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Ja-yoon had apparently given him a scar in the past. One day, this man, with his henchmen breaks into Ja-yoon’s home. Another man also wishes to speak to her privately. A boy around her age, Nobleman tries to talk to her on the train, but Ja-yoon does not remember him. Her best friend, Myung-hee convinces her to take part in a reality singing competition show.ĭuring her auditions, she showcases her telekinetic powers. However, Ja-yoon performs exceptionally well in her class and also has a talent for singing. Her mother is depicted to be suffering from dementia. Ja-yoon is depicted to be having intense bouts of migraines from time to time and a strange mark on her back. The story jumps ten years into the future. The couple raises the girl, Ja-yoon as their own daughter lovingly. A couple in a village finds a badly hurt girl and takes her in. Choi has a head injury given to him by the girl. Baek or “The Professor” attempt to find a girl after a mysteriously violent event. The Subversion Plot Summary:Ī man named Choi and a woman named Dr. Woo-shik is also a notable cast member of ‘Parasite,’ and ‘ Train to Busan.’ It is directed by Park Hoon-jung and stars Kim Da-mi in the lead role, apart from Jo-Min-su, Choi Woo-shik, and Park Hee-soon. Mowg’s pounding, atmospheric score stands out among impeccable tech specs across the board.The film can be considered to be a superhero movie, although that would only be a very rough categorization. If a second part is in the pipeline, as the title suggests, there was no need to rush key revelations. Park has a good eye for visuals and great DPs in Kim Young-ho (Park’s V.I.P., Haeundae) and Lee Teo, yet falls into a “tell” instead of “show” trap for character and narrative momentum Baek would give Auric Goldfinger a run for his verbose money. The sequence’s style, energy and Kim’s coiled glee save it from tipping into overkill. The Subversion is lean at two hours, but in cramming so much into the narrative it stumbles over itself on more than one occasion it very often forgets its own internal logic and drags the final showdown out to the breaking point. Park’s timing couldn’t be better.īy Korean action standards The Witch: Part 1. She steers clear of bratty and precocious center of attention tics too often hoisted on female characters, and layers Ja-yoon with fear, gratitude, resignation and determination as required. Kim plays Ja-yoon close to the chest-Is she a psychopath? A mutant? A superhero?-in a nicely modulated performance as a young woman coming into her own and realizing her own power. That minor quibble (for some) aside, Park’s signature acrobatic and/or creative fights (choreographed by martial arts directors Park Jung-ryul and Kim Jung-min) and set pieces (another greenhouse, industrial-chic concrete hallways) are always in service to the story, never overwhelming it, and that kicks it up a notch at the end of the second act. Saying more about the occasionally overly-complex story would spoil it, but it is safe to say that given its title and the opening images of witchcraft lore dating from the Middle Ages to wartime human experimentation, The Witch isn’t actually a witch movie, and the title is more metaphoric. He eventually leaves her be, but reports his findings to Baek, whose lackeys have been looking for Ja-yoon for a decade. On the trip to Seoul for the performance, Ja-yoon meets Gong-ja (Choi Woo-shik, Okja), who claims to know her, insisting they have a connection. A quick fix appears in the form of a reality competition show that Ja-yoon’s bestie Myung-hee (Ko Min-shi) is sure she can win. Her only problems seem to be a lack of funds to run the farm with, and a mother suffering from Alzheimer’s. Ten years later, the girl, Ja-yoon (relative newcomer Kim Da-mi), is a clever young woman who has her small community-and her adoptive parents-wrapped around her finger. A girl gets away and collapses on a nearby farm, whose elderly owners, the Koos (Choi Jung-woo and Oh Min-hee), promptly take her in and get her patched up. Choi (Park Hee-soon, doing his best to channel Lee Byung-hun). The slaughter unfolds in blue-tinged, neo-noir light, complete with flickering bulbs and slick floors, before the action heads outside where one of just two survivors, a little boy, has been caught by Baek’s right hand, Mr. The Witch opens in a hospital facility with a wholesale massacre of (grab your pearls) children at the behest of steely Professor Baek (Cho Min-soon, star of Kim Ki-duk’s divisive Pieta).