The first half of Exhuma is only a slight cut above your standard horror film. However, Jae-Hyun’s world-building instantly draws you into the mystical world with a blend of silence and atmospherics, as well as minimal use of horror tropes such as jump scares and “It’s all just a dream” moments. Gradually, the film immerses us in its world steeped in Korea’s tumultuous past, especially its once-simmering tensions with Japan, and culture. It is only when the second half begins that we even realise the depth of Jae-hyun’s screenplay. Take one of the central characters of Exhuma, for instance. He is the spirit of a soldier with haunting ties to the Japanese invasions of Korea. The constant weariness that the Korean characters show towards any reference to Japan, including the spirit, mirrors the complicated relationship between these two neighbouring nations. Ardent horror fans are sure to celebrate and treasure the constant juxtaposition between the Imjin War imagery and the horror sequences in the film. It seamlessly weaves in a brief history of greedy grave robbers in Korea, even amidst the shamanic rituals aimed at appeasing the vengeful spirit. Amazingly, it does not digress from the main plot, despite the multifaceted storytelling. Watching Exhuma often means flipping through pages of an ancient chapter of history steeped in folklore, myth, and realism.

It is fascinating how the film works both as a cultural and socio-political allegory and as a horror feature, even as it retains a subtle sense of humour. A horror film rarely offers such a balanced mix of emotions. A nerve-racking cinematic experience rooted in ancient culture and history that does not shy away from humour is a rarity. While the pre-interval portions hint at its world of fantasy with an element of gore, the second half also shows how grounded it is in realism. For example, the use of a real Buddhist tattoo at a pivotal plot point brings out the biggest laughs you will have from any horror film.

The movie opens with a tribute to the yesteryear Malayalam films and an interview of actor Prem Nazir who says that an actor’s life is not a bed of roses and is tough. It cuts to present-day, and superstar David Padikkal who flits from one film to another till his stardom becomes all about drugs, women and parties.

Nadikar plot

After a hat-trick of flops, David’s manager Paily (Suresh Krishna) manages to snag him a film with a big director, Koshy. However, David’s insolence and arrogance end up getting him to walk out of the project, and he finds himself crashing. The star in him believes that his acting skills are unsurpassed, but the actor in him tells him he is failing. Taking Paily’s advice, David agrees to get on board an acting coach, Balu (Soubin Shahir). What ensues are ego issues and conflicts between the two. Is Balu able to help David regain his superstar status and sharpen his acting skills? What happens to David’s sinking career?

Nadikar’s script, climax

Nadikar was scripted by Suvin S Somasekharan, and while the concept is brilliant, the writing is weak and tedious. The complex emotional arc that superstar David Padikkal undergoes is not captured well, and some instances narrated from his reel/real-life feel shallow. Thus, it doesn’t emotionally connect with the audience. The film feels superficial since it doesn’t dig deep into David’s psyche, which would have otherwise elevated the film to a great extent. For instance, when David talks emotionally about his mother, the scene suddenly turns flippant. And the climax was a let-down, too.

Beyond a point, the relationship between David and Bala takes centre stage, but one is not truly convinced of how this arrogant superstar becomes a better actor and human being as a result of it. Sadly, Nadikar is a great opportunity lost for the writer and director as it could have been a gripping inside story of a star had they decided to scratch the surface. Overall, only some scenes really stand out (like David calling his ex-girlfriend when he hits rock bottom), and yes, humour has been added disjointedly to evoke some laughs.

Tovino Thomas’s performance in Nadikar

When it comes to performances, Tovino Thomas as David Padikkal elevated the weak script with his effortless performance. The actor smoothly eases in and out of the ups and downs of a superstar. Soubin Shahir as Bala was a different casting choice, and that is also what makes his character interesting and fresh. Bhavana’s role (she plays an actor) could have been more defining in David’s life, but unfortunately, she just appears in a few scenes.

Nadikar tries to narrate the cathartic process that David Padikkal undergoes to become better at what he does and who he is. For Tovino Thomas, who likes to experiment with his roles, essaying David Padikkal would have been relatable and a cakewalk, given that he’s a star himself. For director Lal Jr and writer Somasekharan, who sought to introspect about the film industry, which they are a part of, Nadikar could have been much more than what it is.

New Life, 2024.

Written and Directed by John Rosman.
Starring Sonya Walger, Hayley Erin, Tony Amendola, Ayanna Berkshire, Nick George, Jeb Berrier, and Blaine Palmer.

SYNOPSIS:

A mysterious woman on the run, and the resourceful fixer assigned to bring her in. Their two unique stories inextricably link, as the stakes of the pursuit rise to apocalyptic proportions.

The first half of writer/director John Rosman’s New Life is intentionally confounding, and the payoff is more than worth it. Centered on Hayley Erin’s on-the-run Jessica and Sonya Walger’s fixer Elsa, the latter has been contacted by an organization to find and bring in the former. What’s especially odd is that while Elsa is portrayed as the hardened, no-nonsense villain in this scenario, with Jessica aware that someone is after her for some reason and means business, the film is also taking time to incorporate more grounded and human elements such as this agent going to the early stages of ALS.

Jessica is, or possibly was, a fiancé, as evidenced by the wedding ring and blood on her face. Or perhaps she murdered him. Naturally, she also doesn’t say much to the few friends she meets up with, which is logical considering she wants to stay hidden. She is trying to protect a small circle of friends at a farmhouse, but from what danger? There are also flashbacks to Jessica’s life with her partner Ian (Nick George), camping in the woods, which is sure to inevitably explain part of what’s happening here.

Choosing to withhold clear motives for each character feels like it could have easily been a recipe for disaster or a sign to mentally check out early, but the lived-in performances and sensitive treatment of the material, especially something as serious as ALS for a character still committed to the job, ensure intrigue. 

At that halfway mark, New Life shifts from cat-and-mouse thriller to horror, although I will leave the subgenre unspecified. That’s not to say the reveals are the only reason to watch this gutsy balancing act of genre because the characterization is also effective. There is also an element of conspiracy that could have been explored more deeply, although it’s also understandable why it’s not considering everything else being juggled.

What can be said is that the practical effects are detailed, and the horror sequences themselves are intense. The meticulously handled slow build to something that could have easily been written off as generic also allows something familiar to feel suspenseful and exciting. It’s worth stressing that the film isn’t necessarily doing anything new within that subgenre but gets away with trafficking in some of the more popular tropes because of its unorthodox structure and strong character work.

While New Life does lead to a riveting finale that makes the most of its transition into horror and major stakes for the world’s fate, it doesn’t quite reach the profound statement that it seems to be ambitiously aiming for. Still, as an exercise in unpredictability and connecting with characters despite the bare minimum information, it succeeds and announces John Rosman as a cleverly twisted filmmaker to keep an eye on. 

Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com

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