Here you will find reviews of Korean drama films (드라마 영화). Please click on the picture, and you will be taken to the review.

Bad Guy (나쁜 남자) - 7/10

“As is to be expected with auteur Kim Ki-duk, Bad Guy (나쁜 남자) contains an explosive and controversial mix of social, gendered and sexual relationships. His artistic merits are not as pronounced as with his other works, yet the challenging narrative explores the issues of the red-light district well. The misogynistic content will not win over feminists or critics of his work, yet Bad Guy remains a simultaneously fascinating and appalling viewing experience.”

Barbie (바비) – 8/10

“Barbie (바비) is a highly compelling and poignant drama from director Lee Sang-woo that explores an incredible array of social issues within contemporary Korea. The focus is squarely on interrogating the family unit, yet the inclusion of international adoption allows for an expansion in highlighting a variety of socio-cultural themes and issues. Barbie serves as a powerful reminder of the issues facing those in poverty and leaves an indelible impression.”

Bleak Night (파수꾼) – 10/10

“Bleak Night would be considered an incredible achievement for a seasoned director, but for first-time writer/director/editor Yoon Sung-hyun it is a monumental and career forging film. His creative and technical prowess, combined with three young and talented actors, have earned accolades. Bleak Night is proof that an enormous budget and renowned stars are not necessary in creating a compelling and thought-provoking drama.”

Come Rain Come Shine (사랑한다, 사랑하지 않는다) – 8/10

“Come Rain Come Shine (사랑한다, 사랑하지 않는다) is a tender, thought-provoking, and sensitive portrayal of the final moments in the break-down of a marriage. Due to the slow-paced and meditative filmic style of director Lee Yoon-ki, the film will not satisfy audiences with expectations of melodrama and comedy, or an amalgamation thereof.  However, the realism conveyed through the masterful use of mise-en-scene and long takes, in conjunction with the subtle and highly poignant performances, make Come Rain Come Shine a powerful film about the tenderness of loss.”

Dance Town (댄스 타운) – 8/10

“Dance Town is a bleak and disturbing character study, one that reveals city life is cruel and barbaric. Furthermore, the film is politically charged as Jung-rim’s life in Pyongyang is represented far better than the supposedly ‘great’ life offered by the capitalist South. And yet, Dance Town is so raw, and Jung-rim’s journey so poignant, that the film will stay with audiences long after the finale and encourage those living in cities to ponder their own existence.”

Dear Dolphin (환상속의 그대) – 7/10

“One of the big winners at JIFF 2013, Dear Dolphin is a very attractive film that deals with the issues of love, loss, and grief. Director Kang Jina (강진아) explores such weighty topics well by constructing the fragility of each protagonist as unique according to their psychology. Yet with a great performance by Lee Yeong-jin (이영진), as well as some truly beautiful sequences involving potent water symbolism, Dear Dolphin is a thought-provoking film on the nature of life, death, and spirituality.”

A Frozen Flower (쌍화점) – 7/10

“A Frozen Flower (쌍화점) is a wonderfully sexy tale of love and lust during the Goryeo dynasty. Through skilled use of costume, colour and appearance, director Yoo Ha (유하) plays with the notion of gender while exploring the relationships between the King, Queen and Chief bodyguard which are central to the film, conveying palpable passion through confrontational and sexual scenes. A Frozen Flower is a highly enjoyable and racy story of debauchery.”

Hanaan (하나안) – 5/10

“Hanaan (하나안) deserves credit for exploring the oft-ignored plight of Korean immigrants abroad, highlighting their historical struggles of cultural assimilation. Director Pak Ruslan (박루슬란) employs effective use of purgatorial landscapes to emphasize inner turmoil, while the handheld camerawork conveys realism. However, the story is hampered by a rather unoriginal premise making the Korean-Uzbek co-production an intriguing, but lacking, crime drama.”

Hanji (달빛 길어올리기) - 7/10

“Hanji (달빛 길어올리기) is a film based on a genuine love of Korean culture and tradition by auteur Im Kwon-taek. While at times the film can convey a rather educational, documentary tone the film emphasizes the importance of remembering and supporting cultural traditions as they are inherently tied to notions of identity. Hanji is poetic and philosophical, conveying that diligence and perseverance are highly rewarding experiences and serves as a love letter to a dying cultural tradition.”

The Housemaid (하녀) - 10/10

“The Housemaid (하녀) is a landmark piece of filmmaking, one that captures the considerable array of socio-cultural anxieties of the era through the protagonists and mise-en-scene with incredible sophistication years ahead of its time. The narrative is timeless and enthralling in depicting the breakdown of family through betrayal. Such recognition is not stated in terms of national cinema, but as a classic on the global stage as The Housemaid deserves acknowledgment on an international scale.”

The Isle (섬) - 7/10

“The Isle (섬) is an intense art-house film that explores misogynistic violence, sadomasochism, and animal cruelty in the foundation of a couple’s relationship where such savage acts are considered normal. The controversy it has courted is warranted, yet despite this the social issues presented with stark realism by Kim Ki-duk are damning regarding patriarchy and the treatment of women and as such further instigates an important area of debate.”

Jesus Hospital (밍크코트) – 7/10

“Jesus Hospital (밍크코트) is an insightful and compelling independent drama that examines morality with a family during a period of crises. Writer Shin A-ga has constructed a well-balanced and mature exploration of the selective application of faith, which she skillfully co-directs with Lee Sang-cheol in conveying the complex relationships and ethical dilemmas. Jesus Hospital is an engaging film and a significant contribution to Korean independent cinema.”

Jiseul (지슬) – 8/10

“Jiseul (지슬) is a powerful and harrowing account of the 1948 Jeju Uprising, with director O Muel’s monochrome palette and intense visual style adding incredible potency and realism to the true-life events. Accompanied by some wonderful cinematography by Yang Jung-Hoon, director O Muel deserves credit for attempting to create awareness of the massacre. Jiseul is an exemplary independent production and one of the most important releases of 2012.”

The King and the Clown (왕의 남자) – 9/10

“The King and the Clown (왕의 남자) is an amazing tale and a wonderful journey through one of the darkest eras of the Joseon dynasty. The narrative and characterization are excellent, as is the acting by all the principal cast who never cease to be enthralling and compelling. While the directing is somewhat lacking in scale the emphasis on intimacy makes the film an enduring classic and a testament to the creative qualities of Korean filmmakers.”

Lebanon Emotion (레바논 감정) – 8/10

“Lebanon Emotion is certainly one of the best films to emerge from the 2013 Jeonju International Film Festival. With an engrossing story involving the nature of grief, the challenges of survival, and the threat of external violence, the film never ceases to be compelling. Director Jung Young-heon’s keen visual sensibilities are stunningly realised through the lovely cinematography, making for an attractive and insightful film.”

M (M (엠)) - 8/10

“M (M (엠)) will undoubtedly not appeal to fans of structured mainstream films, with its abstract exploration of memory, loss and identity. For those interested in more artistic and experimental filmmaking, M is a visual tour-de-force with incredible expression of colour and technical confidence. The poignancy of Min-woo’s journey is acute, and serves as a wonderfully thrilling and romantic addition to auteur Lee Myeong-se’s  filmography.”

Masquerade (광해, 왕이 된 남자) – 8/10

“Masquerade (광해, 왕이 된 남자) is a wonderfully realized and incredibly entertaining film, one that uses the basis of The Prince and the Pauper and rapidly makes it into a uniquely Korean period production. Alongside the very well-written, well-paced script is visually stunning direction conveying the colourful regal elegance with striking skill. Yet it is Lee Byeong-heon who gives the film heart. Masquerade is undoubtedly one of the best films of the year.”

Maundy Thursday (우리들의 행복한 시간) - 9/10

“The focus on societal and religious discourses, and the love that can develop through sharing personal trauma, make Maundy Thursday (우리들의 행복한 시간) a unique and incredibly compelling romantic drama. The performances by the central couple are wonderful and the manner in which they develop feelings of romance are organic and highly convincing. Maundy Thursday is an excellent portrayal of alternative romance, and a poignant reminder of the value of sharing pain and happiness within a relationship.”

A Muse (은교) – 7/10

“A film of great depth and symbolism, A Muse (은교) is an eloquent exploration of the nature of age, love, and relationships. While the fetishization of Eun-gyo’s body tends to undermine the spiritual connection between her and Jeok-yo, and Park Hae-il’s casting  helping to alleviate the sexualization as well as being an oddity, the film succeeds on the strengths of a wonderfully character driven narrative and a superb debut by actress Kim Go-eun.”

My Dear Enemy (멋진 하루) – 8/10

“My Dear Enemy (멋진 하루) is a charming and moving slice of realism from director Lee Yoon-ki (이윤기), whose trademark sensitivity and compassion are fully on display. Bolstered by wonderful performances from Jeon Do-yeon and Ha Jeong-woo, the film is a sophisticated yet subtle exploration of the thirty-something generation and their relationships, as well as an interrogation of the role of Korean culture in such matters. As such, the drama is mature and sincere throughout.”

National Security (남영동 1985) - 8/10

“National Security (남영동 1985) is a powerful film about the human rights abuses suffered by democratic rights campaigner Kim Jong-tae at Namyeong-dong detention center in 1985. Director Chung Ji-young employs his minimalist style highly effectively in depicting scenes of humiliation and torture, allowing for the horror of the acts to speak for themselves. National Security is a poignant reminder of the importance of human rights, and is a welcome addition in the politicization of contemporary Korean cinema.”

Oasis (오아시스) – 10/10

“Oasis (오아시스) is an exceptional masterpiece. The social-realist aesthetic applied in depicting the burgeoning relationship between the lead couple is executed magnificently by auteur Lee Chang-dong (이창동), who deftly sidesteps melodrama in conveying the development of love between mentally ill and cerebral palsy individuals. Moon So-ri (문소리) and Seol Kyeong-gu (설경구) are simply exquisite in the lead roles. Oasis is an absolute must-see film.”

Peppermint Candy (박하사탕) – 10/10

“Peppermint Candy (박하사탕) is undoubtedly one of the modern classics of Korean cinema, and is an exceptional entry by director Lee Chang-dong (이창동). The story is equal parts poetic and subtle as well as raw and compelling, as the emotional and psychological layers of main protagonist Yeong-ho are gradually peeled away. In doing so the director intricately examines the notions of contemporary Korean masculinity. As such, Peppermint Candy is a journey both personal and national and is an absolute must-see.”

Poetry (시) – 10/10

“Poetry (시) is an incredible film. The script, the direction, and the acting come together perfectly to create a wonderfully subtle and elegant narrative about a woman on a search of discovery, yet the organically understated social commentary that is interwoven within it elevates the film even higher. Poetry (시) is, without doubt, a must-see film.”

Poongsan (풍산개) – 7/10

“Poongsan (풍산개) is a very interesting nihilistic examination of the north/south divide, one that embraces wholeheartedly the similarities between both sides in an incredibly pessimistic context. The deconstruction of the agencies of both countries, and the use of language as a tool/enemy is wonderfully executed and brings a new dimension to the political debate within the cinematic realm. Poongsan is an entertaining, though disjointed, film.”

Punch (완득이) – 7/10

“Punch (완득이) is a charming and heart-warming film about those on outside of ‘mainstream’ society and culture, made compelling by the wonderful characterization within. While the film may not push boundaries, the character-driven script features such an array of protagonists, issues and comedic idiosyncrasies that Punch becomes unique in its alternative perspective on a familial drama.”

Re-encounter (혜화,동) – 8/10

“Re-encounter (혜화,동) is a thought provoking and restrained exploration of how trauma becomes a part of a person’s character when not confronted. It is incredibly slow-paced as director Min Yong-geun establishes his protagonists through imagery. In highlighting their loneliness,  director Min emphasizes that such reconciliation is the fundamental way in which to begin healing trauma, and has crafted a touching humanist story in making such a statement.”

The Servant (방자전) – 8/10

“The Servant (방자전) is a wonderfully scandalous Joseon era melodrama, and a highly engaging and compelling reinterpretation of the classic tale. The themes of social inequality, sexual liaisons and women’s rights are expertly intertwined by writer/director Kim Dae-woo, while it is Jo Yeo-jeong’s seminal performance that emphasizes the plight of Choon-hyang. The Servant is a powerfully seductive film about the power of sex and love in a bygone era.”

Silenced (The Crucible) (도가니) - 7/10

“Silenced (The Crucible) (도가니) is an incredibly powerful film that expresses the horrors of child abuse and conveys the corruption of members of Korean society with skill. The resulting public outrage is wholly understandable as the brutality of the events are performed with exceptional child actors, and the injustice against such innocence is impossible to remain detached from. While the film loses momentum when outside the school, Silenced is a challenging film and – even if merely to have an opinion – required viewing.”

Sleepless Night (잠 못 드는 밤) – 8/10

“Sleepless Night is a beautifully understated, wonderfully compelling independent drama about a couple discussing the daunting subject of starting a family. Director Jang Kun-jae (장건재) has produced an insightful exploration of the issue, while his no-frills approach conveys palpable realism and sincerity. Lead actors Kim Joo-ryeong and Kim Su-hyeon provide superb, heartfelt performances throughout. While the editing is somewhat unrefined, Sleepless Night is a charismatic film deserving of its accolades.”

Stateless Things (줄탁동시) - 7/10

“Stateless Things (줄탁동시) is a real rarity in Korean cinema. Bold and unflinching in the examination of homosexuality and alienation within contemporary Seoul, director Kim Kyung-mook has produced a heartfelt film full of his trademark technical flourishes. While they don’t always work, Stateless Things is an intriguing film that explores ostracization and gay culture in a manner which others can only dream of, making the drama a pivotal entry in the Korean queer cinema canon.”

Suicide Forecast (수상한 고객들) – 6/10

“For tackling such an important and delicate issue within Korean culture, Suicide Forecast (수상한 고객들) must be commended. The potential of a comedy-drama exploring such themes is enormous, which perhaps explains why the narrative appears to be intimidated by the subject matter and the ‘comedy’ aspect tends to fail. Suicide Forecast  is an interesting take on a pertinent element of society that, while cliched and predictable, offers a poignant reminder that greed and consumerism does not equate to happiness.”

Sunshine Boys (1999, 면회) – 6/10

“Sunshine Boys (1999, 면회) is an interesting independent drama about three friends attempting to rediscover each other. Director Kim Tae-gon does a great job in featuring awkward, ironic moments in the lives of young men, which are granted extra potency with the application of social-realist aesthetics. The story does take a long time in establishing itself, yet the wonderfully understated performance by Kim Kkobbi puts Sunshine Boys back on track, making the film an interesting journey of maturation.”

Take Care of My Cat (고양이를 부탁해) – 8/10

“Take Care of My Cat (고양이를 부탁해) is a wonderfully charismatic film that provides young women with a voice that’s sorely lacking in contemporary cinema. By eschewing notions of consumerism and melodrama, writer/director Jeong Jae-eun (정재은) instead focuses on female identity and its construction with skill and insight. Furthermore the electronic soundtrack, amongst other techniques, make it something of a cult film, as well as an intelligent, profound offering in the debate of womanhood in modern Korean society.”

Treeless Mountain (나무없는 산) - 9/10

“Writer/director Kim So-yong has crafted a beautifully poetic tale of the hardships of childhood in Treeless Mountain (나무없는 산), with endearing performances by the two young leads that are conveyed with a startling level of sincerity. The film is one of the few to tackle the concept of the breakdown of the family unit from the perspective of children, emphasizing their resilience and adaptability. Treeless Mountain is an elegantly poignant film about the desire for kindness in a cynical world, and is an absolute delight.”

Unbowed (부러진 화살) – 7/10

“Unbowed (부러진 화살) is a highly entertaining courtroom drama, filmed in a modest social realist aesthetic by director Chung Ji-young and featuring a charismatic performance by Ahn Seong-gi. Both of these features work wonderfully together in portraying the based-on-true-events narrative, adding realism, sincerity, and credibility to the plight of the Professor as well as highlighting corruption within the Korean legal system. Unbowed is a great example of a Korean courtroom drama done right.”

Untold Scandal (스캔들 – 조선남녀상열지사) – 8/10

“Untold Scandal (스캔들 – 조선남녀상열지사) is a delightfully entertaining film about seduction and betrayal in 18th century Korea, with beautiful costume design that adds elegance and authenticity to the mise-en-scene. The adaptation works incredibly well and offers an interestingly unique perspective on the source material. The direction by Lee Jae-yong often fails to fully capitalise on the lustful charisma between the protagonists, which are joyous performances despite their occasional limitations. Untold Scandal is highly engaging and enjoyable, and a fascinating take on an old classic.”

White Night (백야) – 6/10

“White Night (백야) is an interesting and attractive queer film from prominent gay director Leesong Hee-il (이송희일). The European aesthetics are combined well with the psychological trauma exhibited by the main character, itself derived from a real homophobic assault in 2011. Yet the film never fully goes beyond its short story origins. Despite this White Night is a thought-provoking film about anguish, and one of the better queer features in recent memory.”

The Winter of the Year was Warm (내가 고백을 하면) - 6/10

“By employing a greater focus on gentle social realism and irony, The Winter of the Year was Warm (내가 고백을 하면) is a refreshing take on the romantic-drama. Director David Cho (조성규) has created a quite charming tale of two middle-aged singletons attempting to escape their daily lives yet finding something more, employing subtle development and humourous satire to enjoyable effect. The film picks up once their homes have been exchanged, and serves to make the film a quite charming exploration of the origins of romance.”