In 2004, Banjong Pisanthanakun and then-collaborator Parkpoom Wongpoom kickstarted their directorial careers with “Shutter,” a supernatural thriller so effective it’s been remade (albeit to lesser …
and then-collaborator Parkpoom Wongpoom kickstarted their directorial careers with “Shutter,” a supernatural thriller so effective it’s been remade abroad three times to date. Less likely to translate that widely is Pisanthanakun’s latest solo effort, “.” Marking his return to straight horror after a couple romances and one more comedically slanted genre film , this demonic possession saga is too thoroughly Thai in milieu and details to risk being just another derivative of “The Exorcist.
hijinks to the deployment of a found-footage construct a la “Blair Witch.” There are perhaps too many ideas here, few of them novel, and none scary enough to keep these two-hours-plus taut. A watchable mixed bag that’s already been successful on home turf, the South Korean co-production will likely divide offshore viewers as it begins streaming on Shudder in various territories Oct. 14.
Since then, the two women have not particularly gotten along, their brother Manit caught in the middle. Nonetheless, Nim travels to the funeral of Noi’s husband, who died suddenly. Noi and adult daughter Mink share a house in another town with Marit, his wife Pang and their infant son. Office worker Mink has grown into a beauty. But her behavior during these days of public mourning is peculiar, sometimes uncharacteristically antagonistic.
The script has a certain go-for-broke expansiveness in the end, taking its plot further than you may have expected. At the same time, Pisanthanakun’s brisk pacing somehow doesn’t build much cumulative suspense, and tethering the film to a pseudo-documentary conceit robs it of badly needed atmosphere. There are some lovely shots of the surrounding forests, but too often “The Medium” has to stick with the jerky-cam visuals necessitated by using a video crew as characters .
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