Friday, 4 November 2016

Karaoke Crazies (2016)

For a festival called the 'London East Asia Film Festival' it is a little ironic that we ended up choosing only Korean movies, especially since the Korean Film Festival (for which we also have tickets) starts this week. However there is a very good reason for our choosing the above title, since it is one of the movies that we could have viewed (but didn't) at this year's FrightFest -- and their blurb certainly sounded appealing as did the LEAFF's own. Unfortunately both were very misleading and the movie was a disappointment.

In fact I am beginning to think that the FrightFest organisers probably did not pre-view the movie at all and merely chose it on the basis of its hype; they describe it in their brochure as a "madcap brilliant ride that deftly mixes humour, horror, and more". It is nothing of the sort and is completely out of place in a fantasy/horror festival -- no imagination, no gore, no suspense -- in fact very little of anything. The LEAFF brochure is even more effusive...

This is not to say that the film had no redeeming qualities -- it's just not a horror movie. We are introduced us to Sung-wook, the proprietor of a run-down karaoke joint (just a couple of private rooms) in a small town. He can barely meet expenses, is haunted by past tragedies, and spends his days watching porn and contemplating suicide. He posts a hand-written notice for a 'singing helper' in exchange for room and board and takes on an asocial, tracksuit-wearing, and tone-deaf loner, who spends her hours gaming on her computer. She does however manage to satisfy some of the paying customers by offering a particular sexual act. Is it strange that her Korean name is Ha-Suck?

This mismatched pair are joined by the dishy Na-ju who has her own reasons for working at such a dead-beat venue and tries to satisfy the punters in more traditional ways. The fourth member of the household is the fat and deaf 'Big Mole' who is found squatting in the basement and who has also suffered family bereavements; he washes the floors and joins in Sung-wook's porny pastimes. A rather comic cop appears periodically to advise that a serial killer has been targeting women working in the entertainment industry, but we are not shown any of this fiend's kills. Eventually he does appear at our featured karaoke, where his motives become clear, ending in an off-screen (and therefore bloodless) murder. The denouement is that this killing turns things around for the three remaining misfits and they find a new lease of life running a 'family' karaoke.

The movie is the sophomore feature and his first in nine years for director Kim Sang-chan. Since his previous film "Highway Star" (2007), which I've not seen, is about a would-be rocker who is taken on as a reluctant 'country' singer (that's Korean country songs!), I seriously doubt that we have lost out on a potentially-wasted great directing talent in the intervening nine years. Or perhaps I'm being a little unfair.  
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