Solid horror anthology with three very different takes on life after death from three different Asian countries and directors…
Taking the interesting premise of a trio of short films by top Asian directors, Three is a strong if often unscary horror anthology. Frights aren’t always the point though, especially in the impressive final segment Going Home.
In fact, it doesn’t get much scarier than Korean Kim Ji-woon’s first segment Memories. Turning his back on the impressive (though admitedly quite dark) comedies that made his name like The Quiet Family and The Foul King Ji-woon takes his inspiration from the new wave horror’s from Japan, like Hideo Nakata’s Ringu series and Miike Takashi’s Audition. Even if he always had a eye for the gruesome – the mistaken fork scene in Foul King for example.
Sung-min has been plagued by haunting and disturbing visions ever since his wife went missing. Meanwhile his wife wakes on a deserted street, her memory gone. Desperately trying to find her way, her journey becomes increasingly bizarre leading up to a frightening ride in a taxi…
Though disturbing and full of atmosphere, Ji-woon’s film is so predictable in it’s outcome (which you might be able to read between the lines from above) as to become little more than an exercise in style. Impressive, but somewhat hollow – particularly as the moral retribution Sung-min’s character so richly deserves never happens.
The weakest segment, The Wheel tells the story of Kru Tong, a Khon (physical) entertainer, jealous of a the prestige and wealth given to Hun Lakom Lek (puppetry). Tong comes across a trunk of puppets used by an old Hun Lakom Lek puppeteer after he dies in a freak fire. He soon discovers that they are surrounded by a curse, as misfortunes befall Tong and his performing company.
Though capably directed by Thailand’s Nonzee Nimibutr (Jan Dama, Nang Nak), this film lacks both the shocks and the sophistication of its companion pieces. It plays more like an episode of the seventies British TV show Hammer, House of Horror. (The episode with the voodoo doll, Charlie Boy, readily springs to mind.) You can’t help but wonder if an opportunity has been missed, especially when you consider how scary and just plain disturbing puppets can be – take the ventriloquist segment in the best horror anthology Dead of Night, for instance. The film also features Suwinit Panjamawat who previously appeared in Tears of the Black Tiger and Jan Dama.
In Going Home Chan Wai (Eric Tsang, Golden Chicken, Infernal Affairs, He’s a Man, She’s A Woman), a police inspector, and his son move into an all but deserted block of flats. Chan ignores his sons claims to have seen a mysterious girl around the apartments, until his son goes missing.
In searching for the girl Chan stumbles on his neighbour Yu Fai’s (Leon Lai, A Hero Never Dies, City of Glass, City Hunter) dead wife, her body kept from decaying after three years by being immersed in a mixture of Chinese medicine. For her husband it’s the only thing that will bring her back. Chan obviously will have none of it, causing Fai to take him hostage. But could Fai be right…?
Unsurprisingly as the man who produced the Pang Brothers The Eye, Peter Chan’s third instalment is similarly influenced by the new wave of Japanese horror. This is not, however, a case of scaring the viewer. Instead it’s really a love story, with Chan using the genre to gain another, much darker angle. Throughout his career Chan has brought a maturity in dealing with human relations beyond most Hong Kong directors. It’s what made He’s a Man, She’s A Woman such a superb romantic comedy.
The leads play their roles well, contrasting each other. Lai’s part talking of nothing else but his wife, who he still believes is alive, whilst Tsang’s is reticent about speaking of his estranged partner. Director Chan is greatly aided by cinematographer Christoper Doyle (Hero, Rabbit Proof Fence, Ashes of Time, In the Mood for Love), who sets the tone well. Framing the action in a harsh halogen green, with characters given an almost sickly glow.
Thai born Peter Chan once again seems to play out a metaphor for Hong Kong, as with his production Golden Chicken – this time that old Chinese ways still have much to offer a high tech Hong Kong.
Chan, who undoubtedly played a major role in pulling this collaboration together (he produced Nimibutr’s Jan Dama), goes a long way towards pooling some impressive talent. It’s not wholly successful, in that it definitely won’t scare the pants off you, but as a whole it’s a concerted effort to reflect different Asian cultures and beliefs. As an ongoing narrative the films balance out each other well, culminating with Chan’s Going Home. (Which makes the decision to split the film into three different discs on the Hong Kong Limited Edition DVD release all the more bizarre.) Definitely worth catching…
DVD details
Distributor: Panorama Entertainment (Hong Kong)
Perfect transfer of the films, with the original soundtrack in a choice of DTS, Dolby 5:1 and Dolby Stereo. No extras, beyond a short director bigraphy in both English and Chinese.
Bizarrely, the version reviewed was the limited editon 3 disc set - which splits the movie into its component short films. It's just a gimmick that doesn't actually add anything. In fact, it just interupts a narrative that would flow better as one.
Distributor: Tartan Asia Extreme (UK)
Bizarrely retitled Three... Extremes 2 for the UK market, presumably to make the most out of the Theatrical release of the sequel Three… Extremes, the UK release arrives with a good transfer and sound, but little in the way of extras. This is still a quality horror release.
