Michael Fassbender

For a decade, since 2016’s terribly uncanny horror-hybrid “The Wailing,” followers of Korean director Na Hong-jin have been peering anxiously on the horizon awaiting his subsequent uncategorizable style mash-up. More just lately, like a bumbling native police chief eradicating his mirrored aviators to squint at an unidentifiable what-the-hell-is-that wreaking havoc within the distance, we have…