This expansive however absorbing sequel to the 2018 sci-fi horror characteristic The Witch: Half 1 presents, as its further subtitle The Different One, which could counsel a story centred on one other younger “witch”. The primary movie’s central determine Ja-yoon (Kim Da-mi, briefly returning right here) started to train her telekinetic powers solely two-thirds of the best way into Half 1’s narrative. Nevertheless, Half 2’s heroine Ark 1 (Shin Sia-ah) is, from the off, capable of throw complete vehicles round and beat individuals up psychically, having been raised in a secret facility the place her superpowers had been genetically implanted from delivery. However Ark 1 was by no means socialised like Ja-yoon, the latter having been adopted by kindly if aged normie farmers at a younger age, so numerous the time is spent watching Ark 1 adapt to common life after she is taken in by younger farmer Kyung-hee (Park Eun-bin) and Kyung-hee’s brother Dae-gil (Sung Yoo-bin). (In relatable trend, she loves the meals samples in supermarkets.) The farmers are being menaced by an uncle (Jin Goo) who needs to forcibly seize their farm, however like nearly all the boys on this movie, the gangsters profoundly underestimate the ability of slight younger girls comparable to Ark 1, Kyung-hee or, certainly, Ja-yoon herself.
In case you grasped all that with out having seen Half 1, you’ll discover that the plot is a bit like a Korean model of Stranger Issues, with Ark 1 as The Witch’s model of Eleven, the lab-reared victim-prodigy with extraordinary psionic powers. Author-director Park Hoon-jung has additionally grafted on a subplot harking back to Orphan Black that includes a bunch of telekinetic younger individuals in rival gangs who’re related to the story. They’re all ridiculously good trying and super-cool, just like the members of competing Okay-pop bands however with extraordinarily murderous instincts. (Keep in mind: the movie is extraordinarily gory and has deservedly been given an 18 certificates.)
Within the movie’s extra comedian moments it explicitly hyperlinks the biologically altered transhumans to the developed world’s fetishisation of magnificence. For instance, when powerful tracker woman Jo-hyeon (Website positioning Eun-soo) is flatteringly described as having “insurgent eyes” by a rival (Lee Jong-suk), she, in flip, praises his beautiful pores and skin, which is certainly cosmetic-advert excellent. He brushes off the praise, saying it’s solely genetics, and certainly practically everybody’s seems and powers are “solely genetic” on this world. However satire is way much less the purpose than good old school ass-kicking and particular results, all easily executed and doled out in bite-size scenes.