There are times when a story requires packing a long film to accommodate a thorough exploration. Conversely, some are more effective when presented in the form of short films. The Mimic, as South Korea's first horror film to collect a million viewers since Killer Toon (2003) included the second type. We are brought to see the efforts of the director and scriptwriter, Huh Jung, prolong the fabric of the story when the combination of several points of the true path is enough, without the need to add speech or characters that ended bland then wasted, Take for instance the opening moments of a pair of men and women killing, then hiding a woman's body (like a man's lover) in a cave in Mount Jang that evokes a demon capable of imitating human voices. Next, the characters are not important anymore. Huh, Jung gives them problems without lifting them again, making them useless. Anyone who sealed the devil undoes described further. Characters that appear at a glance to help the exposition of the story (detective and blind women), as well as plot points, are left behind to lure the hole groove many scattered in The Mimic.

The main conflict is simple. The husband and wife, Hee-Yeon (Yum Jung-ah) and Min-ho (Park Hyuk-kwon) are still grappling with the tragedy of their son's loss. Hee-yeon in particular, has not been able to give up and (feel) to see the presence of the son. Until they found the mysterious little girl in the middle of the forest, who apparently started a demonic terror inspired by the Jangsan tiger legend. The source of the local mythology, plus the touch of mother-son drama is certainly a capital of lust, which, unfortunately, is wasted by Huh Jung's lack of narrative talents, Intend to string the artistic horror to tip your mate's dinner. Huh, Jung is busy entering metaphorical moments such as "fishing prey" through the appearance of LED mosquito repellent lights up "climbing into the light" at the climax that did not feel smart because it is too literal. He was more fond of rolling out the slow tempo of daily life rather than take care of interesting myths about Jangsan Tiger. As a result of the questions that should not be called a forgotten hole, either running out of time or deliberate for the status of horror "elegant" or "intelligent" that holds the meeting answers to the mystery.

Being contradictory when in the midst of a smart-looking effort, the acute clise just adorns, call Hee-yeon who chases his son on the street only to find it disappear, the scene hit the animal, the paranormal who told the protagonist to go with a curiously ambiguous advice that certainly would not work. Similar clarity prevents the emotional impact of the portion of the drama when Huh Jung again relies on the standard way of hallucinations or the shouts of Hee-yeon's frustration as a picture of psychic shock. It has not been enough deepening to justify his character choices at the end, let alone provoke sympathy. At least Yum Jung-ah devotes all her emotional effort, The greatest saviour that makes The Mimic uplifted from the horror mediocre so the worth watching is a jump scare. Huh Jung cleverly combines a surprisingly perfect timing-based shock and ear-piercing music with a row of pictures along with the creepy sound. The results are surprising also terrible, achievements that are not all jump scare managed to achieve. Even false alarms to surprise even a maximum effect. The peak when the tiger shaman Jangsan devotees appeared, realizing a nightmare on the big screen. Take some climax and a bit of background, The Mimic will produce a tremendous 20-minute short film.