Everyone wants a nice, secure home. And maybe, never satisfied, you might want to upgrade. Without these natural desires, estate agents and TV programmes such as Location Location Location and Property Ladder would not exist. The opening film of the 2013 London Korean Film Festival was, as lead actor Son Hyun-joo joked, a family movie. … [Read More]
Category: Film reviews and comment (page 16)
Festival Film Review: Nobody’s Daughter Haewon
I often find myself falling asleep during Hong Sang Soo films. But my two most recent experiences – a second viewing of HaHaHa as part of the KCC’s Moon So-ri season – and Nobody’s Daughter Haewon at the ICA, coinciding with its screening at the 57th BFI London Film Festival, have been exceptions. Part of … [Read More]
Pluto (명왕성, 2012) review: fear, power and violence in Korea’s elite classrooms
While several of Pluto’s storyline elements will likely combine to bring Yoon Sung-hyun’s Bleak Night (2010) to viewers’ minds, Shin Su-won’s low budget thriller nonetheless manages to stand on its own as a dissection of fear within a dark and twisted tale laced with social commentary; ultimately feeling far more a companion piece than a derivation. [Read More]
Cloud Atlas – one Hollywood appearance of which a Korean actor can be proud
How many Hollywood films have you seen, featuring Korean actors, where you have thought “Yes, he (or she) can be proud of that?” I confess not to having seen Red 2 (Lee Byung-hun) yet, so maybe that will be one of them. But thinking back to the two GI Joe films (Lee Byung-hun), Ninja Assassin … [Read More]
Moebius (뫼비우스, 2013) review: fate, family, violence, and endless loops of desire
Originally given a Restricted rating by the Korean Media Ratings Board, Kim Ki-duk’s twisted tale of sex, religion, castration and incest subsequently underwent a number of cuts to gain a mainstream domestic cinema release. ‘Moebius’ is no less shocking as a result of those cuts. [Read More]
Cold Eyes (감시자들, 2013) review: a high-octane remake of a Hong Kong surveillance thriller
A remake/reworking of 2007 Hong Kong thriller ‘Eye in the Sky’, ‘Cold Eyes’ steps up scale, pace and warmth to stand on its own as a wholly engaging and thoroughly entertaining blockbuster that even largely manages to feel specifically Korean in nature, in spite of never straying too far from the original. [Read More]
The Peach Tree (복숭아나무, 2012) review: a gentle, nuanced melodrama of conjoined brotherhood
Any Korean film detailing themes of acceptance within a narrative centred on disability cannot fail to bring with it mention of Lee Chang-dong’s masterful ‘Oasis’, but ‘The Peach Tree’ largely manages to hold its own fairly well in the face of such illustrious company; albeit with one or two minor caveats. [Read More]
Jiseul (지슬 – 끝나지 않은 세월 2, 2013) review: a stark cinematic tribute to the Jeju 4:3 victims
Based on the US military-ordered ‘eviction’ of communists from Jeju Island in 1948, ‘Jiseul’ juxtaposes the mundane survival of hiding villagers with the cold duty of the soldiers hunting them. Shot in stark monochrome, the film is as intricate as it is poignant: a cinematic piece worthy of its accolades. [Read More]
Snowpiercer (설국열차, 2013) review: class revolt, power and survival at the end of the world
Based on the French graphic novel ‘Le Transperceneige’, ‘Snowpiercer’ can equally be viewed as an analogy to and critique of real world oppression; a hero’s journey in classic Monomyth style; or simply a gripping and exciting rollercoaster ride of entertainment. Snowpiercer will leave you both exhilarated and breathless. [Read More]
Jo Jin-gyu’s Shaman Gangster / Man on the Edge is great entertainment
I know I’ve been somewhat grouchy about a lot of K-film recently, so let me make amends. What could be better than a hilarious but tearjerking shaman gangster almost-semi-gay rom-com. Man on the Edge (aka Shaman Gangster, 박수건달, Dir Jo Jin-gyu, 2013, starring a brilliant Park Sin-yang as a gangster who discovers he is in … [Read More]
The Unforgiven: a fleetingly interesting but ultimately dull debut for Yoon Jong-bin
The Unforgiven represents two hours of my life that I shall never get back. Two hours, but it felt like more. After an hour I was looking at my watch, wondering where the film was headed. And then, like Achilles and the tortoise, the remaining period of the film was divided in two, and at … [Read More]
Sprout (콩나물, 2013) review: a young child’s first solo exploration
The warmth, depth and meaning with which Yoon Ga-eun so successfully infuses this gentle, sweet and simple tale not only clearly shows her sheer talent as a director and storyteller but also deftly underlines how beautiful Korean cinema truly can be. [Read More]
Antique Bakery (서양 골동 양과자점 앤티크, 2008) review: a pleasing millefeuille of genres
Initially appearing to simply be a warm and genuinely funny comedy that gently details themes of sexuality and acceptance, Antique Bakery nonetheless quickly proves itself to be so much more; deftly accenting numerous genres along its ultimately cathartic path. [Read More]
2013 Travel Diary #1: The release of stress
London, Wednesday 4 September, 3pm. The stress of clearing the desk before leaving the office, of wondering if you’ve packed everything you need, immediately evaporates as you get into the taxi. There’s nothing more you can do, as you make your way through the rush hour traffic to Heathrow for the evening flight to Seoul. … [Read More]
Hope (aka Wish) (소원, 2013) review: finding humanity and healing in the aftermath of unthinkable trauma
A devastating yet profoundly humane drama, Hope focuses on a young girl’s journey towards physical and emotional recovery after unimaginable trauma. Director Lee Joon-ik balances heartbreak with compassion, crafting a deeply moving film anchored by an astonishing, career-defining performance from child actress Lee Re. [Read More]
Norigae (노리개, 2013) review: power, abuse and a damning indictment of justice
Inspired by true-life tales of the sexual coercion and abuse of celebrity figures in Korea, ‘Norigae’ was guaranteed to be both controversial and shocking. It tells a story that desperately needed to be told and points an accusing finger at the free rein often afforded to the powerful at the expense of the vulnerable. [Read More]