The Witch: Part 2 - The Other One: Here We Go Again

I was thoroughly entranced by The Witch: Part 1 - The Subversion, a crazed mashup of evil scientists, ruthless assassins, and rebellious teens whose adolescence has been uniquely challenging. Yet even though The Witch: Part 2 - The Other One has all those elements to a degree, they're neither as prominent nor as playfully done. Writer-director Park Hoon-jung basically assumes we already know that Dr. Baek (Jo Min-soo) is a mad scientist; that the protagonist (Shin Si-a) is the counterpart to prior heroine Koo Ja Yoon (Kim Da-mi); and that a whole military industrial complex is funding the creation and the elimination of these two women warriors. What The Witch: Part 2 is missing, frankly, is a reason for being outside the introduction of a new character.

Luckily for us, this cinematic universe remains pretty entertaining. Once again, the set-up is a David versus Goliath story. Our poor nameless waif is being chased down by genetically engineered and scientifically enhanced bounty hunters who are thirsty for mutant blood. There are a couple of narrative snags, like why go after your prey with weapons you know she's survived in the past when you could increase your chances of overpowering her if you simply doped her during one of her many food-binging episodes? But the history of humankind abounds with people making obvious mistakes over and over and there's nothing to suggest that the characters in The Witch: Part 2 are smarter so much as faster, stronger, and wilder than your average, regular Joes. The people of the future are total animals.

Jazzy Misfits: Unbound Relations

Director Nam Yeon-woo's decision to pair an accomplished older actress (Jo Min-soo) with a TV rap star (Cheetah) pays off big time in the wonderfully silly mother-daughter comedy Jazzy Misfits. For while Jo chews up the scenery as a volatile, negligent, alcoholic mother who comes out of the woodwork only after her younger other child (Choi Jisu) robs her of the rent, Cheetah (a.k.a. Kim Eun-young) more than holds her own — beyond her effectively deadpan reactions — via extended cuts of her crooning in the nightclub and at the recording studio. As such, these two convey deep emotional realities in different mediums: acting and singing.

They're surrounded by a rich cast of characters, too: the mom's former suitor (Jeong Man-sik) who's now a policeman; the local food courier (Terris Brown) who's crushing big time on the talented daughter; and a random white tourist whose unexpected parkour skills hilariously come into play in the movie's best chase scene. With drag queens, lesbian girlfriends, gay tattoo artists, a trans bar owner, a sexy, shirtless downstairs neighbor, and a crewcut Heo Jung-do (from the addictive Kdrama My Demon) as a cheerful sound mixer in over his head, Jazzy Misfits is never anything less than ebulliently screwball.

Venus Talk: Three Times as Depressing

When you're feeling down, you can listen to Bessie Smith, peruse Van Gogh's letters, read the poetry of Anne Sexton, that sort of thing. Somehow there's solace to be found in an artful blues song, a heartfelt complaint or a sublime turn of phrase even when it's rife with depression. Spending time with such work is a respectful use of the "misery loves company" philosophy that takes out the "saddling somebody else with your problems" component. Sometimes, you just need to sulk... alone. Is there any easier way to take your mind off your troubles then a really good "woman's picture"? So you'd think Venus Talk would be the perfect palliative for a case of the doldrums. But Kwon Chil-in girly gabfest, while comedic in tone, is a total bring down because the three main stories feel so doomed, even with their tacked on happy endings. My only question: Which one of these characters' lives is the most depressing?

Is it the one about the single mother (Jo Min-soo), whose insufferable daughter (Jeon Hye-jin) is eating her out of house and home, and whose construction-worker boyfriend (Lee Kyeong-hyeong) balks at marriage, right at the moment the mom's diagnosed with colon cancer? Is it the tale of the nymphomaniacal housewife (Moon So-ri) whose husband (Lee Sung-min) does not require Viagra with other women and whose one-night stand prospect ends up mugging her in an underground parking lot? Or is it story of the successful TV producer (Eom Jeong-hwa) who keeps helping men get ahead in their careers and can't get comfortable with a muscle man (Lee Jae-yoon) young enough to be her son? Before you decide, be forewarned: Things get worse for each — a burst bag of poop, a vaginoplasty, stitches in the head, a car crash and a case of scabies. What's working in their favor is really just a shared bottle of red wine. Apparently, life is worth living if you can drink a little booze then tell your besties lies like "age doesn't matter" and "you're getting prettier every year," despite the crow's feet, the sagging skin, the failing memory, the lost dreams, and the ever-growing pile of failures building at your front door.

Pieta: An Avenging Mother Goes to Extremes

Most people I know have strained relationships with their mothers. But nothing compares to the parent-child dynamic in Kim Ki-duk's masochistic drama Pieta. In short, you might wish your mother guilt-tripped less and complimented more but whatever your issues may be, they're likely to dwarf when set aside those of loan shark Gang-do (Lee Joeng-jin) and the martyr-like woman (Jo Min-soo) who shows up on his doorstep, in search of forgiveness for abandoning him as a child many years ago. It's hardly love at first sight. Rather than hug his long-lost mom, he slams the door on her hand, slaps her face, even rapes her before he finally decides that maybe she really is the one. This total acceptance causes him to re-evaluate his way of living -- crippling indebted machinists so he can collect money from their insurance policies isn't the kind of work that would make a mother proud. Suddenly, he's got someone to live up to, this tireless, self-sacrificing woman who cooks him eel and knits him a sweater.

Personally, I've always thought that unconditional love was a bit of a false ideal. That's the type of affection we get from dogs. Do we really not want a person to judge us when we're doing the wrong thing or accept us no matter how far we transgress? Isn't there something to be said for conditional love, the idea that certain boundaries need to be maintained? Duk certainly thinks to seem so for when you see just how far this mom is willing to go to avenge her son, you realize that that kind of absolutism lacks compassion, surely an integral part of love. Forgiveness seems so much more powerful than a blind commitment; empathy feels more noble than devotion. Don't believe me? Check out Pieta. By the end, you'll see that an extreme version of a mother's undying love is just as twisted as the problematic relationship you're having with your own mother. In fact, consider yourself lucky!