City of Ghosts

Light streamed in from the windows as morning greeted. Shelly woke up to the heavy sound of silence. Grey skies in her mind played contrast to the sky blue ceiling in the room, empty save for the bed that she laid on and a vase of withered flowers. It seemed like such a long time ago, when she had last felt alive.

She tried to wrest her voice out of her dry throat. Finding no words, her soft gasp went unheard. She moved her fingers, barely, then her big toe. When she felt confident enough, she lifted herself off a sunken, stained mattress. Her bare feet touched the cold floor that was layered with dust. What happened? And how long had she slept?

She stood unsteadily, figuring out where she was. The hospital was as quiet as the deepest ends of the ocean, and equally lonely. The air smelt bad, and stale. She peered out before she stepped into the empty corridor. Her skin was drowning in sweat. Rhythmic drumming weighed upon her head, rearranging her features into a set grimace.

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Revisiting Saw, and the Torture Porn Genre

Making a return after its supposed Final Chapter, Jigsaw has once again come under fire for championing guts for glory. Yet for all the bad rep it gets, the flak may not be entirely justified. As criticism continues to spew from every end, there is no better time than now to revisit the much-maligned ‘torture porn’ genre, and the movie that started it all.

Saw may be well known for its creative display of gore. But it was the plotting and characterisation that proved the most intriguing in the 2003 release. Such as is rarely done in horror, the film builds up a strong case for its fascinating villain, whose impetus goes far beyond pure murder intent.

Before his big plans, John Kramer was a stricken cancer patient, who survived his desperate suicide attempt. It is only with his proximity to death, did he begin to appreciate life, and it is this belief that inspired his becoming.

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The Midnight Lullaby

Few things made Luciana happier than watching the world go by from her window. There, she could look down at the pavement and imagine her tiny feet upon gravel. She could watch the blue skies above turn dark as the hours passed.

On lucky days, she could even catch a glimpse of birds weaving through the fluff of clouds. More often, she peered into the her neighbour’s home, although her father forbade her to. Still, she kept watch on the house, claiming interest in the night sky.

No one knew much about the old woman who lived there. Stories have it that she never left her home, and had lived on the street longer than anyone else did. A young nurse came up to visit her three times a day – at eight in the morning, twelve in the noon, and seven in the evening.

In the hours between, the old woman had only the company of her grandson. The boy – no more than six – would sit in the old rattan chair next to her bed. Every night, she would sing him to sleep.

Luciana never knew the words to the lullaby. But she did always hear the faint hum of the mournful tune, consonant with the grim sorrow that she saw on the woman’s face. She could never forget it, she thought.

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Review: Blade Runner 2049 (2017)

Blade Runner 2049 (dir. Denis Villeneuve, 2017) – A long-buried secret leads K to track down former blade runner Rick Deckard, who has been missing for thirty years.


A plodding pace for thin plotting tempers enjoyment of what is otherwise a thematic marvel, with visuals made for the cinematic experience.



Just two years from the future that Blade Runner predicted thirty years ago, and we are still steps away from emotive replicants, hover cars, and instant showers. What has however exceeded 20th century expectations, is digital imagery. Film has since seen brilliant advances in simulating realistic holography and futuristic landscapes. It is hence no surprise that Blade Runner 2049 would be a visual masterwork.

What about its narrative then? Years have left the ambitious sequel at a disadvantage, asking questions that have already been asked before. Its predecessor Blade Runner had been made in 1982, when novel ideas such as singularity were rife with unknowns. The source material Do Androids Dream of Electric Sheep? by Philip K. Dick goes further back to 1968, at a time when A.I. had been but an abstract concept.

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The Lonely Hunter

Aina saw and felt nothing, as though she no longer existed. Then, everything came back to her at once. Her senses were overwhelmed. An acidic scent of smoke swam in the air, attacking her dry throat.

Where she laid, she tasted metal on her tongue and spat out blood. She wished she would have had a bottle of water on her right then. But rules were rules. Belongings of any kind were forbidden on a time trip. All precautions against paradoxes had to be strictly observed, Aina had been warned yet and again.

Black spots danced around her vision as she tried to figure out where she was. She blinked hard through sore eyes, and stumbled along the alley. Conscious of her nakedness, she peered from behind the wall. Surrounding screens lit the familiar city in shades of blue and green.

It took a while before she remembered what she was here for. This was the right place. Aina was right where she needed to be.

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Review: The Host / Gwoemul (2006)

The Host / Gwoemul (dir. Bong Joon-ho, 2006) – A family of four will do anything to rescue their youngest, from the monster that has risen from the depths of Han River.


Far exceeding the purpose of monstrous chaos, the creature feature finds heart in a moving story of a dysfunctional family’s last shot at redemption.



Eco-degradation has serious consequences. The Host personifies the danger into a living creature, whose mutation had resulted from chemical toxins that were irresponsibly dumped into Seoul’s Han River. With no purpose beyond destruction, the monster ravages the city and stores its human prey for food. Among its kidnapped victims is Hyun-seo (Ko Ah-sung), whose family would do anything to get her back.

As with how the World War’s nuclear anxieties had birthed Gojira back in 1954, the inspiration behind Gwoemul is also found in a real-world incident. In 2002, a South Korean employee of the U.S. military poured 20 gallons of formaldehyde into the same river, leading to anti-American protests by various environmentalist groups.

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