Okay, now take a closer look and you’ll see Saoirse Ronan, star of Hanna and The Lovely Bones, in the role of Melanie Stryder, a brave revolutionary girl (cue The Hunger Games theme) trying to save her besties and family from a parasitic alien race that scrubs human brains clean. I've seen some absolutely fantastic Korean films on the service that are not available, but there's every possibility that they'll come back at some point. So below is a list of the thirteen best Korean films you can see on Netflix right now, which if you remember fractions means that, yes, this list is nearly one-third of the films currently available.
When you're trying to get into Korean cinema, The Vengeance Trilogy is both the best and worst place you could possibly start. I like The Man From Nowhere quite of lot, and many people like it a whole lot more than me.
Lee Jeong-Beom's follow, No Tears for the Dead, is also available, and it has some pretty awesome moments as well.
When Choi Min-sik told me about New World at the New York Asian Film Festival in 2012 (damn, time flies), he compared it to The Departed. I've said in the past that A Company Man is the kind of film I joke about when I joke about the ultra-violence of Korean cinema. I knew that Poetry was going to be on this list from the moment I decided to write it.
Breathless is like nothing else on this list, for a lot of reasons, but the biggest one you notice from the very first frame.
Perhaps her most famous sketch character was Arlene the Office Flirt, a ravenous bandit in a swivel chair who threw herself at Jason Sudeikis and made lewd comments about balloons. People who eat other people's spare pizza are, indeed, heroes, so please respect Barb's entrepreneurial wisdom here.
And even though I've been a little less in the loop recently than I was a few years ago, I still have a deep love for Korean films. Best because it's one of the strongest trilogies in cinema history and each film is fascinating in and of itself. It's not just that The Good, The Bad, and The Weird is an amazing film (although it's certainly that); the way it fits into Kim's filmography is so appropriate and bizarre.
Yeah, this list could have turned into a Kim Jee-Woon-fest if there were any more of his films on Netflix.


Here is a film that goes all-freaking-out in service of a message that really doesn't justify the bloodshed. It's a creepy and tense thriller following a family that is being stalked by a helmeted murderer. It takes a very long time to get into it, but commit and you'll be rewarded with something unique, fascinating, and depressing as hell. Please report harassment, spam, and hate speech to our community fisters, and flag the user (we will ban users dishing bad karma).
Niccol has written and directed them all, with the latter two generally lacking the quality of his first two films. And for that reason, this is intended as a living document, one to be updated periodically as films come and go.
I don't know if it's better than The Man From Nowhere, but it's definitely worth checking out. Following up A Bittersweet Life (among my favorite gangster films of all time) and A Tale of Two Sisters (a fascinating horror film that goes on and off of Netflix with unfortunate regularity), a straight-up comedy Western seems like a hardcore turn away.
This is quite probably the most depressing Korean revenge thriller, which you may know is a particularly depressing subgenre.
Was he implying that, as a white person, I hadn't seen Infernal Affairs and had only seen Scorsese's American-ized version? Yes, all work and no play makes Jack a dull boy, but even Jack Torrence didn't bring an M-16 to the office. Is The Host the right inspiration to get Niccol back as a thinking man’s sci-fi favorite? Many people would just put Oldboy here and be done with it, possibly relegating the other two to separate entries, but that does a disservice to everyone involved. American (it often feels like the film pulls punches in a way that something like The Chaser does not), it's well worth a watch. But it goes back further, and it's more reminiscent of Kim's second film, The Foul King, which is a comedy about a wanna-be Luchador wrestler. Sometimes it seems like the film is delighting in just how fucked up it is and just how soul-crushing it can be, but that does nothing to diminish the artistry of it all.


I don't have any good excuse for having done so, but he was the one big name in arthouse Korean cinema that I was aware of but seemed to be avoiding. The ultimate reveal is fascinating and also really freaking scary, and it gets at an interesting societal problem, one that may be Korea-focused but is certainly more broadly applicable. For people who are a fan of giant monsters wrecking things, this is an easy recommendation. While The Good, The Bad, and The Weird turns things up to 11, it serves as a reminder of just how versatile a director Kim is. You need to be in a particular frame of mind to watch I Saw the Devil, but if you go in prepared for serious emotional pain, you'll only have your night ruined and not your entire life.
I'd had a copy waiting for me at home for at least a year by that point, but I never got around to seeing it. You can't sympathize with the murderer, but even understanding what might drive them to do this puts this a step above most films of its sort. But even people who aren't really into that sort of thing should see it, because it's a spectacular and unique take on a very familiar concept.
Now I've seen Infernal Affairs, and it's a great movie that I highly recommend to those of you who have also been putting it off for inexcusable reasons. It's certainly not on the level of Lesson of the Evil, which I still question my response to every so often, although it's also not quite as well-crafted as that film. As long as you can handle bloodshed, you'll certainly be intrigued and most likely have a good time. This is a film that will make you sad, and then it will just keep making you sad until the exceedingly sad ending.
There are weird bouts of silence throughout that seem like mistakes, though I don't think they were.



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