
The Frog review: Pitch-black South Korean show is a messy pastiche of serial killer thrillers
The IndependentGet our free weekly email for all the latest cinematic news from our film critic Clarisse Loughrey Get our The Life Cinematic email for free Get our The Life Cinematic email for free SIGN UP I would like to be emailed about offers, events and updates from The Independent. “We’re playing a big game of tag,” decrees a jaded police officer, in new Netflix drama The Frog. The Frog is a messy pastiche of serial killer thrillers, drawing more heavily from American cinema, particularly the canon of David Fincher, than its contemporaries from the Korean peninsula. “Perhaps what I’m imagining is utterly ridiculous,” muses Jeon, as the full extent of the madness becomes apparent – it’s a rumination that, sadly, invites baffled assent. In the pantheon of great female villains – Misery’s Annie Wilkes, Gone Girl’s Amy Elliott Dunne, Killing Eve’s Villanelle – The Frog’s contribution feels tame and derivative.
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