Occult (2009) - Asian Horror Movie Review
J-horror found footage shocker Occult (2009) by controversial director Koji Shiraishi - is it scarier than Noroi: The Curse? That's exactly what we're here today to find out.
You may or may not be already familiar with the 2005 J-horror found footage Noroi: The Curse A supernatural documentary style murder-mystery; focusing on ancient demonic entities, enraged at the forward march of time and subsequent desecration of their old sacred sites.
Due to the slow-burn menace, masterful unfolding of the plot and downright unsettling events within the film, Noroi has garnered quite the reputation on the underground Asian horror scene as being the most terrifying Japanese horror of (nearly) all time.
Yes, it initially took me three attempts to complete Noroi, such was my cowardice whilst watching. However, I am of the opinion that Koji's 2009 endeavour Occult is far scarier than Noroi can ever be.
While both films are similar in style and theme: found-footage documentary whose evil is ultimately rooted in ancient folkloric malevolence, the horrifying difference between them is all too human.
Despite the atmospheric effectiveness of Noroi, it is to all intents and purposes a ghost story. Scary while you're watching it and lingers in the shadows as you go to switch off the light for bed, but the real-world chances of an ancient Japanese demon coming for you harder than a shady drag queen is slim.
The villain of Occult, however...?
Let's begin at the beginning.
The year is 2005 and film-maker Koji Shiraishi (starring in his own film as well as directing!) is making a documentary about a (fictitious) tragic - and random - mass murder at an idyllic tourist spot three years prior.
A troubled young man, Ken Matsuki, takes it upon himself to go on a stabbing spree before throwing himself into the ocean at the murder site. Ken's body is never found and camera footage from witnesses on the day shows him vanishing into thin air mid-jump rather than hitting the sea.
When Koji interviews the witnesses, friends and family of Ken, there's bizarre talk of other dimensions, messages from God and UFO sightings. Just talking about Ken and these topics leave the speaker physically sick, bleeding from the nose and unable to proceed with the interview.
Not only that, but the grieving families of the slain all state that their dear ones aren't as departed as they could be. Claiming spectral appearances in photos and dreams mean that their loved ones are still here, somehow, somewhere.
Ominous indeed.
Or so Koji seems to think anyway! That's why he brings Eno to his production office to make him a more central part of the documentary. Loser Shohei claims that since the attack, he's seen UFOs, experienced "miracles" and now receives "messages from God" in "God's voice."
Koji and the production team are sceptical, but hey, content is content and if trailing this bum around Tokyo and filming him for a week results in exclusive paranormal footage - everyone's a winner.
Shohei Eno is weirdly endearing in a Kirk Van Houten way and watching him drift around Tokyo in poverty, continuously failing to find work is an interesting piece of social commentary. His "miracles" are few and far between, and initially appear to be nothing more than mere coincidences. But the more time Koji and the team spend with this dude, the more dangerous and intrusive the supernatural events become.
Despite being shot on a grainy hand-held camera, shot at realistically amateur angles, the cinematography in Occult subtly contributes to the creeping dread and the chills-down-the-spine, nails-on-a-chalkboard soundscape will ring in your ears long after you've switched off. The supporting cast are likeable and warm with a natural approach that means the viewer genuinely feels like they really are a fly-on-the-wall of a real-life scenario.
There are some superbly chilling scenes around Kutoru Rock on Mount Ohiruyama, a delightfully odd cameo from legendary J-horror director Kiyoshi Kurosawa and the plot is entwined with fascinating folklore. The story is pieced together slowly with a combination of linear storytelling and grave foreshadowing, culminating with a horrific plot twist that is far more frightening than the terror of any ghost or ghoul.
It's ultimately revealed that everyone to some degree is being influenced beyond their power by "The Oracle of God's Orders". Under God's orders Ken Matsuki had to create a small disaster, with his stabbing spree, now Shohei Eno will create a much bigger one.
He plans to partake in an act of terrorism and detonate a bomb at Tokyo's Shibuya Scramble at the busiest time of the evening. Creating this great catastrophe will (allegedly) fulfil the long-ago foretold prophecy of Hiruko the Leech Child.
The tension is awful as the film builds to the explosive climax.
While there are of course raised eyebrows at the graphics used to depict some of the final scenes, for me the impact isn't lessened.
So, this is Occult.
People randomly killing other people because the voices in their head told them so, poverty and homelessness, and terrorist attacks based on messages from God - all seemingly tied up with archaic portents of doom.
Are we looking at a genuine higher power playing us like puppets, or untreated mental illness?
The frequent references to Mad Cow Disease throughout the movie also lead me to believe that perhaps Koji Shiraishi was trying to suggest that Eno wasn't actually the Lord's right hand of vengeance but suffering from malfunctioning meat.
Be the horror from the heavens or the humans, Occult is an unnerving and weird film that will jangle your nerves and unsettle you in your seat. And, considering the (sadly) endless real-world threat of terrorism, is a tale that is far more frightening than Noroi: The Curse.
Let's keep the spooky chat going over on:
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