Reviews – Page 12

October 5, 2013January 30, 2015

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Pascha (파스카) – ★★☆☆☆

Pascha (파스카)

Screenwriter Ga-eul (Kim So-hee (김소희) lives a modest existence, working in dead-end jobs while she attempts to complete her screenplay. The only comforts for the lonely 40 year old are the stray cats she tends to – and often adopts – from the neighbourhood, and her boyfriend Joseph (Sung Ho-jun (성호준). Yet the relationship is quite scandalous as at 23 years her junior, Joseph has yet to complete high school let alone his required military service. Keeping a low-profile the couple continue their relationship unabated, until unexpected complications arise that threaten to drive them apart forever.

Crucial to the success of any romantic-drama is the core relationship. Audiences are fully aware that circumstances will enter the film that will challenge the protagonists, with the enjoyment derived from being so invested in the relationship that they will it to succeed despite the odds. In this sense, Pascha (파스카) falls far, far short of what is required as there is precious little romance or chemistry between Ga-eul and Joseph throughout the entire film. Director Ahn Seon-kyoung (안선경) has decided to enter the relationship well into it’s maturity, which is certainly no bad thing, as she sets up events and situations that are both natural as well as allowing for the sincerity of long-term partners to emerge. Yet even though the relationship is far from conventional such heartfelt emotions never appear, chiefly due to the awkwardness between the two lead actors which is incredibly distracting, particularly by Sung Ho-jun. There is a distance and coldness between them that conveys a mother and son relationship rather than lovers. Joseph’s Oedipal concerns are obviously an issue – hammered home with the song, “Sometimes I feel like a motherless child” – but scenes such as sharing a bath just appear clumsy and indifferent rather than passionate and intimate.

Ga-eul’s relationship with 17 year old Joseph is quite a scandal

Pascha‘s most interesting moments lie within scenes involving Ga-eul’s family. When they discover her relationship with the 17 year old, the judgement and criticism Ga-eul receives conveys a deep-rooted misogyny that, even at the age of 40, she must humbly endure. The abuse she suffers is indeed shocking and it is during such moments that actress Kim So-hee shines, displaying the frailty of the nervous and unconfident screenwriter with skill. The pressure enforced upon Ga-eul also leads to film’s very strong – and very graphic – anti-abortion statement, that will likely appall the majority of audiences and outrage many others. Commentators are likely to discuss how far directors could, or rather should, go when it comes to presenting such explicit and visceral portrayals of such a sensitive topic. Yet it is also bizarrely ironic given that the film is so concerned with feminist issues only to undermine one area of debate in such an extreme manner.

It is also unfortunate that director Ahn only begins to show creative flair out of the ashes from such controversial scenes. For the vast majority of the running time the film is an incredibly bland affair featuring a static camera and very little eye-catching cinematography. The uninspiring camerawork and compositions in the early stages of the film do convey the depression, loneliness and solemnity Ga-eul endures, yet such technical issues are rather crude and also suggest directorial inexperience, further detracting from the supposed intimacy between her and Joseph. This is indeed strange as director Ahn’s capabilities are impressive and wholly apparent during the film’s final scenes, a genuine shame as the relationship sorely requires such visual prowess much much earlier to be convincing and effective. As such Pascha is a romantic-drama that is ironically not memorable for its central couple or the relationship, but for the debate on ‘how far is too far?’ in representations of sensitive subject matter.

Ga-eul must learn to endure the pain of loss

Verdict:

In the attempt to convey the scandalous relationship between a 40 year old screenwriter and her 17 year old boyfriend, Pascha falls far short of other romantic dramas. The awkwardness and indifference displayed by the actors ultimately ruins any tension for when the relationship is predictably threatened. Yet director Ahn Seon-kyoung does well when examining the issues of misogyny endured by the central protagonist. Ironically however, Pascha, is not memorable for the scandalous relationship but for the explicit representation of abortion, which will likely upset critics and audiences alike.

★★☆☆☆

October 4, 2013July 12, 2015

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Godsend (신의 선물) – ★★★☆☆

Godsend (신의 선물)

When teenager So-young belatedly discovers she is pregnant, her attempt to get an abortion is dismissed by a doctor as too dangerous. Overhearing their conversation however is middle-aged Seung-yeon who, after several years of trying and failing to become pregnant, offers So-young a deal – the baby for an expensive foreign car. As the two women head into the country for the final months of So-young’s pregnancy, they form a close relationship, supporting each other through the unusual circumstances. Yet they are beset by problems from Seung-yeon’s selfish husband, and a group of three hunters with a penchant for rape. All the while, a secretive gardener watches the events unfold.

The women bond over simple chores

As the title implies, Godsend is intended as something of a contemporary nativity story, expressed through the unique visions of Kim Ki-duk – here on writing and producing duties – and protege director Moon Si-hyun (문시현). Kim Ki-duk’s methodology of employing amoral, misogynistic characters to explore social problems is quite apparent throughout the film, yet Godsend is also lighter than most projects he is involved with, presumably due to director Moon. Indeed, the portrayal and character development ascribed to unlikely duo So-young and Seung-yeon is quite charming, arguably even empowering, in the early stages of the film as the twosome attempt to complete their unorthodox deal without the aid of men. Bonding scenes, which include driving lessons and growing vegetables, are sweet natured and sincere. That is, before the inclusion of men. The male characters within Godsend are appalling beasts, and the threat of rape is constantly present throughout the film which often makes for uncomfortable viewing.

Seung-yeon is constantly abused by her selfish husband

While early sex scenes between Seung-yeon and her husband convey an impersonal and unloving relationship very well, the theme of ‘sex as duty’ and his later consistent attempts to rape his own wife despite her proclamations to stop emphasise the intense misogyny laced within the story. This is further compounded by the three hillbilly hunters who lay sexual siege to the women, while So-young’s ex simply wants to receive a share of the money. In each predicament Seung-yeon and So-young are routinely blamed and ‘punished’ for stepping outside of traditional patriarchal ‘boundaries’, often to shocking – and infuriating – effect. While Kim Ki-duk certainly has his flaws, his depictions of misogyny are usually quite insightful on both character-driven and cultural levels. Such depth is not contained within Godsend, and as such the later attempts to change such morally vacuous males into upstanding gentlemen rings ridiculously hollow.

Yet Godsend is very engaging whenever the story returns to the developing sisterhood between Seung-yeon and So-young. Critics often lament Kim Ki-duk’s characters for taking huge and arguably illogical leaps within his narratives, and director Moon Si-hyun overcomes such concerns through non-linear editing. Initially the film jumps from So-young’s disgust at the proposed exchange to her journey with Seung-yeon into the countryside, yet director Moon fills in the gaps with flashbacks which works wonderfully in terms of character development, with their burgeoning relationship easily the heart and soul of the film.

As a modern nativity however, Godsend falls flat. While the first half of the film sets up events well, the second half provides an overabundance of sexist sub-plots that detract from the journey the women undertake. The constant misogyny and threat of rape constructs a perverse nativity as opposed to an exploration of contemporary pregnancy and childbirth issues. Thankfully the religious themes are not overt however, while the developing relationship between So-young and Seung-yeon makes Godsend an interesting and oft-compelling drama.

Seung-yeon's husband listens to 'gift of God' in So-young's tummy

Seung-yeon’s husband listens to the ‘gift of God’ in So-young’s tummy

Verdict:

Godsend is a compelling attempt at a contemporary nativity story of sorts, based on a screenplay by Kim Ki-duk and directed by one of his proteges, Moon Si-hyun. Exploring the issues of pregnancy and surrogacy, the film shines when depicting the burgeoning relationship between the two central female protagonists as they bond during their unorthodox deal. However the inclusion of atrocious male characters, who perpetuate a constant threat of rape, often makes for uncomfortable viewing.

★★★☆☆

Busan International Film Festival (제18회 부산국제영화제) Festival News Korean Festivals 2013 Reviews

As tensions become increasingly frayed, the line between ally and enemy becomes blurred

September 8, 2013January 31, 2015

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New World (신세계) – ★★★★☆

New World (신세계)

Coppola’s 1972 classic The Godfather has long been a source of inspiration for audiences and filmmakers alike. The themes of family, power and corruption, alongside seminal performances from cinematic icons, make it one of the premiere examples of the gangster genre and a masterpiece in its own right. Director Park Hoon-jeong (박훈정) is clearly a huge admirer – he claims to have watched The Godfather over a hundred times – for he explores such topics, in conjunction with his own unique vision developed as screenwriter of The Unjust and I Saw The Devil, within exemplary gangster film New World (신세계).

Exploring the dynamics of power within a criminal cartel turned conglomerate (or chaebol, as they are known in Korea), the story weaves a twisted and highly engaging web of suspense-filled intrigue. Ironically however, the focus on such power struggles makes the narrative a somewhat impersonal affair. Yet the film features excellent performances by an A-list cast alongside some truly gorgeous cinematography, combining to make New World a powerful and captivating addition to the genre.

Senior gangsters and close friends Jeong Cheong (left) and Ja-seong greet at the airport

When the head of the Goldmoon corporation is killed in highly suspicious circumstances, a power vacuum is left in his wake. Yet the company is not a typical chaebol. It is an amalgamation of several different criminal organisations, brought together to expand their illegal operations under the guise of an enterprise. Among the candidates to become the next ‘kingpin’ of the cartel are stoic Lee Ja-seong (Lee Jeong-jae (이정재) and close friend Jeong Cheong (Hwang Jeong-min (황정민), as well as the aggressive Lee Joong-goo (Park Seong-woong (박성웅). Yet unknown to everyone within the organisation is Ja-seong’s dual role as a police officer, repeatedly putting his life on the line to report to Section Chief Kang (Choi Min-sik (최민식). As people on both sides of the law wage war for power, choices must be made and bloody confrontations forced in order to sit at the head of Goldmoon.

As with prior film The Unjust, director Park once again proves himself a master of balancing multiple characters. Each member of Goldmoon and the police force has an agenda, and director Park does incredibly well in portraying how each of them attempts to achieve their goals. The character development is consistently believable and occurs as a result of the desire for power, making the story an enthralling experience. This is also in no small way due to the performances of the A-list cast. Choi Min-shik in particular is outstanding as Chief Kang, a veteran cop who realises the monster he has become yet cannot quit. The actor conveys a brilliant complexity within the role, authoritative and intelligent yet self-loathing and frustrated. As Chinese descendant Jeong Cheong, Hwang Jeong-min is also superb. Amazingly he turns an extremely deplorable gangster into a likable jerk, with his foul-mouth and extravagance with fake goods masking a dangerously violent criminal. Ironically Lee Jeong-jae is somewhat short-changed as lead character Ja-seong. His role is the most complex as Ja-seong must play both sides of the law and stay alive, yet there are only a handful of moments where the character develops and genuinely feels threatened. Nevertheless, Lee Jeong-jae is very competent in the role.

Chief Kang meets with Jeong Cheong with an offer

Furthermore, rarely has a gangster film been so attractive. Director Park immediately places the audience within the violent, dark underbelly inhabited by the protagonists utilising great vision and skill. The composition, lighting and cinematography combine to produce some truly gorgeous aesthetics, conveying the Goldmoon hierarchy, the brutal violence, and stunning landscapes with minimal dialogue. The beauty of the dockyards at dawn is wonderfully contrasted with characters forced to swallow cement, and wonderfully captures the bizarre duality inherent in Ja-seong’s life. Such powerful and compelling imagery continue throughout the entire film, from the cold metallic offices in Goldmoon to the shadowy secret liaisons and deals that take place. New World is a genuine visual triumph, and the passion and attention to detail within every shot is palpable.

While director Park does a great job balancing and positioning the protagonists within the film to culminate in a powerful conclusion, the film also suffers from being overly ambitious. As enthralling as the story is, there are simply far too many characters within the narrative and too little time to fully construct them. Song Ji-hyo exemplifies this issue, as the talented actress is given precious few scenes in which to establish her role as a crucial player. However it is again Lee Jeong-jae who suffers the most in this regard, as his personal life – including an interesting sub-plot regarding his pregnant wife – is glossed over in favour of focusing on his status as a mole. The narrative is so concerned with the Goldmoon power play that, crucially, there is little reason provided to care about Ja-seong’s predicament on an emotional level.

Despite such criticism, New World is an incredibly powerful and exemplary gangster film. The exploration of power and corruption within the Goldmoon chaebol as well as the police force is continually fascinating, even more so when taking into account such issues are a genuine social concern within contemporary Korea. Director Park has crafted an enthralling gangster epic, and fans of the genre will undoubtedly love it.

As tensions become increasingly frayed, the line between ally and enemy becomes blurred

Verdict:

New World is a powerful and exemplary gangster film, examining the power play that occurs when the head of a criminal corporation is killed. Director Park Hoon-jeong expertly weaves a tangled web of gangsters and police into a compelling and thrilling story of corruption and betrayal. The film is also bolstered by fantastic performances from A-list stars including Choi Min-shik, Hwang Jeong-min and Lee Jeong-jae, who are continually fascinating to watch. While the focus on positioning characters and the shady deals that are made make the film a somewhat impersonal affair, New World is enthralling gangster epic that fans of the genre will not want to miss.

★★★★☆

Reviews

Doctor and single mother Kim In-hye works with the source of the contagion

August 20, 2013January 31, 2015

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The Flu (감기) – ★★☆☆☆

The Flu (감기)

With the outbreaks of several different strains of influenza over the past few years, the epidemic disaster movie has gained traction in cinemas internationally. The all-too-real dangers of a new, incurable disease ravaging a population tap into social anxieties in a palpable fashion, also providing opportunities for governmental criticism. 2012’s Deranged (연가시) was a highly enjoyable B-movie that explored such concepts with a tongue-in-cheek sensibility, in part highlighting the corruption of pharmaceutical companies. 2013, meanwhile, sees the release of a more serious endeavour in the form of The Flu (감기).

From beginning to end, The Flu is a poor film. Featuring an overabundance of wafer-thin and poorly conceived characters, gaping plot holes and over-zealous nationalism, the film is a disappointment in almost every respect. While the scale of certain sets – and one or two shocking revelations – are impressive, The Flu is an incredibly naive portrayal of disease containment and fails to generate the necessary tension to be engaging or entertaining.

Doctor and single mother Kim In-hye works with the source of the contagion

When a container transporting citizens from Hong Kong to Korea is opened, the traffickers are shocked to find everyone dead inside. Everyone, that is, except one – a young man carrying a mutated form of the influenza virus. Evading the criminals, the young man runs into Seoul satellite city Bundang, unleashing his disease upon the unsuspecting populace. As people begin to die at a ferociously quick pace, doctor Kim In-hye (Soo-ae (수애) is called in to help with the situation. Yet in doing so she leaves her daughter Mir-re (Park Min-ha (박민하) alone, who finds protection under emergency service worker Kang Ji-goo (Jang Hyeok (장혁). However as the crisis escalates and Bundang is locked down, all the citizens are placed together in quarantine camps, and the situation rapidly goes from bad to worse.

When people are dying in scores, it is pivotal to have a central cast of engaging protagonists. Their struggle to survive against the odds forms the heart of the epidemic/disaster film, and the drama and tension derived from their actions imbues the story with conviction and excitement. In this sense, writer/director Kim Seong-su (김성수) fails spectacularly as the characterisation is woeful throughout The Flu. Korean media has long had problems in representing career women and single mothers positively, and both sexist stereotypes are merged into the character of In-hye. What should be a strong, intelligent, independent woman is reduced to a hostile ice queen whose selfishness has few boundaries. Similarly daughter Mir-re, while very cute, is precocious and insubordinate. As such, both must be ‘saved’ by white knight emergency worker Ji-goo, who as well as consistently reminding everyone how noble he is, displays compassion that far exceeds the realm of believability. Yet the narrative is further populated with evermore one-dimensional stereotypes, featuring comedic sidekicks, blustering politicians, a revenge-seeking brother, faceless soldiers suddenly provided with melodrama, and so forth. Not only is it a huge waste of acting talent – notably Soo-ae, Ma Deong-seok and Park Jeong-min in this regard – but it also sucks any impetus from proceedings, making it difficult to care if any of them survive.

In-hye and daughter Mir-re are forced into the quarantine camp

The story itself is also often ludicrous. The film opens with Ji-goo rescuing In-hye who has, rather inconveniently, driven into a cavern that apparently exists on a main highway. The emergency worker also later leaves the sleeping Mir-re on a bench while he races up and down several escalators to save a woman in danger of falling, rather than to call the person nearest to her for help. Such acts of wanton stupidity litter the narrative and seem to build in absurdity, particularly so during the overt nationalistic agenda throughout the film. According to The Flu Korea is a country under siege, ranging from diseases from China through to American political domination. American interference in Korean politics certainly exists, however within The Flu director Kim exaggerates the issue to such a degree that he portrays the Korean president as a powerless, idealistic victim, betrayed by his ministers who opt to follow an American politician insistent on wiping out the entire population of Bundang. Terrible acting aside, the patriotic grandstanding that occurs during such scenes are beyond ridiculous, while the decisions they execute are so illogical it beggars belief.

Ironically such policies enforced by the bizarre government create some of the more visually stirring moments within the film. The internment camps feature some interesting scenes despite the rather obvious budget limitations, while the disposal of the dead is particularly striking. The riots by Bundang citizens over their treatment in the camps are also impressive in scale, although the motivations and subsequent melodrama are so naive and silly that they render the spectacle of the situation redundant.

Rioting breaks out as the Bundang citizens discover the truth about their incarceration

Verdict:

The Flu is an attempt to produce a more serious approach to the epidemic disaster film, yet writer/director Kim Seong-su fails to make the film engaging and entertaining in almost every respect. Featuring wafer-thin stereotype characters the film is huge waste of acting talent, while the escalating acts of stupidity committed by them quickly enters the realm of absurdity. With huge plot holes in conjunction with incredibly over-zealous nationalism, The Flu is a blockbuster to avoid.

★★☆☆☆

Reviews

The arrival of charismatic femme fatale Eun-joo places the old man's allegiance into question

August 12, 2013January 31, 2015

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Oldmen Never Die (죽지않아) – ★★★☆☆

Oldmen Never Die (죽지않아)

Receiving its world premiere in the World Fantastic Cinema program at Puchon Film Festival, Oldmen Never Die (죽지않아) quickly won over critics and audiences alike. So much so, in fact, that director Hwang Cheol-mean’s (황철민) dark comedy-drama went on to win PiFan’s LG HiEntech Award for best Korean independent feature film.

Oldmen Never Die is a competent and solid addition to director Hwang’s filmography. The film takes an awfully long time to find direction, but once it does it becomes a very entertaining portrayal of greed and lust, as well as an illuminating examination of the generational differences in Korean society.

Greedy Ji-hoon works hard in order to inherit his fascist grandfather’s estate

When greedy slacker Ji-hoon (Cha Rae-hyeong (차래형) learns of his estranged grandfather Hal-bae’s (Lee Bong-gyoo (이봉규) vast fortune, he becomes incredibly excited; even more so upon discovering that the old man has cancer and will likely die in the near future. While his liberal father wants nothing to do with the inheritance, such morality is of no concern to Ji-hoon and he travels into the countryside to gain his grandfather’s favour. Yet after four years of manual labour on the family farm, the old man still hasn’t died. Worse still, he has beaten his illness and his once greying hair is turning black. As Ji-hoon’s frustrations reach boiling point matters become even further complicated by the arrival of attractive city girl Eun-joo, who begins seducing Hal-bae for her own gain.

Oldmen Never Die is an accomplished film, and is highly interesting due to the examination of generational values throughout. None of the characters that inhabit the film are inherently ‘good’ people, and director Hwang explores their respective ideologies utilising dark comedy-drama. Grandfather Hal-bae is a horribly rude fascist who has profited from Korea’s military dictatorship, estranged from his family due to disagreeing with his son partaking in pro-democracy demonstrations. Grandson Ji-hoon meanwhile exemplifies the lazy money-orientated younger generation. All three men find it impossible to understand each other, and the clashes between Hal-bae’s constant vitriol and Ji-hoon’s childish sulking are as amusing as they are revealing.

The arrival of charismatic femme fatale Eun-joo places the old man’s allegiance into question

However it’s actress Han Eun-bi as gold digger Eun-joo who steals the limelight. Oldmen Never Die struggles to find direction during the entire first act, yet Eun-joo’s arrival at the farm gives the film a much-needed sense of purpose and compulsion. While Eun-joo is also morally questionable as she seduces elderly Hal-bae for money, Han Eun-bi’s performance injects enough charisma, alongside some intriguing dialogue, to strike the right balance between amoral and very misguided. Indeed, the best scenes in the film belong to her. From tempting Hal-bae with her voluptuous body in a daring red bikini, to more subtle moments expressing her disgust at being touched and the situation generally, Eun-joo’s presence – and complexity – make the film compelling viewing.

Unfortunately with the greater focus placed on Eun-joo’s seduction of Hal-bae, the same cannot be said of Ji-hoon whose lack of development results in the character spending far too much screen time sulking. The opportunity to explore the conflict between Ji-hoon and Eun-joo as they both fight for Hal-bae’s affections is never fully capitalised on, and as such the lack of tension makes Oldmen Never Die a very low key affair. The subdued nature of the film is odd given that the relationships become increasingly strained, although the style does lend more realism to the story as opposed to other more contrived examples of the genre. As such, Oldmen Never Die doesn’t really fulfill the potential offered by the characters, yet is still a highly competent and interesting generational examination.

The old man boasts of his vast fortune, but who will claim it?

Verdict:

Oldmen Never Die is an accomplished independent film that examinations Korea’s generational differences to illuminating effect. Director Hwang Cheol-mean’s dark comedy-drama explores the themes of greed, lust and amorality through manipulative bids for a large inheritance, within which Han Eun-bi’s performance as temptress Eun-joo steals the show. While the film takes a long time to find direction and the subdued nature is at odds with the intended tension, Oldmen Never Die is a highly competent and interesting portrayal of the ideological differences amongst Korea’s disparate generations.

★★★☆☆

Puchon International Fantastic Film Festival (제17회 부천국제판타스틱영화제) Reviews

Snowpiercer plows through the snow covered landscapes

August 4, 2013January 31, 2015

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Snowpiercer (설국열차) – ★★★★☆

Snowpiercer (설국열차)

Director Bong Joon-ho‘s (봉준호) highly anticipated science-fiction epic Snowpiercer (설국열차) has been in some form of development since 2004 and, nearly a decade on and sporting a $40 million price tag, finally gets a release. Currently the most expensive Korean film ever produced, featuring an international cast, and with around 80% of the dialogue in English, the film represents quite a risk for CJ Entertainment. They need not worry however, as the futuristic thriller is a darkly brilliant and enthralling experience.

Based on the French comic book series Le Transperceneige, director Bong’s adaptation is a keen and intellectual exploration of humanity and the class system set within the confines of a train. Yet it is also a violent and visceral action thriller, as tensions boil over among the last vestiges of humanity with shocking brutality. While not perfect, as the lack of character development, often predictable twists, and unrefined CGI let the film down somewhat, Snowpiercer is still a veritable thrill ride and certainly one of the best films released so far this year – by Korea or Hollywood.

The class system on the train is kept in check by sinister matriach Mason

In the near-future, global warming has become such an issue that the governments of the world convene and agree to release a cooling agent into the atmosphere. The experiment is a colossal failure, as the attempt plunges the world into another ice age, killing all life on the planet. The last vestiges of humanity live onboard the perpetually moving train ‘Snowpiercer’, with the passengers designated by class; the affluent live in privilege in the front carriages, while the poverty-stricken live in the rear. Angry at the unfairness and squalid living conditions, Curtis (Chris Evans) – along with protege Edgar (Jamie Bell) and mentor Gilliam (John Hurt) – lead a revolution against sinister matriarch Mason (Tilda Swinton) in order to control the engine invented by Wilford (Ed Harris). Yet to do so they will need the help of security specialist Namgoong Minsu (Song Kang-ho (송강호) and daughter Yona (Ko Ah-seong (고아성) to unlock the gates.

Snowpiercer, arguably more than any of his prior films, reflects director Bong’s incredible visual and spatial prowess. Throwing the audience immediately into a period of revolution, director Bong conveys a world of dirt, squalor and confinement to wondrous effect. The dystopian arena is intensely claustrophobic and acutely portrayed as the camera weaves around the environment introducing the suppressed population, while the darkness removes any sense of hope. Such powerful atmospherics generate palpable tension as the corruption and hypocrisy of the class system are exposed, recalling classics such as Lang’s Metropolis (1927) as well as the contemporary economic situations in the west, which resonate deeply. Yet the real masterstroke of the clearly Marxist-inspired story lies in the journey to the engine. Each carriage door opened unveils a startling new layer of the hierarchy that leaves the revolutionaries – and audience – dumbfounded, and each is a triumph of design. Director Bong and production designer Ondrej Nekvasil have crafted unique and spectacularly bizarre worlds within each arena, from the sugary-sweet Disnified classroom through to a hellish costume party, each a stunning visual indictment of the social elite.

Each carriage within the train is stunningly realised and reveals a new level of the society

In bringing the worlds within Snowpiercer to life, the ensemble cast are terrific and perfectly suited for their allotted roles. Tilda Swinton stands out as she superbly channels Margaret Thatcher-esque conservatism into the character of Mason, while Alison Pill’s fanatical school teacher is great despite short screen time. On the Korean front Song Kang-ho is highly entertaining as junkie engineer Minsu, and is given some of the best in-jokes within the film particularly regarding untranslatable Korean curse words. Ko Ah-seong fares well as Minsu’s daughter Yona, although the story involving her character isn’t really given a chance to develop. Ultimately with so many quality performers within Snowpiercer there is little room for any character save Chris Evans’ Curtis to grow, however his subplot is predictable while speeches about the past would have provided greater impetus had they been shown and not told. As several narrative tangents are left unanswered, a director’s cut of the film would be a blessing indeed.

Yet this underdevelopment is primarily due to the breakneck speed in which the film advances. The whirlwind pace of Snowpiercer is simply incredible from start to finish as the revolutionaries battle to reach the front of the train, attempting to overcome the onslaught of obstacles and hostile environments they encounter as rapidly as possible. When things do slow down it is often detrimental to characters, forcing the audience to will them on further and as such the film is constantly engaging and compelling. Occasionally to reinforce the sense of speed, the train itself is portrayed speeding through the snow covered landscapes. While such scenes are wonderful in depicting urgency and momentum as well as global warming anxieties, they also highlight some quite unrefined computer imagery which detracts from their purpose.

However the sheer pace of Snowpiercer is astounding and, alongside the visually stunning and intellectual themes featured within, the sci-fi epic is a heart-pounding experience.

Snowpiercer plows through the snow covered landscapes

Verdict:

Based on the French comic book series Le Transperceneige, director Bong Joon-ho’s Snowpiercer is an enthralling viewing experience. The science-fiction epic about the last vestiges of humanity is a brilliant exploration of the unfairness of the class system, conveyed with stunning visual and spatial prowess throughout. The all-star international cast are perfectly suited for their roles, with Song Kang-ho and Ko Ah-seong also performing ably. The breakneck pace of the film results in little character development, yet when the themes, tensions and violence are so constantly riveting it is difficult to care. Simply put, Snowpiercer is a fantastic Korean sci-fi film.

★★★★☆

Reviews

Colourful Dr. Swalski provides the tips Bo-na needs to move ahead, to great comedic effect

August 1, 2013January 31, 2015

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How to Use Guys with Secret Tips (남자사용설명서) – ★★★★☆

How to Use Guys with Secret Tips (남자사용설명서)

When it was released on February the 14th, How to Use Guys with Secret Tips (남자사용설명서) had the unenviable – and quite unfortunate – task of competing with several enormously popular films at the box office, in the form of Miracle in Room Number 7 and The Berlin File, which earned over 12 million and 7 million admissions respectively. A week later, gangster epic New World appeared in cinemas, hauling over 4 million admissions. Despite positive reviews from critics and audiences alike, the romantic-comedy just couldn’t compete.

This is a genuine shame as How to Use Guys with Secret Tips is an incredibly energetic, entertaining, and fresh rom-com. Director Lee Won-seok (이원석) infuses the film with a wacky and colourful sensibility, whilst simultaneously probing the sexism that exists within the workplace and, by extension, Korean culture. While the film turns to formulaic predictability in the final act to tie up all the loose ends, How to Use Guys with Secret Tips is visually enjoyable and great fun, marking director Lee as a talent to watch.

Choi Bo-na is constantly undervalued and overworked – until she finds the video

Assistant director Choi Bo-na (Lee Si-yeong (이시영) has worked for years in a TV commercial company, endlessly slaving away on other productions while waiting for her big break…which never arrives. Moreover, Bo-na is very aware that her gender is an issue within the workplace as it holds her back from progressing within the sexist industry. When a new commercial for the company is shot on a beach, lead actor Lee Seung-jae (Oh Jeong-se (오정세) complains about everything, and Bo-na’s frustrated attempts to chastise the arrogant star results in more disapproval. So much so in fact that when the commercial has finished shooting, the entire team leave the sleeping AD on the beach. Wandering alone at night, Bo-na spies the colourful Dr. Swalski (Park Yeong-gyoo (박영규) selling instructional videos. Reluctantly agreeing to buy How to Use Guys with Secret Tips, Bo-na starts putting the tips into practice and suddenly her life begins to turn around with hilarious results.

While the story of a woman struggling in both her professional and personal life is nothing new in the rom-com arena, director Lee infuses the film with such a whimsical visual and musical vitality that it’s impossible not to be won over. From the outset the director’s keen sense of mise-en-scene and flamboyantly playful use of text and image techniques are apparent, yet it is the introduction of charismatic Dr. Swalski that allows him to fully display his zany aesthetics. The doctor – brilliantly performed by Park Yeong-gyoo – is a guardian angel of sorts who bestows advice on how to manipulate men through the video. The cheesy and camp sensibilities of such ’70s style infomercials are lovingly recreated to hilarious effect, from the costumes and props through to the mistakes and bad editing. What makes Dr. Swalski special however is that he is not confined to the TV set. Director Lee constantly plays with and breaks the barriers between the three realities – the video, Bo-na’s life, and the audience – which makes the film incredibly charismatic.

Colourful Dr. Swalski provides the tips Bo-na needs to move ahead, to great comedic effect

The comedy hijinks that ensue as Bo-na uses the tips are fantastically entertaining as they feature elements of truth, in that director Lee is probing real gender issues that exist within contemporary Korean culture. Bo-na is a great and talented director, yet her gender halts her progress. Her attempts to conceal her femininity with hoodies and to be treated equally merely results in hiding her attractiveness, which stops men making allowances for her. However when Bo-na begins employing Dr, Swalski’s advice, the story spins into poking fun at modern masculinity to great effect. From simple eye contact through to massaging the male ego, Bo-na learns the simplicity of the opposite sex and rapidly rises through the ranks. This is articulated the most through her relationship with arrogant actor Lee Seung-jae who, despite his initial snobbery, finds himself in very comical situations in attempting to prove his worth.

Yet How to Use Guys with Secret Tips unfortunately flounders in the final act. With so many funny plot threads to tie up, the story falls back on the predictable cliches found in the genre to do so. The absence of director Lee’s playfulness is keenly apparent during the resolution which is a real shame, as the build up to that point is wonderfully entertaining. Still, while the finale is somewhat lacking, the film is certainly one of the most visually energetic and inventive romantic comedies to appear from Korea in recent memory, and a great debut from director Lee.

Can Bo-na find true love and success without using the tips?

Verdict:

How to Use Guys with Secret Tips is a wonderfully wacky and colourful romantic comedy, full of visual and musical vitality. Director Lee Won-seok is brilliantly inventive as he plays with genre and cinematic conventions, infusing the film with a seemingly boundless energy and enthusiasm. The laughs come thick and fast as they are based in truth, including sexism in the workplace and the fragility of the male ego, which are explored to highly comical effect. While the final act falls back on cliche and predictability, How to Use Guys with Secret Tips is a very entertaining and fun rom-com.

★★★★☆

Puchon International Fantastic Film Festival (제17회 부천국제판타스틱영화제) Reviews

North Korean spy Ryu-hwan disguises himself as village idiot Dong-gu

July 31, 2013January 31, 2015

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Secretly, Greatly (은밀하게 위대하게) – ★★☆☆☆

Secretly, Greatly (은밀하게 위대하게)

Secretly, Greatly (은밀하게 위대하게) is responsible for breaking several notable records in Korean cinematic history upon release. The film surpassed all expectations to earn the biggest opening day for a domestic film with 497,560 admissions; the following day another benchmark was set as it scored a whopping 919,035 admissions, the largest haul in a single day for a Korean film. With such an impressive start, it’s perhaps unsurprising that Secretly, Greatly took only 36 hours to pass the coveted one million admissions milestone, the fastest Korean film to do so. And to cap it all off, the film won the Citizen’s Choice Award at the 2013 Puchon International Film Festival.

With such incredible success it would be reasonable to assume that Secretly, Greatly must therefore be an outstanding piece of cinema, but unfortunately that is far from the truth. While it begins confidently, the film quickly becomes submerged beneath pointless supporting characters and melodrama, with the belated action sequences and nationalist agenda bland and uninspiring. Competently directed by Jang Cheol-soo (장철수) yet lacking in substance, Secretly, Greatly is ultimately only for fans of the original webcomic and the extremely handsome lead actors.

North Korean spy Ryu-hwan disguises himself as village idiot Dong-gu

North Korean soldier Won Ryu-hwan (Kim Soo-hyeon (김수현) has trained relentlessly to be the best in his unit, and his efforts have not gone unnoticed. His superiors give Ryu-hwan a mission – to infiltrate South Korea under the cover identity of Dong-gu, the mentally ill fool of a shanty town, and to await further instructions. Taking to his new identity with patriotism and verve, Ryu-hwan slowly becomes disillusioned as time passes and with no word from his homeland. Yet one day out of the blue rival Northern soldier Ri Hae-rang (Park Ki-woong (박기웅) shows up in the neighbourhood, sporting a wannabe rocker identity. Adding further distress, junior soldier Ri Hae-jin (Lee Hyun-woo (이현우) also appears as a high school student. Yet just as the former rivals begin to form a brotherhood, their country calls them into action but their hearts and minds pull them in different directions.

Secretly, Greatly begins well, as Ryu-hwan is given orders by a scarred and scary general on a dark and snowy desolate beach. The foreboding sense of danger is wonderfully and skillfully undermined as the film then cuts to his new identity as Dong-gu, and the harassment and ridicule he experiences from the local townspeople. The editing is superb during these scenes as everything Dong-gu does, from falling over to sneezing, is all meticulously planned but results in physical comedy, and is highly entertaining to watch. The humour derived from the great contrast is amusing, especially in watching Dong-gu being humiliated despite his impressive skill set.

Ryu-hwan is joined by two other top spies, who form an uneasy fraternity

Yet once the opening has passed, the film very quickly becomes incredibly tedious. In the attempt to show Ryu-hwan’s life is far removed from the glory he imagined, he is inundated with bland, everyday problems. Often these problems are not even his, but those of the local community. The variety of inhabitants that are introduced into the story are completely one-dimensional and serve no purpose other than to provide momentary distractions for Ryu-hwan. Cliches and stereotypes abound, featuring the struggling single mother, the high school bully, the sexy girl with a heart of gold, and so on. None of them are developed into interesting characters, and the sheer number of them halts any development of the main protagonists themselves. Rather, their inclusion instigates a number of short stories that offer brief instances of comedy and/or drama, before being completely forgettable.

Likewise, the addition of wannabe rocker Hae-rang is a wholly wasted opportunity to initiate rivalry and bring some kind of direction to the wandering narrative. Hae-jin fares much better upon entry to the community, instigating mystery and action which is welcome. Yet that too quickly disintegrates as the three forge an unlikely kinship at a community picnic, such is the excitement within the shanty town for the spies.

The aimless story finally shifts gears in the final act as a North Korean general begins a special protocol, forcing Secretly, Greatly back into becoming an action film. Yet for three supposedly top agents the action is very dull and lacking in thrills, while the additional melodrama doesn’t carry any weight. In attempting to please all factions of the audience with elements from all genres, Secretly, Greatly manages to ultimately satisfy no-one.

Finally employing his lethal skills, Ryu-hwan fights for justice

Verdict:

Secretly, Greatly is a record breaking film, although unfortunately that doesn’t mean that it’s of high quality. While competently directed by Jang Cheol-soo and with a fun opening, things quickly become tedious due to an array of one dimensional stereotypes that flit throughout the aimless narrative, while the drama and action are bland and uninspired. Secretly, Greatly’s successes seems to be based on fans of the original comic strip stories and of handsome actors Kim Soo-hyeon, Park Ki-woong and Lee Hyun-woo, as there is little else to recommend.

★★☆☆☆

Puchon International Fantastic Film Festival (제17회 부천국제판타스틱영화제) Reviews

Exploiting the opportunity to become a news anchor, Yeong-hwa begins to regret his decision

July 29, 2013January 31, 2015

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The Terror Live (더 테러 라이브) – ★★★★☆

The Terror Live (더 테러 라이브)

The Terror Live (더 테러 라이브) is a rare breed of Korean thriller. Featuring superstar Ha Jeong-woo (하정우), the film takes place almost entirely within a single room rather than racing against time around a city. As such it shares several tropes with Joel Schumacher’s Phone Booth, ramping up tension through the claustrophobic setting while simultaneously exposing the lead protagonist for past bad deeds.

Within the highly restrictive setting director Kim Byeong-woo (김병우) does an excellent job in generating suspense, while the critique of the highly competitive – and corrupt – world of the newsroom makes the thriller a surprisingly deep cultural examination. However, the film is let down by a lack of characterisation in regards to the central roles while the tension is often undermined by arguably unintentional comedy. Despite such shortcomings The Terror Live is a unique and interesting addition to the genre, and one which leaves audiences wondering about the villains in society after the credits have finished rolling.

Yeong-hwa is apathetic in his role as a radio show host

Recently divorced and demoted to a radio show host, Yoon Yeong-hwa (Ha Jeong-woo) couldn’t care less about his new role as he repeatedly offends callers with his brusque manner. However when one caller phones in and claims to have primed bombs on Mapo Bridge located near the station, Yeong-hwa scoffs – and moments later the bridge is in ruins. Seeing this as his chance to return to the spotlight as a TV news anchor, Yeong-hwa teams up with former manager Cha Dae-eun (Lee Kyeong-yeong (이경영), quickly setting up a newsroom and broadcasting the terrorists demands instead of reporting to the police. As the ratings skyrocket and other news agencies struggle to catch up, it quickly becomes apparent to Yeong-hwa that something is very, very wrong as the terrorist becomes increasingly fixated on him personally, intent on exposing his checkered past.

One of the great strengths of The Terror Live is in conveying the cutthroat manner executed by those in power and in the media. The thriller is one of the few films to tackle the issue of real news and the mediated news presented to society, capturing the seemingly inherent corruption and societal risks taken in the war for ratings. Within this framework Yeong-hwa – whose name literally means ‘movie’ – is very much at home and director Kim does a superb job in slowly drip-feeding character information throughout the narrative. From the outset Yeong-hwa is certainly in-keeping with other thriller anti-heroes as he thrives in the grey areas of morality, only coming to reconsider his position due to the threat of exposure. As such the anchorman must not only acquire, filter, and present the news to Korean society and outwit a terrorist on live television, but also fend off a damaging character assassination attempt and please his management. Juggling so many plot threads is consistently riveting viewing, as new dimensions to the case constantly challenge everything Yeong-hwa and the audience have come to learn, driving up suspense for a thrilling viewing experience.

Exploiting the opportunity to become a news anchor, Yeong-hwa begins to regret his decision

Ironically however the inclusion of so many plot threads is also one of The Terror Live‘s key flaws, as there is so much going on that character development is sacrificed. Ha Jeong-woo is a gifted actor and performs very competently, yet he is given little to work with as Yeong-hwa other than being a shrewd and morally ambiguous news anchor. The same criticism also applies to the terrorist, who clearly has strong motivation for his attacks but is a rather two-dimensional antagonist. Luckily director Kim’s highly kinetic camerawork keeps such issues at bay featuring a variety of techniques including crash-zooms and realism-inducing camera shaking as well as more traditional fare, while the rapid editing helps to ramp up the tension without ever becoming nauseating.

The suspense generated within the confines of the newsroom is very impressive, yet bizarrely there are often instances of unwarranted comedy that serve to completely undermine the tension. It is difficult to know if such moments are intentional or not. When Yeong-hwa struggles with a situation and begins swearing at his oppressors it is incredibly funny, although the straight faces within the film suggest otherwise. Once the comedy has passed however it’s back to business and the dramatics increase further, leading to a daring finale and a potent commentary on Korean politics and the media.

The conflict between the bid for ratings or stopping the terrorist put the team at odds

Verdict:

The Terror Live is a rare and highly interesting thriller. Within the confines of a newsroom director Kim Byeong-woo does an excellent job in escalating tension by featuring a variety of camerawork techniques, while the story regarding corruption within both Korean media and the government is a potent socio-cultural critique. While the lack of characterisation and (arguably unintentional) comedy undermines the suspense, there is more than enough on offer to provide an entertaining thrill-ride from start to finish.

★★★★☆

Reviews

Ling Ling - now named 'Mr. Go' - becomes a baseball sensation in Korea

July 28, 2013January 31, 2015

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Mr. Go (미스터 고) – ★★☆☆☆

Mr. Go (미스터 고)

Much has been reported regarding Mr. Go‘s (미스터 고) production credentials. The $25 million film is jointly financed by Korea’s Showbox/Mediaplex alongside China’s Huayi Bros. Corporation, who invested around $6 million – quite a landmark in terms of scale. Furthermore Korean VFX team Dexter Digital – set up by writer/director Kim Yong-hwa (김용화) especially for the film – had the unenviable task of creating the titular gorilla onscreen, employing some 150 staff to painstakingly use their expertise for over 1000 shots. So with such an incredible production history, is Mr. Go worth the wait?

Visually speaking, very much so. Dexter Digital are to be congratulated for producing such incredible computer-generated imagery, which is certainly on par with recent Hollywood fare. Yet the family film stutters from beginning to end with an underwhelming narrative, one that fails to entertain both adults and children, and is crucially lacking in fun.

Gorilla Ling Ling and trainer Wei-wei form an loving bond in the circus

Gorilla Ling Ling and trainer Weiwei form a loving bond in the circus

Based on the popular ’80s comic The 7th Team by Heo Young-man, Mr. Go tells the story of a poor but happy circus family in China. The ringmaster is a keen baseball fan and terrible gambler, and as such teaches circus gorilla Ling Ling to play the sport whilst simultaneously accruing enormous debts with local gangsters. Yet Ling Ling is a gentle soul, and upon being introduced to baby Weiwei, the two grow up together developing an unspeakable bond. Disaster strikes during an earthquake however, as the ringmaster dies leaving his responsibilities – and his sizable debt – to 15 year old Weiwei (Jiao Xu). To pay off the gangsters, Weiwei and Ling Ling take up the offer of Korean sports agent Seong Choong-soo (Seong Dong-il (성동일) to play baseball for the ailing Doosan Bears in Seoul.

Mr. Go is very much a landmark in Korean cinema due to visual effects team, who have done a superb job in creating the fully computer-generated gorilla on the big screen. It was always something of an odd choice given Peter Jackson’s King Kong and Rupert Wyatt’s Rise of the Planet of the Apes are still in recent memory, yet Dexter Digital are to be congratulated for their work as they go toe-to-toe with Hollywood and emerge very respectably. There are even nods to such trains of thought as characters within the film mock each other with quips – a CEO chastises a helicopter team with, “Are they trying to make King Kong 2?” – playing to audience knowledge. While some of the body movements are atypical of big apes, it is wholly acceptable given that Ling Ling is playing baseball. Likewise the 3D is quite impressive as baseballs fly out of the screen while Ling Ling’s acrobatics are given extra potency, yet director Kim doesn’t include enough scenes to really justify the medium.

Ling Ling – now named ‘Mr. Go’ – becomes a baseball sensation in Korea

Yet while the visuals consistently impress, the story is incredibly bland. Ling Ling and Weiwei’s history is China is glossed over in a quick montage which is a real missed opportunity, in order to make way for the baseball scenes. However when the duo arrive in Korea, the baseball scenes themselves also succumb to the montage treatment which, while easily the highlight of the entire film, is another key area of development that is not explored. Instead the narrative focuses on the board room meetings and backstage politics of sports agents, managers and moneymen, which is incredibly dull. Such scenes also open up the problematic area in representing Korean, Chinese, and Japanese characters which has become an issue due to the highly complex histories and relationships. While the representatives of each nation are mocked somewhat equally, there is still a hierarchical structure on display – when a Chinese gangster interrupts a post-game meeting, the Korean CEO asks, “Did anyone order Chinese food?” – which has displeased audiences.

The focus also relegates Weiwei and Ling Ling to the background, and their absence is keenly felt. Yet ironically whenever they are on screen, they are often used merely as interesting visual devices rather than characters in their own right. Instead it’s only really Korean sports agent Seong Choong-soo who undergoes a transformation from shrewd businessman to kindly father-figure, force-fed through the inclusion of belated melodrama rather than genuine development.

That said, director Kim is a very competent filmmaker, and his direction throughout Mr. Go does nothing to change his reputation. Mr. Go is a solid effort, but one in which the story fails to live to visual magic.

Sports agent Seong Choong-soo changes from shrewd to kind thanks to Ling Ling and Weiwei

Verdict:

Mr. Go is a visual delight, and Dexter Digital have proven they can match Hollywood productions with their superb computer-generated expertise. Director Kim Yong-hwa captures the events as competently as ever, achieving the sense of awe that goes along with watching a gorilla play baseball. It’s a shame then that the story doesn’t match the visual prowess, bizarrely skipping over character development – particularly that of gorilla Ling Ling and trainer Weiwei – to focus on backstage baseball politics, which is a real bore. Visually impressive yet light on entertainment, Mr. Go is an unfortunate misfire.

★★☆☆☆