The problem I have with Sorum is pace. Sold as a horror, but in fact containing no ghostly appearences whatsoever, the film is essentially a psychological drama. One which is infuriatingly lethargic in getting to the point and perhaps 20 minutes too long. If the pace was quicker, I might have enjoyed it more.

It does have good character development going for it. The story revolves around a man named Sun-yeong who moves into a rundown apartment. He has a thing for Bruce Lee, and seems to have something slightly amiss in his head – he tends to act out a fantasy that he is Bruce Lee, as kids do. But then Sun-yeong is 30 years old now. Living now as a taxi driver, his only journey is to work and back home.

With no girlfriend, and an apparent orphan, he runs into a woman named Yong-hyun whom he befriends timidly. He sees her around, but doesn’t seem capable of iniating contact. A troubled woman herself, she too reflects the desire to know Sun-yeong but seems equally inept at communicating. After giving her a lift one night, now having met a few times in passing, Sun-yeong witnesses Yong-hyun being beaten by someone she knows. Not interfering he heads back to his room, and we realise that this man is her husband, and a prolific gambler – blaming her for the loss of their son.

Cue a crime of defence, and a burial of passion as the two go through with a grizzley crime, in what comes across as rather casual. It’s a logical conclusion as Sun-yeong seems to harbour some sort of mental illness, or slightly edgy persona – Yong-hyun on the otherhand is no doubt happy to be rid of her husband, having only the bruises to show for his existence. The two form an unlikely and odd relationship in which more is revealed about both, for which the consequences are unlikely to provide anything like the happy end they both envisioned.

There’s an air of mystery, of secrets and lies that envelopes this film, slowly seeping through the characters as we watch their lives unfold before us

The film has much going for it, as many of the characters come across as harbouring their own demons, as revelation upon revelation is provided about the room Sun-yeong is staying in, and the history of the apartment which seems to have affected the residents in more ways than one. The creepy novel writer seems to know more than he lets, and he too pays for the consequences of his deceit in some manner. There are no innocents in the film, except perhaps for one character, and even then, her own dirty laundry is revealed – and it’s not as clean as she makes it out to be.

There’s an air of mystery, of secrets and lies that envelopes this film, slowly seeping through the characters as we watch their lives unfold before us. Greed and betrayal seem to be the motivating factors for much the residents, and in some respects even for Sun-yeong. The acting is pretty good, but it all seems a little laid back, and to put it bluntly, dead. There’s nothing particularly wrong with it, but there’s no challenge, no real range in what they do and how they behave. It’s all a little too comfortable for my tastes.

A parellel story seems also to be taking place, thanks to the novel writer who writes about the events that happened in the past, and the events taking place now. His story uses the real life events from the past tragedies as a basis for his book, and even taking the notes of a husband who died there. The story, strangely seems to go in tandem, and you often wander whether he is writing the events, or if he is writing about them. It’s an interesting, ghostly element if you will, as there is much talk of apparitions and the spiritual presence of the dead.

Cue a crime of defence, and a burial of passion as the two go through with a grizzley crime, in what comes across as rather casual

What most people will find is that the film is not only slow, but complicated, right until the very end, when everything comes together to make comprehensive and cohesive sense. The problem is, I question how many people will sit through until the end (taking the typical film viewers attention span!) and be prepared for a reasonably satisfying and clever ending. It’s worth sitting through, as the film is pretty good overall, it’s just the pace is deliberately (perhaps to its detriment) very snail-like.

There are many twists, and the obvious elements that provide the shock are a little too obvious for viewers, but even then you’re supposed to empathise with the characters and so the shock is of even greater subject as the reality dawns on Sun-yeong, and you as the viewer take in the gravity of what has happened. In parts gripping, in parts dull, Sorum is very much a mixed bag of sweets. I’d recommend it without question, but I would ensure you’ve had a large cup of coffee or are wide awake when watching it. The effort is worth it, even with its flaws.

Verdict: A clever, character driven tale of tragedy – worth watching with caffine.