Monstrum (2018) A Blockbuster Monster Movie, Korean Style (Review)

Squid Game may be leading the charge for wider awareness and appreciation of Korean pop culture, however, there was a series that got there first. That series was Kingdom. Now, Kingdom is important when talking about Acorn Media’s Blu-ray release of Shudder’s Monstrum, as they are both cut from the same cloth. In that, they are both horror projects that take place within the Joseon era of Korean history and both revolve around monsters, only Kim Seong-hun and Kim Eun-hee’s series involves zombies whereas Huh Jong-Ho’s Monstrum stars something a little more troublesome to pin down.  

Monstrum is set in an era where Korea is rife with corruption, famine and suffering; where the political class is at odds with the royal family. In the slums and streets that surround the opulent royal manor, there are rumours swirling about a beast that lives in the mountains that spreads the plague. A beast called Monstrum. In response, those in power seal access to the mountains, depriving the people of their sole means to gather food and work. Tensions are high. In an uncharacteristic move, the king and a group lead by Heo (Choi Woo Shik, Parasite) head to the reclusive mountain home of former royal guard Yun Gyeom (Kim Myung Min), his brother, Seong Han (Kim In Kwon), and the prior’s daughter Myeong (Lee Hye Ri). The foursome spearheads the attempt to capture Monstrum – or, at the very least, ascertain whether or not it is real.

I’ll have to drop a spoiler here as it will be impossible to talk about this new Acorn Media release without addressing whether or not the monster is real. Which it is, however, it is a monster wrapped up in political power grabs and insidious conspiracies and the best way to encapsulate this facet of the storytelling is to invoke certain shaw brothers titles that deal in political chicanery. In those titles, if you truly want to understand them you need a degree in ancient Chinese history, while Monstrum may not be as bad as the worst excesses of martial arts cinema, they still share one thing in common. Both them and Monstrum are best served by all but completely ignoring the political machinery involved in the narrative. This is easy enough. Huh’s script is at its strongest when it engages with the investigative angles and the pure spectacle of the hunt plus – with this being Korean, tone changes on a sixpence – the moments of comedic relief that come from Seong Han.

The question of whether or not the monster is real defines the developments of the narrative as well as the way action is presented. Before the monster enters proceedings – bringing with it a storm of gore, blood and violence – there is a sense of tension that permeates throughout. And when that tension hits its peak, violence is the only potential outcome. Unfortunately, whenever one man fights another it is ultimately disappointing with the camera lost in a blur of after-effects and overwrought editing. Well enough performed by all the combatants involved, for sure, however, these scenes are no less than overcooked.

When the monster becomes more than a rumour, the identity changes and what we have on our hands is a riotously entertaining monster movie ram-packed with scenes of this bear-like, lion-like monster devasting everything and everyone in its line of sight. And because of how violent this thing is, and the mess of torn flesh and viscera it leaves behind, it makes the instances where our heroes attempt to survive against the impossible odds all the more intense and engaging.

While all the gore and body horror is well conceived by the effects and makeup department, the same acclaim cannot be extended to the digital effects team. While the monster looks cool, even if you see far too much of it, there are countless scenes where the limits of its CG are exposed. There is one scene in particular where the gang of four plus an elderly man who is picked up along the way are running away from this beast underground, with it throwing itself through anything that gets in its way. And, sadly, this scene looks cheap.

If I made half of my previous comments about an American movie, you’d know exactly what to expect, however, because it’s Korean most of them become altogether moot. While the roles that the cast embody are intentionally limited and this is very much a say what you see sort of movie, it is also done by a Korean industry that is about as accomplished and slick as any national cinema has ever been. In what is ostensibly a Korean Blockbuster, we have a hell of a mean streak, fantastic practical effects and a chaotic spirit that would make any werewolf movie from any era green with envy. Even if the climax and near-instant backtracking tarnish the buzz, this is still a hugely entertaining and well-made monster movie romp and sometimes that is exactly what the heart craves. Monstrum might not be big and it certainly isn’t clever but it is fun.

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YOU CAN ALSO WATCH MONSTRUM ON SHUDDER

THANKS FOR READING ROB’s REVIEW OF MONSTRUM

Reportedly drummer Dave Rowntree still finds this film unwatchable; Graham and Ewan are a little more generous. That said, the film’s main asset is the one director Matthew Longfellow barely seems to notice: it depicts the band on the verge of releasing Modern Life is Rubbish, an album which saved them from one-hit wonder status and set the agenda for the next decade of British rock music. EXCLUSIVE TO PATREON

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