User Reviews

This movie is incredibly cruel and unrelenting. It plays as a single feature divided into three sections: "Dumplings", directed by Fruit Chan of Hong Kong, "Cut" directed by Park Chan-Wook of Korea and "Box" directed by Miike Takashi of Japan. Each section is like a dissertation in horror, although "Dumplings" could also be classified as an exploitation film.

All of them are beautifully produced and directed, and I especially found "Box" to be quite lavish in sets, costumes and atmosphere. They each show a lot about the culture of the respective countries they were made in and also provide new takes on the terrifying and the appalling. They are each original in their own right, although "Cut" could be compared to the "Saw" or Hannibal Lecter franchises in that there's a psycho who's trying to get a message across by way of murder and mayhem.

I don't want to give details on the plots of any of them because I think that viewers need to experience them for themselves with no preconceptions going in, but what I can say is that "Dumplings" has the most plot and is probably the one with the highest "squeam" factor, "Cut" covers a rather familiar premise but with lots of fun moments (you'll see) and "Box" is more of an artistic endeavour with not much of a plot, but for some reason I was enthralled and couldn't look away; it's the one I liked the most.

A solid 8 out of 10 for the efforts of these genius Asian directors.

Three short films that are plenty extreme and if the endings of all three leave us wondering maybe that is good. I did however find the end of Cut more than a little baffling. There again 'unsatisfactory' endings of Eastern films as judged by Westerners is nothing new. All three are beautifully shot with great camera-work and excellent use of colour. I found Miiki's the most perfect if not as much like his usual output as many would like. Park's Cut is a little pedestrian at times but so gloriously over the top and bewildering at others. Dumplings is a little predictable and I am surprised that it is said to still work at 90 minutes as it seems very much a single idea film. It's a good idea though and not without social interest and it has to be said the grossest of the three. The sound of tiny bones being crunched - aagh!! I watched all three on separate occasions, fearing that otherwise they might blur into one another - no fear of that though so I'll watch them again soon, all together. Good effort by all concerned

Three...Extremes is an anthology of three horror films by three respected Asian directors. 

"Dumplings" - Directed by Fruit Chan

In Dumplings, an actress who has entered middle age and begun to lose the attention of her husband to an affair with a younger woman visits Aunt Mei, an old woman who still has the looks of her youth. Aunt Mei has a secret recipe that makes anyone look years younger, but such an unnatural benefit comes from a truly abominable source. I found Dumplings to be absolutely stomach-churning. A horror movie that doesn't even attempt to scare you, but actually tries (and succeeds, in my case) to horrifying you. Not for the squeamish. Even the sound effects eventually became almost more than I could bear. Disturbing and entertaining. - 8/10

"Cut" - Directed by Chan-wook Park

A talented director and his wife are taken captive by a murderous, utterly insane movie extra. Cut is darkly comedic, utterly absurd, and far more meta than the other movies in this collection. It took me a while to figure out whether I liked it or not, but by the end of the segment, I was won over. Like Dumplings, Cut isn't frightening in the conventional sense. Instead, it's flat-out zany (in a good way). - 7/10

"Box" - Directed by Takashi Miike

The most haunting of the three segments. Box is about a jealousy-fueled tragic accident involving two young sisters. The surviving sibling suffers from suffocating (literally) dreams and disturbing visions of her deceased sibling, even years later as an adult. Box is probably the creepiest of the three, and it has a psycho-sexual aspect to it that makes the whole thing even more unsettling. Definitely more of an atmospheric, "mood" movie than the other two. - 8/10

I liked all three segments, as well as the movie as a whole. I found Dumplings to be the most effective/entertaining, but I recommend the entire anthology. The three short films are not only memorable and very different from one another, but they're also fairly unique among the other horror movies that I've seen. 

Overall - 8/10

3 extremes were 3 short stories about extreme situations. Each story has very different qualities and gave the viewer something to enjoy. Not American style, scream queen, psychobabble laden horror films. More intellectual and artistic as the characters are made to look good rather than deviant. Shorts were you can turn off the subtitles and still understand the plot are hard to come by, but these fit the bill. I wish I could speak the languages of the films because the English translation detracted from the emotional content and context. If you like slasher movies and jump out of your seat scary, pass on these. If you like more artistic, intelligent, and subtle horror films, then these shorts are for you. Some blood and minor amounts of gore. A job well done.

Wow, just went to go see these three shorts last night, which are about 45 mins a piece. I agree that "Cut" was one of the most enjoyable horror experiences I have had since High Tension. Takeshi Miike is probably the biggest name in the Asian horror biz, but I have to say that I miss the style of his earlier work, like Audition and Happiness of the Katakuri's. "Box" was very strange but it leaves little explanation for what has actually occurred, and I wish it delved a little deeper. And oh my! Mr. Fruit Chan, I have never heard of you before last night. "Dumplings" was by far one of the most deranged things I have ever watched. And the sound that was used in this short was was of the most intense, stomach curdling noises that are still sticking with me today. This was a very fun watch, and I am glad I got to see it before it left the theater. My recommendation....don't eat a big meal before you start!!!

The idea of having Chan-wook Park, Takashi Miike and Fruit Chan as part of the same DVD set is enough to warrant a purchase. This was the sole reason I watched these three shorts.

While Miike's offering was very enjoyable, and had some interesting scenery and Chan's Dumplngs was also very entertaining, Chan-wook Park stole the show in my opinion.

I now wonder if CUT isn't what SAW should have been.......?

Unfortunately I can't speak on the film too much as I could ruin the story, but if you are a fan of either OLDBOY or Sympathy for Mr Vengeance this short IS A MUST. Chan-wook Park continues to impress me with his creativity, and the camera work in this film was GREAT. There are two directors that I currently find to be very interesting, and I will watch anything they produce. Micheal Haneke is one, Chan-wook Park is another.

I have heard rumours of Sympathy for Ms Vengeance, and I can only hope they are confirmed.

This was an easy purchase.

"Saam gaang yi", a.k.a. "3 Extremes", is composed of three segments

(1) "Dumplings", by Fruit Chan, is the best segment. I saw the complete film ("Jiao Zi") on 25 August 2007 on DVD released in Brazil with the title "Escravas da Vaidade" ("Slaves of the Vanity"). The gruesome tale tells the story of an aging actress that seeks out a mysterious woman that cooks dumplings with a special ingredient that rejuvenates those who eat them. My review is available in http://www.imdb.com/title/tt0472458/reviews-21

(2) "Cut", by Chan-wook Park, is a tale of cruelty and insanity. An insane stranger breaks in the house of a film director and ties him up with his wife and a boy in the room. The strange tries to force the director to kill the boy, otherwise he will cut the fingers of his wife that is a pianist.

This segment is very cruel and insane, and has a surprising conclusion.

(3) "Box", by Takashi Miike, is a confused tale. The twenty-five-year- old writer Kyoko has nightmares with a box and also with her sister Shoko. One day, she receives an invitation to visit the place where she saw her sister for the last time.

This segment is messy and predictable, with a disappointing conclusion. My vote is seven.

Title (Brazil): Not Available

This compilation movie of three horror stories is dark and disturbing. The first story concerns a woman's greed for beauty and the bizarre path she takes to get it. The second story centers on a director who gets held captive by a film extra with an agenda. This leads to torture and a strange game of cat and mouse. The final story regards a writer with a twisted past. This part is surreal and at times awkward in storytelling and direction. I enjoyed this film as a fan of the horror genre. The elements of surrealism and paranormal activity were effective in each story. While the movie did have a relatively slow pace, the intensity of each stories climax made for a fulfilling watch. Recommended for fans of Tales from the Darkside, Tales from the Crypt, The Twilight Zone and admirers of Takashi Miike and Chan-wook Park.

I wonder what is behind projects like this. I suppose because it is easy to attract talented filmmakers to do a 45 minute project. Such a thing is usually under our expectations of "long form" meaning that the cinematic effect can be direct and uncomplicated.

I thought "Eros" was extremely interesting in the freedom it gave its directors. Three men usually obsessed with elaboration were freed from that expectation and could give a poem rather than a novel.

The results here are mixed though. That's because Asian horror is often never long form at all. Its one scene extended for a long time and surrounded by explanation.

The disk that came to me had "Dumplings" by Chan first, then "Cut"and "Box" last.

Dumplings was for me the most fascinating. I'm challenged when I see multiple versions of something and among the most interesting of these is two versions of the same film by the same filmmaker. I had seen the extended "Dumplings" which I assume was filmed at the same time and simply edited differently. It had a completely different feel to it in the long version. The unsettling thing about that was that it was more real. The sound effects of the eating and the copulation were identical, a remarkable effect.

In this version, its more otherworldly, and there is one special effect at the end that underscores this and for me took all the horror out of what the woman was doing at the time. Its still Chan and why I watched the disk.

Second up was something from Korean Chan-wook Park I know only his "Old Boy" which is a remarkable mix of junk and genius. The setup here is mostly on the junk side. You can skip it if you watch movies the way I do.

The amazing surprise for me was Takashi Miike's "Box." I was very impressed with "Audition," but for some reason haven't followed up. He's amazingly prolific and it seems that he doesn't think things through before he starts. But this little thing is nearly perfect.

Its a Japanese ghost story with a twist that makes it even more sharp. Its cinematic at its center. You can literally watch it with no voice. Its beautiful, and I will include a few of its scenes in my list of films that handle fabric architecturally. (In this case that includes plastic sheets.)

Its folded in the way I study. It involves three persons, a family. Performers. It involves them performing for audiences and each other, connected by performance, sex, kinship. We have performances of all these types, dreams, visions, hallucinations all neatly nested within each other. Physically, you will see that "in a box" will have several meanings, along the lines of groundhog day (so as not to spoil it), body, enclosing space and spiritual being.

It really is perfect and lovely and haunting. You will watch it over and over.

Ted's Evaluation -- 3 of 3: Worth watching.

This is an excellent blend of three horror films that characterize the ideal representation of Asian cinema. Each story is presented with ordinary people displaying qualities of evil and depravity. These directors use powerful cinematic storytelling elements in exploring their genres. This is not an ordinary horror film with a ghost or a slasher/killer with a knife but a combination of people who are capable of psychotic behavior. While all of the films are not perfect and contain some mildly dull aspects, watching all three will leave you intrigued with the art and approach of the horror genre utilized in various countries Asia. If you can hold your stomach through the first film "Dumplings", you will certainly enjoy one of these stories and won't be disappointed. A disturbingly good movie!!

Three…Extremes (2004)

*** 1/2 (out of 4)

Three Asian directors were brought together for this horror anthology, which makes recent American films look like the work of Ed Wood and Jerry Warren. The first story is Box from director Takashi Miike, which is the story of an adult woman who's haunted b her dead sister. The second film, Dumplings, from director Fruit Chan, centers on an aging movie star who starts to eat secret dumplings so that she can regain her youth. I won't mention what these magical dumplings are made of. The final film, Cut, from director Chan Wook Parks, has a crazed extra kidnapping a horror director and making him choose between killing a child or having his own wife tortured. The weakest film for me was the first one from Miike, not because it's a bad movie but because the last two are simply brilliant works that are damn near masterpieces. The Miike story has some very creepy moments and his direction is right on the mark by building up some wonderful atmosphere. The film dealing with the dumplings was just downright disturbing, gross and in some ways very shocking. I wonder how many people have stopped or walked out of the film at the point when the secret is revealed? The third film is one people should compare to the similar Saw. Everything wrong with that film and its sequel are fixed in Cut. I viewed the Asian cut of this film from a Hong Kong DVD, which features the stories in the order I mentioned. I believe the American cut is in a different order.

Known as Three... Monsters in Korea, where I bought the DVD, Three... Extremes is an omnibus horror film like Twilight Zone: The Movie and similar omnibus horror films, containing multiple shorts, often unrelated, with separate casts and actors.

In this case, we have three notable directors from east Asia: Japanese director Takashi Miike, Hong Kong director Fruit Chan, and South Korean director Chan-wook Park. Each presents their own short visions of horror, although perhaps it's more appropriate to say that although these are horror movies, they are more disturbing than outright frightening.

The first short, entitled Box, by Takashi Miike, relates the story of a young writer who is having some difficulty distinguishing between her dreams and reality. It's the most supernaturally oriented of the three films and the most ambiguous. There are no particularly outright scare moments, but the ambiguity of the story and the elements of the story are why the short can be a little disturbing. Primarily contemplative in nature, it's ambiguity also serves as its foil, as it's hard to draw anything more from the short than simple emotion and a sense of confusion.

The second short, entitled Dumplings, by Fruit Chan, is undoubtedly the most disturbing of the three. The film actually deals with some particularly relevant issues, particularly the things that we do to be considered attractive and to return to former glory, but the means by which the film makes such a commentary is very unpleasant. I'd have to say that it's a pretty effective film, but certainly not enjoyable. I've discovered that a longer 90+ minute version of this film exists as well and it'd be interesting to do a study comparing the two--if I could ever handle watching it again.

The final short, entitled Cut, by Chan-wook Park, is the the most lively and comical of the works. Wrapped in a maniacal revenge story is a comment about the nature of evil, in particular, the reasons for which evil is committed. It's certainly the most glossy of the films, utilizing CGI effects, an elaborate set and dynamic camera-work. The short is weakened by the ending, which doesn't appear to be prompted or meaningful, and we can only guess at the reasons for which the ending occurred the way it did.

All in all, the three shorts are fairly effective works and compose a whole by their disturbing nature. There is nothing particularly compelling, also Dumplings does make a particularly strong effort and Cut is particularly vibrant, if a little shallow. Either way, if you're looking to see three notable east Asian directors give their disturbing short takes on horror, this is almost as good a place as any to see it. 7/10.

more a drama than a horror movie, dumplings is so wonderfully acted that his strange subject have become believable and disturbing . The picture is astonishing ,the color perfectly fit the backgrounds so that it creates a special atmosphere. for the fans of gore don't't suspect a lot of goo. But still, a couple of scenes will disturb you.. Very intelligent, this movie provides a lot of thinking; incest, abortion, cannibalism and the search for youth are the topics approached. Those taboos will make you see horrible things that happens in everyday's life around the globe. The use of the incredible music is done with professionalism so it helps a lot on the spooky mood of certain scenes.

The end pour vrai là.

While not one of the three films in the collection of shorts put under the name "Three Extremes" will ever shock to the point of no return, they represent some of the sharpest wit, guts (literally and figuratively), and psychological insight into what really creeps out, entertains and sticks with us as viewers. The first is Fruit Chan's Dumplings. This one had me intrigued on the outset because I had never seen a work of Chan's before- he's won many awards but is not as well-known a cult director as the his other contemporaries here- and by film's end he had me for quite a loop. It's surely the most depraved and intentionally "oh-my-God" type of short horror films one's likely to see in the years to come, mainly because it takes on a very basic and over-done topic, vanity, and is cooked up (no pun intended) with human beings' attachment to new life. Mainly because, as Bai Ling's character demonstrates, it's so useful a old-age-prevention to eat aborted fetuses in dumpling form, as the main character, a former TV star who's worried about being appealing to her husband. This probably has the least depth, emotionally and psychologically, of the three films, mainly because Chan is far more interested in getting the audience repulsed by what's going on. It will certainly set the alarms going off for pro-lifers, but just about anyone will wonder how it can end like it does, with a twist that is just meant to add one more devilishly wretched twist on top of the baby-plate.

Next up is Cut, a film by South Korea's newest sensation Park Chanwook. While overall his film is the most wholly satisfying and entertaining, it's not without a heap of 'hip' shots, like the one that pulls back (via computers of course, though very cleverly) across the set of a movie being shot, or in some of those angles that one saw as being one-of-a-kind in Park's Oldboy. This time a similar thread emerges: a true-blue psychopath, an extra with a grudge, makes psychological mind-games with a director with maybe too much humility to him, as his wife is tied up intricately with her fingers getting chopped off one by one. There's a lot of real guilty-pleasure type laughs to be had here, with the black comedy reaching higher points than one would've expected even from Oldboy territory, where conscience gets thrown out the window and all that's left are raw human emotions and the dark side of circumstance. It helps that the extra, played by Won Hie Lim, is great at the part because there's no real sense of humor to him, but he still ends up being funny, like when he dances to that song from one of the Director's films. The final five minutes of the short ratchets up the terror that's been building up, and those looking for the same knock-out violent climax won't be disappointed. But it's the little moments too that Park gets right, as character, primarily the Director's, is never a very certain thing.

Takashi Miike's Box is definitely, for my money, the best directed of the lot, or at least with the most measured for the characters in the story. This time the outrageousness of the previous shorts is replaced by a grim horror of complexes going back to childhood, of entrapment in the mind to memories that are too horrible to contemplate. An author seems to be revisiting things that happened as a child- the death of her sister by her own very strange accidental hands- and how a box figures its way into it all, on top of a very sick man- the girls' father- with a half-white face. Atmosphere this time trumps perversity, though it still applies that Miike's film is a work that will be probably more haunting because of the complexities to how Kyoko faces what's happened to her sister Soko. I won't reveal what the final twist is, which is pure classic Miike, but the rest of the Box, which has very little dialog and many shots that linger longer than one might expect, is haunting and deliberately gut-wrenching. A circus atmosphere, of the sort here anyway, is no more or less realistic than the other scenarios portrayed in Three Extremes, but Box also has the upper-hand of reality blending with nightmares, and what nightmarish qualities always come up from them. What does the box mean? It's not necessarily a MacGuffin, put it that way.

So, if you make sure not to eat anything during the proceedings, and maybe have someone's arm to clutch during some of the bloodier and gleefully sick moments, Three Extremes should make for a cool night of viewing. The directors on hand are in their A-game forms, and it has an appeal that might reach the more hard-bitten veterans of Asian cult films due to the ingenuity of key moments as well as newcomers to Asian horror that might draw them in ever more than before.

Title: Three...Extremes

Directors: Takashi Miike, Chan Wook Park, Fruit Chan

Review: As of late Japanese horror directors are hot as hell. American horror directors have known this for some time and some have even gone as far as trying to add Japanese sensibilities to their films. First guy to come to mind is Eli Roth with his "Hostel". Sadly Roth couldn't really get it right. Hostel turned out to be a bad imitation of a J-horror film mixing Japanese style gore with frat boy mentality. It doesn't work, because for the most part these J-horror films aren't so much about gore or violence. Yes, they have the gore, but its not ONLY about that. They have more of a psychological thing going for them and not only that but they have something to say about society. Something a bit different then just having your average day killer going around killing teenagers, though I don't mind a dose of that every now and again. "J-horror" keeps blowing away anything that's being made in American horror films of today. I know that's a very common statement being made these days, but it is very very true. Sadly most American horror films are commercial throw aways that nobody will give a crap about after a few months have passed by. But that's not the case with some of the horror directors emerging from Asian cinema today.

Case in point the film Three Extremes which unites three of the best Japanese horror directors working today. Takashi Miike whos name is practically a house hold name amongst horror film fans. He is the man responsible for such great horror films as Audition, Ichi the Killer and Gozu among a gazillion others. Then we have Chan Wook Park who shot straight to stardom with his incredibly unforgettable Oldboy. Which by the way is a film I strongly urge anyone who hasn't see it yet to do themselves a favor and go and rent it right now. And last but not least Fruit Chan, the least know of the three, at least to me anyway. The film is divided into three equal parts each part directed by a different director, an anthology film if you will.

The first story is Fruit Chan's "Dumplings". A story about an aging actress who is searching for a way to stay young. When she comes across a rumor about a lady who makes these special dumplings that help you maintain a young appearance she quickly jumps at the opportunity. Whats in the dumplings? And are their any side effects to taking them? That's what shes about to find out. This story is a great way to start the film. Its funny cause at a glance the story appears to be a "light" and somewhat comedic little story, yet before you know it, the story ventures into dark dark territory. Stick through to the end for this one and you will be shocked. I promise.

The second story in the film is Chan Wook Parks tale entitled "CUT". This story is about a young horror movie director who is making a vampire film. The story opens with one of the scenes from his movie and let me tell you, I know it's a movie within a movie type of thing, but that movie that the director is making looked freakin awesome. It's almost as if director Chan Wook wanted to say "I don't make commercial horror films, but if I did this what it would be like!" Those first opening minutes are awesome! After that we follow the director as he closes down the set and encounters a truly screwed up extra that has appeared in all of his films. What follows is a story filled with some great social commentary on the frustrations of an every man who's life didn't turn up as grand as he expected. This story blew me away with its visual style but I expected nothing less coming from the director of Oldboy and Sympathy for Mr. Vengeance.

The third story is Takashi Miikes tale simply called "Box". A story about two twin sisters who live in a circus with their dad. One of the sisters is a tad jealous of the other and goes to extremes to quiet down her jealousy. This story is visually stunning, but then again, it appears that this was a pre-requisite to make this film since all three short stories are equally good looking. Of course this story goes into freaky territory with an incestuous sub plot, but coming from Miike, that sort of thing is to be expected. Still, I think that this story was mild with its violence and gore coming from a guy know for his relentless and extreme use of blood and gore. I guess Miike was going for a more psychological, elegant and slick style. He really was shooting for something more artistic this time around.

All in all, this is a fine anthology film. It united some truly amazing talent and the result is nothing less then one of the best horror films of the decade. I highly recommend this film to anyone who is tired of watching horror films marketed for little kids. If you are searching for something artistic, horrifying and with something to say, then by all means indulge yourself in "Three Extremes" a fine example of how Japanese Horror is kicking American Horror firmly in its ass.

Rating: 5 out of 5

This is one very slick and glossy horror film that will challenge many Western viewers, particularly the more provincial-minded. It should shatter some prejudices and put a serious dent in some chauvinistic preconceptions.

Overall it is very artfully sexy. The actresses are beautiful; the actors are movie star handsome. The costumes, sets and photography are lush and sensual. The production values are as high as you can get in any movie, let alone a horror film. The final episode rivals Fellini's Amarcord for the sheer beauty of some of its imagery.

The first of the three stories relies heavily on irony, with its most powerful images as subtle as they are disturbing. The second one is more bombastic, and caters to the "Saw" crowd with its sadistic bent and convoluted story. The final story meanders and is perhaps a bit perverse, depending on how far you let your imagination roam to fill in the gaps.

I would caution that this is not a film for 12-year-olds having a sleepover. Not that it's too disturbing, since it's softer than most. But other than the second segment, it's probably too subtle. It's more likely to please sophisticated adults with a worldly view, looking for a sumptuously hedonistic slice of dark drama. Watch it in bed with a trayful of chocolate and strawberries, and a bottle of champagne.

Ah, Asian horror films. Something about them just... works. With a greater leaning on atmosphere over jumps and a penchant for dialing elements like gore and carnage right up to eleven on the scale, the horror films of nations like South Korea, Japan and China are just a twisted nirvana for fans of all things spooky and scary. From the subtle and slow-burn chills of Hideo Nakata's iconic and genre- defining "Ring", through Kim Jee-Woon's endlessly disturbing and yet hypnotically beautiful "A Tale of Two Sisters"... The world of Asian horror is a place of dark beauty, and has produced some of the greatest contemporary horror releases of all time.

And most certainly one of the more peculiar and exciting of Asian horror releases over the past twenty years is the anthology release "Three... Extremes." A collective effort between three famed directors each given the opportunity to craft a short film of terror, the film is an absolute blast of both sheer thrills and genuinely hilarious black comedy, delivering a trilogy of tales that will stick with you long after the credits roll.

The first story "Dumplings" is helmed by Hong Kong filmmaker Fruit Chan, and follows the tale of aging actress Mrs. Li (Miriam Yeung), whom is worried that the toll of time is making her husband's affections drift elsewhere. She follows a recommendation to meet up with a mysterious woman named "Aunt Mei" (Bai Ling), whose medicinal dumplings seem to contain anti-aging properties. But things take a turn towards the disgusting and disturbing when Mrs. Li discovers the secret ingredient in the dumplings that Aunt Mei uses to turn back the clock for her clients...

The remarkable South Korean director Park Chan-Wook directs the second tale, "Cut", in which a famous film director (Lee Byung-hun) is kidnapped by a nefarious and deranged movie-extra (Im Won-hee), who intends to mentally and physically torture him over the course of a single night. The unhinged assailant is driven by envy and jealousy, feeling "Mr. Director" is too good a person while he himself is a terrible man. Soon enough, a bizarre and twisted endgame is revealed that will push both men into making startling and life- changing choices...

And the final tale "Box" is directed by the legendary Japanese filmmaker Takashi Miike. Kyoko (Kyoko Hasegawa) is a struggling novelist haunted by her past- namely the tragic death of her twin sister Shoko, who was killed in an accident brought about by an act of selfishness while they were both children working in a Japanese circus. When Kyoko decides to travel back to the place of her sister's demise, a series of events occur which will bend and break the viewers mind and perception of story over and over again...

All three stories are remarkably well-structured and reflect the filmmaking sensibilities of their respective directors. Usually in an anthology film such as this, there's always that one sore thumb that doesn't quite work or that one story that's objectively significantly better than the rest, but I found all three fairly accomplished and enthralling, and they all flow well with one another, showing different interpretations of the concept of "horror."

"Dumplings" is very much a story that seems to go for graphic disgust and taboo content to deliver its shocks, but it also wisely grounds the story with likable characters and an interesting narrative, so it never feels contrived or forced. "Cut" is arguably the best of the trilogy, and is a great throwback to old-fashioned horror-comedy of the 80's, mixing gore and slapstick with class and ease. I could definitely see a movie like this coming from Sam Raimi back in the day. And Miike's "Box" is classic Miike- it's confusing, startling, disturbing and definitely a more "art-house" tale than the others. It's probably my least favorite of the three stories, but it's still quite effective and enjoyable... or at least "enjoyable" in that delightful way horror movies are.

And in the end, I found the entire experience of "Three... Extremes" to be one that I was very glad I took. It's a collective of three brilliant minds delivering three brilliant tales of horror, and it's just about everything you could want from a horror anthology. And it's a prime example of the excellence and under-appreciated mastery that exists in the world of Asian horror film. I give "Three... Extremes" a fantastic 9 out of 10 and give it my whole-hearted recommendation to fans of the twisted and the macabre.

It's almost impossible to talk about Three Extremes without going through each one individually, because thee short films do not link in any way and are all brilliant stand-alone works. But it's also important to judge it on an overall experience. Although each film is different, I couldn't imagine watching one without the other. They some how all feel similar in tone and style, without them feeling all the same too, which is exactly what's needed for an anthology film. All three films are of such a high standard and it brilliantly showcases the Asian talent on horror.

Dumplings sets the tone for the rest of the series perfectly. It's not as distinctive in its directing or style as the other two (I'd never heard of Fruit Chan) but nevertheless it tells a rather brilliant story that goes places many film makers wouldn't dare to go! There are some seriously sick moments that will stay with you for quite a while afterwards and it makes you wonder what sort of sick mind would think this up! Nevertheless it is highly original and very disturbing, which is what good horror is supposed to do. There are some strikingly creepy moments such as when the actress stares at you straight into the eyes. It's brilliant story-telling. 8/10

Cut could very be my favourite out of the bunch, but I'm really not too sure. It captures Park's visual flair and style brilliantly with some exhilarating camera shots. I also liked how Cut managed to get a lot done despite it being set mostly in one room. Again it features some striking imagery and some sick decisions in the vein of Saw. Cut was also really quite funny at times and for me I think that the mixture of humour and horror did work in a weird way. The ending however is quite mind-boggling but that's not to say it's bad. Let's not forget the first brilliant 35 minutes or so! It's incredibly tense and easy on the eyes. I enjoyed Cut a lot!

9/10 Now I can't work out whether I liked Box even more? Box is definitely the most visually striking of the three and is even more extraordinary as it features very little dialogue. There's some beautiful scenery such as the beautiful snowy locations and the dark circus tent. Box is also definitely the most confusing of the three. The narrative plays out almost like a puzzle which you must piece together and interpret in your own way. Nevertheless the scenes it does provide are highly atmospheric and sometimes played out in complete silence making them very eerie indeed. I think that you'd get the most out of Box when watching the trilogy again, because you'll be able to think of things and piece things together that you didn't before. It's a beautiful piece of work and is more like art really with its striking surrealism. 9/10

Overall I could very happily watch feature length versions of all three short films and I know that a feature length version of Dumplings is out there! It could be a great introduction to Asian horror for an Asian horror virgin as it shows the great care and quality that goes into their films. They're all original pieces of work and I'd happily watch them again. This is probably the finest anthology work I've ever seen, although some people may find them too bizarre and confusing!