detectives, either, urgently though both are required; nor does a man of God arrive, as he does in “The Exorcist” (1973), to lay the anguish to rest. Nothing, in short, can help Annie, Steve, and the kids, and they sure can’t help themselves, stationed as they are inside their delicate doll’s house of a world. There is no family curse in this remarkable movie. The family is the curse.

The amazing Colin Stetson did the soundtrack which is somehow even more unsettling than Brian Reitzell’s Hannibal.

Update 25 Oct 2018: If this was a movie: