At this point there have been so many reviews of "A Tale of Two Sisters" (ATOTS) here, and so many reveals, that I'm just going to assume you (the reader) know the basic plot twist and then tell you why I was disappointed. The ultimate reveal in this movie is this: Su-mi's real mother committed suicide in an armoire. When Su-mi's younger sister, Su-yeon, found her mom and tried to help her the armoire fell over on her, but she didn't die instantly. She struggled, pinned beneath it, when her the step mother to be, Eun-ju, found her. Eun-ju, who it is suggested was having an affair with the father long before the mom killed herself and did not like the daughters, leaves Su-yeon struggling beneath the amoire. But as she beats a hasty retreat from the room Su-mi catches her (Su-mi doesn't know her beloved sister is just feet away struggling beneath that heavy piece of furniture). Su-mi hates Eun-ju so much that she doesn't see that glimpse of guilt in her eyes over what she just walked away from. Instead, Su-mi engages Eun-ju is some bitter wordplay and the step mom warns her that she will live to regret this moment (we get the feeling the Eun-ju was going to reveal what she saw if Su-mi had played her hand differently).
Later, when Su-mi realizes that she inadvertently caused her sister's death, she goes nuts and is institutionalized. The film starts when Su-mi returns home, with what appears to be her sister Su-yeon. She is greeted by the evil step mom and strange things begin to happen in the house where everything I described transpired. We later realize, Su-mi has created the step mom and the sister in her mind and is replaying fantasy scenarios with them where she can rescue her sister to alleviate the guilt she has for inadvertently letting Su-yeon die. (This was described excellently by the "featured review" here on IMDb.) But there are scenes where this doesn't make sense, and the sister seems to have her own identity (e.g., ghost) and not be a figment of Su-mi's imagination.
I've seen most of the good Asian horror movies: Ringhu, Dark Water, Ringhu 2, Ju-on, etc. The thing I like about these movies is that they are so different from American films in their style and pacing. It's ultimately this difference that allows them to be truly scary. But with ATOTS, the Western influences and legacy of Asian films have left their mark. In short, this film is so busy trying to live up to this canon of films, while borrowing a few nifty tricks from the best of Western psychological thrillers, that is gives off the distinct feeling of being pretentious and trying too hard.
The aforementioned reveal is a very potent piece of story telling (based on a South Korean folk tale that has been remade fives times into a movie). And because the lead character has gone psycho, and the story is told through her eyes, the director has a lot of leeway to concoct stuff under the guise of it being a crumpling psyche. In short, the director had a great premise he could go anywhere with. But instead of paying homage to it and treating it with dignity, he used it to copycat the scares in the best Asian horror films of the last decade and play cutesy with the actors--don't even begin to tell me Yeom Jeong-ah, the actress playing the step mom--was not allowed to chew the scenery channeling the best Asian Nicole Kidman ever). People say you have to see this movie twice to appreciate it, and maybe their right, but based on my initial viewing I can't help but think that at least half the scares had no real purpose or connection to the story; that the director was just abusing the "Su-mi is crazy" theme to invent some cheap thrills.
Technically, the movie is highly accomplished. It looks far and away better than the other Asian horror movies I've seen. But this also detracts from its efficacy. Ringhu benefited from its stark, almost documentary like story telling. This movie is so lush and well shot that you immediately feel the director is trying to manipulate and impress the audience--making his best bid for a big budget American remake.
Overall, certainly not a waste of time. And I will see it again, but right now I'm not nearly as blown away as most of the reviewers here.
Later, when Su-mi realizes that she inadvertently caused her sister's death, she goes nuts and is institutionalized. The film starts when Su-mi returns home, with what appears to be her sister Su-yeon. She is greeted by the evil step mom and strange things begin to happen in the house where everything I described transpired. We later realize, Su-mi has created the step mom and the sister in her mind and is replaying fantasy scenarios with them where she can rescue her sister to alleviate the guilt she has for inadvertently letting Su-yeon die. (This was described excellently by the "featured review" here on IMDb.) But there are scenes where this doesn't make sense, and the sister seems to have her own identity (e.g., ghost) and not be a figment of Su-mi's imagination.
I've seen most of the good Asian horror movies: Ringhu, Dark Water, Ringhu 2, Ju-on, etc. The thing I like about these movies is that they are so different from American films in their style and pacing. It's ultimately this difference that allows them to be truly scary. But with ATOTS, the Western influences and legacy of Asian films have left their mark. In short, this film is so busy trying to live up to this canon of films, while borrowing a few nifty tricks from the best of Western psychological thrillers, that is gives off the distinct feeling of being pretentious and trying too hard.
The aforementioned reveal is a very potent piece of story telling (based on a South Korean folk tale that has been remade fives times into a movie). And because the lead character has gone psycho, and the story is told through her eyes, the director has a lot of leeway to concoct stuff under the guise of it being a crumpling psyche. In short, the director had a great premise he could go anywhere with. But instead of paying homage to it and treating it with dignity, he used it to copycat the scares in the best Asian horror films of the last decade and play cutesy with the actors--don't even begin to tell me Yeom Jeong-ah, the actress playing the step mom--was not allowed to chew the scenery channeling the best Asian Nicole Kidman ever). People say you have to see this movie twice to appreciate it, and maybe their right, but based on my initial viewing I can't help but think that at least half the scares had no real purpose or connection to the story; that the director was just abusing the "Su-mi is crazy" theme to invent some cheap thrills.
Technically, the movie is highly accomplished. It looks far and away better than the other Asian horror movies I've seen. But this also detracts from its efficacy. Ringhu benefited from its stark, almost documentary like story telling. This movie is so lush and well shot that you immediately feel the director is trying to manipulate and impress the audience--making his best bid for a big budget American remake.
Overall, certainly not a waste of time. And I will see it again, but right now I'm not nearly as blown away as most of the reviewers here.