The Cat – Review

So-Yeon suffers from claustrophobia due to a traumatic incident that occurred to her as a child. So-Yeon is still treated for her condition to this day. She works as a groomer at a pet shop. One day, a cat named Bidanyi comes into the store. The next day, the owner of Bidanyi is found dead in an elevator. So-Yeon, by request from police officer Joon-Suk, takes the cat home. Shortly later, So-Yeon starts to see a mysterious young girl. She becomes more frightened. Then, So-Yeon’s good friend Bo-Hee is found dead. Near Bo-Hee, there is a cat which Bo-Hee recently adopted from an animal shelter. So-Yeon now fears for her own life, as she believes the cat is not what it appears to be. So-Yeon and Joon-Suk investigate deeper into the mysterious case, unraveling the mysteries behind the young girl and cat.

With the abundant films stemming from the Korean horror scene being highly influenced by the likes of Japanese films such as the Hideo Nakata’s Ring (1998) and Takashi Shimizu’s The Grudge (2002), it should come at no surprise that director Byun Seung-Wook’s unimaginatively titled film The Cat, decides to closely follow suit. Delivering a formula that harkens back to a tried-and-true premise centering on a possessive spirit—this time taking the form of beloved feline as it wreaks havoc upon the film’s characters—this is one premise that isn’t exactly unconventional. If you are in any way familiar with having seen the above mentioned films, then The Cat presents a tale that shouldn’t surprise nor appear as creative to viewers, simply because we’ve seen this narrative done before—and better. But the film does have some redeeming qualities that keep it from being seen simply as another banal attempt at Korean horror.

If anything, The Cat is beautifully shot. The cinematography is above par for a horror film, which truly makes it a great joy to view. Whether it’s a scene showcasing the intricacies of a spiral staircase or the dampness of a dilapidated cellar, the film successfully builds upon a tension through its environments. But what the film struggles with is its reliance on timeworn elements of horror that do little to elevate the film to something original and inventive. With an assortment of jump scares that work more often than not, the film isn’t very frightening unless you are one of the viewers who have abstained from viewing any Asian horror film in the last decade. With this mind, the film isn’t nearly as scary as it is bizarre, mainly because it focuses on one of civilization’s most loved animals as it terrifies and murders individuals. Without this gimmicky element of the narrative, The Cat would have easily become yet another fraudulent attempt at reimagining The Grudge, and in many instances isn’t too far removed from it.

The acting by veteran Korean drama actress and model Park Min-Young is convincing enough to pardon some of the film’s flaws though. Acting as her debut film appearance, she handles the lead quite well, bringing forth the emotional backing needed given the narrative, an aspect that certainly derives from her drama acting experience. Given that this is her first experience in film, it would be wonderful to see in the future, perhaps in a more fitting dramatic role rather than horror. For where it stands as a horror film, The Cat looks fantastic and features some considerable acting on part of its lead, but it’s also riddled with clichés that ultimately bring it down a notch. Perhaps if director Byun Seung-Wook’s approach would have deviated from many of the ploys found in other, significantly better horror films, The Cat would’ve stood out as a unique horror experience—at least the attempt to present an imaginative premise is worth praise, even if it isn’t totally original.