Initially wary of each other, a fumbling relationship begins to form between the young wife and her brother-in-law, clouded by the fog of grief, guilt, and confusion. Two months after their wedding, Yeon-i?s (Yoon Jin-seo) husband Jin-wu (Yoo Ji-tae) gets into an accident and falls into a coma. Assistant Commercial director Choi Bona does all the hard and tedious work thanks to her indecisive personality. A live talk show for the movie "The Royal Tailor" took place at CGV Apgujeong, Gangnam, Seoul on December 23rd.
An actor's image is a very important thing in South Korea and when it comes to dramas, role choices very often shape viewers' opinions about the artist.
Lee Si-yeong is someone whose image is a bit different and whose role choices have never been about how graceful she can look, but about how fun she can be. The Korean name for Commitment literally translates to "Alumni," and it's one of the rare times where I feel like the foreign name makes more sense, though just barely.
I feel like a North Korean spy would be insulted by the characters in Commitment, because none of them are particularly smart. The only real obstancle is Lee Hye-In, the girl he sits next to in his new life as a South Korean high school student. They become "friends," which is all well and good, but while they're off having frivolities, the main narrative continues to play. Then again, he's a kid, as people love reminding him, and some of his irrationalities can be justified by saying, "Dude's 19. A group of elite North Korean spies, trained since youth, has been dispatched to South Korea where they’ve disguised themselves as a fool, an aspiring singer, and a high school student.
When prolific Korean director Park Cheol Soo died earlier this year after being hit by a drunk driver, film fans around the world took solace in the fact that while he was gone, his amazing, truly independent masterpieces would live on forever. Starting on October 1st, Korean Movie Night celebrates the life of Park Cheol Soo – guaranteed to move you like never before. The powerful, boundary-pushing drama that put director Park Cheol Soo on the map, 301, 302 explores the stories of two neighboring women, one who suffers from binge-eating, and the other from anorexia.
Ordered to 100 hours of social service for taking a younger lover, Mun-hui meets up with Hyeon, the object of her desire, and becomes engrossed with him yet again.
In the last film he lived to see released, director Park Cheol Soo explores human obsessive desire for sex.
In the original release, when Soon-Yi meets Chul-Soo again, the two have weathered the past forty-seven years in radically different ways. In the extended release, which runs two minutes longer, the meeting at the end is between Chul-Soo and a young Soon-Yi.
But whichever version you see, that difference will only affect the impact on the film's ending, and I don't know that it changes much there at all. Werewolves may be conceptually stupid, but the focus on the human aspect of the character makes it a much easier pill to swallow.
Sunny, in a nutshell, is a story of a group of women trying to rekindle their friendship from twenty-five years ago.
The benefit of Sunny’s dual timeline is that it allows for the film to really show how the characters changed over the twenty-five years, but also how similar they remained. I like to believe that in twenty-three years I will be able to look back on my time in high school as fondly as the characters in Sunny do. I do know, however, that if I watch Sunny five, ten, perhaps even twenty-three years from now, I will still love it. The Korean Cultural Service loves to laugh, and judging from the hilarious and heartwarming blockbusters that have smashed records across Korea over the past few years, we’re not alone! Kindness can happen anywhere, as evidenced in this brand new blockbuster about a group of prison inmates who devise a plan for one of their own to see his estranged daughter.
A country girl, relocating to Seoul, becomes part of their clique… but when tragedy strikes, the group finds themselves forced to go their separate ways. Architect Seung-Min (Uhm Tae-Woong) receives a visit from a woman who wants his assistance in building her new home.
From director Jo Sung-Hee comes a timeless romance about young love and the lengths we will go for passion.
Young Gun in the Time gives vague explanations of its rules of time travel, but for the most part they are incomprehensible. From a technical standpoint, it seems like director Oh Young-Doo is like a little kid in a candy shop. But it's not just the camerawork or editing that show what Oh Young-Doo can accomplish with a bit more money, the use of lighting is truly excellent and the way it makes use of its sets makes everything feel much more upscale than something like Invasion of Alien Bikini. Young Gun in the Time is an exciting film, both in what it presents and also what it represents. This is never more apparent than in the moments when what is supposed to be scenery is a part of the film.
The film goes back and forth between the past and the present, showing the relationship between the three of them, how it grew and fell apart.
I want to reiterate what I said at the beginning: I hope the translator has been fired and blacklisted. Tae-Su (Kim Young-Hoon) is a recently unemployed businessman who, at his wife's behest, fakes a divorce for reasons that are not entirely clear. One of the biggest problems with Home Sweet Home is that none of the characters have anything worth expressing or, for that matter, anything resembling actual personalities. Things take a turn about two-thirds of the way in, though, and at that point it seems like Home Sweet Home is a completely different movie. But it all came to a head near the end of Home Sweet Home, when one of the characters begins to monologue about just how hard life is.
In a way, it was a perfect moment that encapsulated all of my problems with Home Sweet Home. Perhaps the most impressive thing about Moss is the way it turns borderline cliche moments on their heads. Subtitle opinion update: I rarely address translations in reviews (unless the translation actively lessens the film's impact), so I didn't mention the occasionally iffy subtitles in the original release that I saw (and I assume is on Netflix). Without any knowledge of Korean, I can only assume that the dialogue is an accurate representation of what's being said, but I can say that it all seems to be in order, and most of the apparently important text onscreen is translated, which is something I always appreciate.
0[This review was originally written as part of the ongoing series of Korean Movie Night NY screenings and then showed up again during our coverage of the New York Korean Film Festival. If you’re curious about what a Korean Woody Allen film would be like, Yoon-ki Lee’s My Dear Enemy makes a fine case study. One thing I like about Korean movies are, they seem to know all the way to make people cry with a smile. Novelists primers at The MillionsMy introductions to the most adventurous, innovative contemporary novelists I know, hosted at exemplary literary site The Millions.
The Ubuweb Experimental Video ProjectMy experimental video writeups, now hosted on — wait for it — Ubuweb. Barely LiterateA podcast book club where panelists from all over the place discuss all manner of literature.
The Marketplace of IdeasA public radio show and podcast about books, commerce, culture, and fascinating concepts.
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Leaden with loss, Yeon-I nonetheless lives on, leading the devastated half-existence of people numb with tragedy, with the sole, sullen comfort of watching videos of her recent wedding until… out of nowhere, Jin-wu’s identical twin brother Jin-Ho (also played by Yoo, taking on subtly conflicting, dual roles) returns to Korea, much to the shock of Yeon-I. But soon, emotions boil over, and the clothes come off, swept away by the full tide of their mutual attraction.
One day, Jin-woo?s identical twin brother Jin-ho (also played by Yoo) returns to Korea, and his striking resemblance to Ji-wu surprises Yeon-i.
Commitment sounds like the name of a film starring a K-Pop singer, but it doesn't sound like the name of a film about murder.
He is sent to South Korea in order to find and terminate the man from Section 35 who has been killing all of his comrades.
On multiple occasions, this exact situation plays out, and every single time the information given is legitimate. If there weren't subtitles, I would have just assumed that the two of them were getting together in some way and been surprised (though not unhappy) that they never kissed. For something like 20 minutes, Myung-Hoon's mission is forgotten as he goes off and does whatever, and then the Section 35 assassin shows up and murders his "foster-parents," two North Korean spies he was living with as cover. Whatever." But the film heavily implies that he grew up in a labor camp as the only person caring for his sister, so he probably grew up pretty quick and would be a bit more hardened to the outside world. There's plenty to like and almost as much to dislike, but the good generally outweighs the bad, and people who don't think all that much about it will have a better time.
Passing their time without receiving orders from the North, they gradually become accustomed to life as ordinary neighbors in a small town until one day, their mundane lives are turned upside down when a very unexpected "secret and great" mission is suddenly assigned to them. As huge fans of his work, the Korean Cultural Service pays tribute to this amazing man by offering up three of his most acclaimed films.
First at odds with each other, the two women realize that their struggles and dark pasts are not that different – and that their disorders may ultimately bring them together in a very unexpected way. He is strong, resilient, and maintains some dog-like behavior (his need for positive reinforcement is human, that it must come in the form of a pat on the head is not). Song Joong-Ki's performance overall is fine, but in the earliest encounters (before he gets cleaned up) he isn't entirely believable. I loved the transition from present day to the past, but it could have just as easily come to the same ending with a "47 Years Later" subtitle and a little bit of extra exposition. The scenes with the transformation are easily some of the dumbest in the film, but neither lasts more than two minutes and the iffy effects are soon forgotten.
Generally films of this nature have one story which is weaker than the other, but no matter when the film was taking place, I was always very happy to be along for the ride. Perhaps the craziest thing that happens is a fight scene taking place between Sunny and a rival group of girls.
Sure, their life situations were completely different and many of them didn’t end up in the places they hoped they would, but their personalities and characters stayed, for the most part, consistent.
Comedies and romances are hotter than ever, and fans around the world are obsessed with the feeling they get from laughing, crying… and loving! As it turns out, the mentally-handicapped Yong-Goo (Ryoo Seung-Ryong) was falsely imprisoned and, after saving one of his cellmates from a rival gang leader, earns the trust and admiration of his fellow prisoners.
In this award-winning blockbuster, a group of schoolgirls form a timeless friendship, bonding over their willingness to do whatever it takes to make each other’s lives better. Twenty-five years later, when two of the girls happen to meet by chance at a hospital, they decide its tie to get their friends back together and make their lives “sunny” again!
This is from the guy who made Invasion of Alien Bikini, so broken English is somewhat expected, but that gives some sense of what that film could be about.
If someone does a thing, it will mean that they break a hole in something and if you die in the past then you disappear in the present, but only at certain times (but what those times are isn't really clear). He's just gotten his allowance (a full order of magnitude larger than the last one) and he is free to get whatever he wants. It's the window dressings that give it that feel, like the dozens (if not hundreds) of clocks in the watchmaker's workplace or the old-looking vases in the antique shop, a number of which get destroyed. Young-Gun has more stamina than most marathon runners, and spends a great deal of time running through the streets trying to either quickly reach a destination or chase after something.
Oh Young-Doo is clearly a very talented guy, and this film shows some real chops, even if he's still constrained by a tiny budget. A row of modeled underwear is hanging from a modeled clothesline, but at the end of that line is a hand-drawn bra. The story it attempts to tell a compelling one, even if Ga-young is not the best character to tell it through. I can't pretend to know much about Korean folklore (or any Asian folklore, for that matter), so I don't know if it has historical roots, but in my mind the concept is fresh and compelling.
Where that film acknowledges the terrors of middle school but looks optimistically at the future, The King of Pigs is consumed by it. Teachers play a minimal role in the film, existing mostly to dole out punishment to those they deem worthy of it.
Not only did he fight back, but he was capable of it, going so far as to put one of the upper class students in the hospital.
I can't say whether or not there was any kind of meaning behind the Korean script, but I have trouble believing that it was as soulless as the English (if you can even call it that) makes it out to be. That person is in every way incapable of doing their job, and director Yeun Sang-Ho should sue that person for lost ticket sales. Fortunately, I got over that hump and didn't even think about it for the entire second half. From what I was able to gather, the story is compelling, and it goes to some pretty shocking places. Due to the whole "free" thing, it may be worth seeing regardless.]0An interesting film destroyed by its subtitles[This review was originally posted as part of our freaking awesome coverage of the New York Asian Film Festival.


At various points throughout the year, those lovable lugs over at the Korean Cultural Service put on a series of free movie nights down at the Tribeca Cinemas. He attempts to convince her to sell the house so they will have some money, but she refuses on some rather paranoid grounds. I will admit that I found this different movie more interesting than the first one, but given my complete disinterest in that, I don't know how much that means.
He blathers on and on about how he has to do all sorts of terrible things or else he'll be thrown onto the street. What I was seeing and what the film thought it was projecting were two vastly different things.
I really, really couldn't.0[Korean Movie Night NY continues with Moon Si-Hyun's Home Sweet Home. His father dies suddenly and Ryu, who is from Seoul, goes to the village where his father lived to wrap up any important affairs. There are some honestly shocking moments, and Ryu often finds himself is in legitimate danger. The beginning of the film (first fifteen minutes or so) tells the story of how Ryu's father and the village chief met.
The music is uniformly great, underscoring the mood and adding another (wonderful) layer to everything. Fortunately, I can report that things are much cleaner in the DVD release by 5 Points Pictures. In fact, there's one significant moment that I picked up on this go-around that I didn't see last time, and that's due to the translation of the text on a cell phone. I say this because it’s a human-scale comedy of relationships that’s nevertheless curiously expensive-looking. After an accident Ji-young meets Ke-rim, a young Muslim, and the two embark on a dangerous love affair.
Yeon-I finds herself between a rock and a hard place, and in more than a bit of a pickle, when Jin-Wu miraculously wakes up from his coma. Swalski in the video and not only do men on the streets turn to look at her but top Hallyu star Lee Seung-jae has fallen for her. There are cases of stars who might avoid taking on roles that do not advance a cool and poised persona and comedy is not something everyone dares to touch, especially in physical comedy form. But he also doesn't confront them; he just lets them do whatever because he's a North Korean badass and they're wimpy little South Korean high schoolers. Yes, I would have been extremely confused in the scene where he poses as her brother and signs some paperwork for her, but I was already kind of confused about that, because that's not an American practice.
Of course, he doesn't have a whole lot of connection to them, but if he hadn't been off not-working, maybe he would have gotten to the guy sooner (he had come pretty gosh darn close a few scenes prior) and saved a few lives. He didn't ham it up, despite numerous chances to do so, and he clearly put a lot of effort into the whole thing. Breaking free from traditional Korean storytelling, the film achieved massive success and became one of the first Korean movies released in North American cinemas. A charming, expertly crafted morality tale, this Sundance Film Festival selection is a powerfully charged erotic masterpiece.
She has just been given the property and she must decide whether she wants to sell it or not.
For the most part, I would call it "adorable" before I called it "romantic," because it's not about two like-minded people falling in love and spending their lives together in harmony and bliss.
The easiest thing I could compare it to would be Sunny, and that is about as complimentary as I could get. Flashbacks are all well and good, but when the entire story save a few minutes on either side takes place in the narrative past, those few minutes on either side need to really justify themselves. What happened to him at the hands of the people who experimented on him may have even made him immortal.
The dialogue between the two scenes is the same, but Soon-Yi's lines about her aging play very differently when spoken by a teenager than when spoken by an old woman.
Some of those goodbyes were to people I didn’t really know, and some of them were to people I was very close with. Despite all of that, something resonated with me, and I have been wrestling with it ever since the credits rolled, trying to figure it out. Everything is shown from her perspective, and the film frequently (and seamlessly) shifts from the present time to their high school years. Nearly every single switch happens within a single shot, so nothing is ever jarring or surprising.
I was laughing so hard that I felt really awkward about it, and I think it’s because I watched Sunny alone. That in and of itself could be pretty ridiculous, but it happens to take place at the same time as a political riot, so high school girls, protestors, and government soldiers are all fighting simultaneously. It was always clear which character was which, even before they were named, and that’s a testament to the excellent characterization that spanned both periods. But if I stay in touch with any of my old friends, or if I somehow reconnect with someone years down the line, it’s nice to think that maybe we could be as close then as we were just a few years ago. Life now is not like life was twenty-five years ago, and life twenty-five years from now will not be like it is now. Now thrust back into a series of memories he’d long since tried to forget, Seung-Min is torn between the love of his past and the reality of his present. Driven by their primal attraction to each other, love quickly flourishes between the two, even though another man has set his sights on the young woman.
It's all very strange, but if you don't think about it too hard, you'll just accept that things are kind of dumb and get on with it. It's a given that, for the most part, independent films are a bit more experimental than large scale productions, but Young Gun in the Time takes that to an extreme. These background items, among other things which really aren't important to the plot, are the difference between no-budget and low-budget, and this film makes great use of its low-budget. He never stops to rest or ever seems particularly bothered by how much he is running, even if he is not as good of a fighter as some of the other characters. If you don't care about seeing a director expand his horizons, though, there's still a lot to like here.
There is a laundry list of things I wish it had (for example, a moral dilemma like the one I outlined in the introduction: no one with any kind of power ever sees the guardian spirits), but it's still worthwhile without them.
The "selfish woman becomes unselfish" premise is one that I have seen dozens of times, but never quite like this. Although it takes place years and years after middle school, Kyung-Min finds himself in a terrible position, having just killed his own wife, and he thinks back to his time and his friend Chul-Yi. I never found myself interested in the language, because there was nothing to be interested in. I have already convinced at least one person already to not see the film because of the translation. The King of Pigs is a very serious film, and the events that take place all tend towards the horrific, and I'm sure the dialogue highlighted the gravity of some of the things. The film was independently funded by the director, so the technology behind the film is less than stellar, and that was obvious.
If you can understand the story the way it should be, I think you will find a lot to like, even though I can't promise you will "enjoy" it. They do things and say things, but there's no real sense that they think things or continue doing things when the camera turns off. Unfortunately, I knew that the twist (if it can be called that) was coming, and I actually expected it to come earlier. We were on completely different wavelengths, and it took me until that sentence to really understand that. If you live in New York City, you can see this film for free at the Tribeca Cinemas tomorrow night (September 25th) at 7 PM. When he gets there, he meets the village chief (Jung Jae-Young) the suspicious behavior of, well, everybody convinces him to stay and find out what's actually going on.
There were a couple of phrases that seemed somewhat off to me, but they may have been stylistically stilted rather than a poor translation. Yeon-Yi, who didn't know her husband had a twin brother, is understandably upset to have a man who looks identical to her husband walking around her house, and it causes her a fair amount of stress. For those of you who don't know, Yoon Jin-seo was in many ways the catalyst for the events of Oldboy. It also has a jazz score — more of a jazz score than I’ve ever heard in an East Asian movie, anyway — composed by a Korean, but recorded by American players in Massachusetts. Ke-rim has to leave the country suddenly and Ji-young desperately missing him, leaves home on her birthday to look for him in Varanasi.
No one takes much notice of the consistently-losing Wonju High Baseball Team, yet the passion they display in this career-determinning match is exceptional. The dangerous liaison develops with the cool perversity of a Claude Chabrol film, as the reluctant menage a trois burns in the flames of erotic fixation and betrayal, reeling towards certain distaster. I don't know how much of the fighting was him as opposed to a stunt guy, but the parts that definitely were him were all pretty awesome. An early shot of the full moon seemed to imply that it would follow that myth, but the two times he transforms in the film it's not a full moon; it's a reaction.
I certainly preferred the lingering camera of the extended release, but I'm conflicted about the effect of the young Soon-Yi. The tagline, "Love was the first human language he'd ever learned," made me feel just a bit sick on the inside. And that's a wonderful thing to see.0Love in the time of lycanthropyWerewolves are kind of dumb. Now, I have a different life with different friends, and I’m happy with that, but there are a few people who I still try to keep in touch with. There were so many moments where I wanted to call my friends up and tell them just how amazing everything was. It’s a truly beautiful sequence, and it is followed soon after by the most amazing purse-based revenge I have ever seen.
Still playing to packed audiences there, Miracle in Cell Number 7is now the fourth biggest hit film in Korea’s history! The biggest romantic hit in the history of Korean cinema, this tale of star-crossed tenderness will have you dabbing away tears of joy and believing in true love all over again!0And other things that aren't SunnyI love Sunny. And really, there's so much going on at any given moment that if you stop to think about it you'll miss some other bizarre thing that will also break down under scrutiny. Liberal use of split screen (which uses weird techniques like cutting a single frame in half, pushing those halves to either side, and then putting a different frame in between them) mixes with all kinds of other strange editing and other technical choices to make something truly unique. No-budget filmmaking is fascinating, but at the end of the day there just needs to be a little bit of cash to keep things well-oiled and pretty.
Admittedly, if you aren't a fan of nonsense or action, you will be turned off by the film almost immediately, but if you can look past the weirdness, you'll find some unique and enjoyable. Unfortunately, her family has gone broke and she is forced to live in an ugly apartment with a friend who is far too kind, given how ungrateful Ga-young is.
These guardian spirits aren't actually capable of doing anything, but they're big and cute and nice.
Past experiences with Korean 3D animation is not up to American standards, which is hardly surprising given the more limited resources generally afforded to them, so it is nice to see something that tries to differentiate itself. Part of that comes from the 82 minute runtime, because I usually have a pretty hard time getting mad at films that clock in under 90 minutes (though there are, of course, exceptions). He meets up with Jong-Suk, who he hasn't talked to since his first year of middle school.
But in a key moment, when a character announces, "I will suicide myself," I couldn't just take it in stride. Muddy textures, weird uses of ugly 3D models, and other issues are abound, but all of that can be looked past, because what's onscreen is compelling (and occasionally difficult to watch). Without any money, he is forced to move into a lodging house, which seemed like a college dorm room, except the rooms are about the size of solitary confinement cells. This is much worse for some of the characters than others, but even Tae-Su is just kind of a nothing character. Sure, it sounds like the plot of an incredibly generic pseudo-detective story, but it's so much more than that.
Although most of the fights are primarily hand to hand, but there are moments where weapons are involved that add a new layer of horror to the whole thing. The way the camera moves and shows the environments is very different from most other films (in a good way) and the framing is as good as you could ask for. Sure, that time skip was an annoyance, but since you're aware of it, you won't be so confused. Given the uneasy nature of many of the characters, I wouldn't really be surprised either way. It's not a revelatory new experience or anything, but as far as definitive English versions go, I can't imagine any will beat this new one by 5PP (unless they release a Blu-ray version, which they should).
But fortunately for her, sex is a stress relief of some kind, so she starts having all kinds of sex.


These may sound like the ingredients of one big mismatch, and maybe they are, but at least the feel is distinctive.The jauntily shifty Byung-woon, a hoodie-and-sportcoat-clad layabout who’s also quite hardworking in his layabout’s way, gets an unwelcome visit from Hee-soo, his frowning ex-girlfriend.
After making love to his lover Su-yeon, Young-wu arrives home with a birthday gift for his wife only to find a note from Ji-young saying that shes gone to visit her family in another city.A few days later, Young-wu happens to see Jiyoung on the TV news, covered in ash, coming out of a restaurant that has been bombed by terrorists in Varanasi.
To these players, baseball is everything, and the baseball field is an intense and competitive world. As it turns out, most of those things involve betraying them and then stabbing, punching, or shooting them until they're dead.
It's a pretty great database, especially for Korean films, and I have gotten a lot of use out of it over the past few years.
It brings back memories, and suddenly, it's forty-seven years prior.Soon-Yi's family has just moved into the new home, which is also the home of a young boy with shaggy hair, almost claw-like fingernails. He transforms, as he rapidly changes back to human form once he's done what he set out to do. And since we're on the topic, I want to discuss a change made between the theatrical release (which will be playing in New York tomorrow) and the extended cut.
It makes the exchange seem almost ironic, and his statement "You're still beautiful" loses its meaning when nothing seems to have changed. I put off seeing it because I wasn't in the mood for something I expected to resemble Twilight (though let's be clear: I've never actually seen Twilight). They're an amalgamation of two great flavors (wolves and people) that don't go great together.
But really, pointing to one scene is just silly, because I could point to literally any scene in the film and use it as proof of Sunny’s quality.
I love it so much that I don't feel awkward typing like a preteen girl talking about how fantastic it is.
It's like series of puzzles, and even in those rare cases where the puzzles are solved, the process of solving them is hidden from view. Fortunately, the strange stylistic stuff isn't overused, and there is enough traditional camerawork and whatnot to keep it from feeling like a straight-up experimental film. Young Gun in the Time does that, and it looks far better than its budget might suggest. She decides to be a tutor, but she won't tutor kids in the poor neighborhood in which she has been forced to reside.
Did they save time by building those models and taking photos for the action to take place on as opposed to drawing everything by hand? If you're in the New York area and can make the Tribeca screening, I imagine that seeing it on a big screen would be pretty cool. Some of the lower status students (particularly Kyung-Min and Jong-Suk) are consistently harassed and frequently beaten by the upper class students.
It seemed to me like the script was just run through Google Translate and then just put onto the film before calling it a day. I probably sound like I'm exaggerating the problem, and that it couldn't honestly be this bad, but it is. Everything he says is almost instantly forgotten, and his issues seem to be almost entirely self-inflicted, so there's not much to really attach to and care about. Maybe I would have liked the whole thing more, but I think I probably would have liked it less. Maybe if you're the kind of person who could sympathize with such a disgusting character you will think, "What the hell was Alec guy talking about? Once I got my bearings, everything was fine, and later time jumps were handled more delicately, but it's definitely something to be aware of. The visceral nature of the violence helps the suspense escalate as well, because it gives a very real sense of the danger lurking around the village. Given that the film is basically the same length as The Dark Knight Rises, though, a couple of oddities (if they actually can be considered such) are totally understandable. She’s come to collect an outstanding loan of 3.5 million won — only like $3000, but still — and, by some miracle of intuition, knows she’ll find her debtor at the racetrack.
Young-wu starts to investigate his wifes whereabouts, suspects that shes having an affair with Ke-rim, and sets off to look for her in Varanasi..
He could have said, "It was the person at the dry cleaner" or anybody except the person who might actually know. Because she has the same name as his sister, who he left back in North Korea and whose safety was the primary motivation for him becoming an agent in the first place. I will admit that it was cool to see some bad people being thrown around, but the special effects left quite a bit to be desired. And I'm glad, because otherwise it could have gone in some weird Twilight-esque direction with cross-species breeding. It's one of the most bizarre changes I've ever seen from one version to another, and it drastically changes the way one of the most pivotal scenes in the film plays out. It certainly would have been fitting, given what the film is about, but I generally think that laughs are best when shared, and there are more than enough laughs to go around. Then a girl comes in and asks him to kill somebody, and he has to refuse, for obvious reasons.
I can't wait to see it.0Nope, time travel still doesn't make sense[Korean Movie Night NY continues tonight, March 12, at 7 PM with Oh Young-Doo's Young Gun in the Time.
One parent in the nice houses will pay 10 times what the poor parents will pay, and she doesn't want to be associated with common folk.
There are all kinds of cruel pranks that they play, and the fact that they are let off for what they do when the students attempting to fight back are punished just made me angry. The animated nature of the film means that creating disorienting environments or moments can happen more naturally and more easily within the film. This is such a powerful statement about the way the upper class has treated the poor in this country (and all around the world!" And if you can get that much meaning from Home Sweet Home, more power to you. That's fitting, since it's a thriller at heart, but there are some nice, light-hearted moments to mix up the (oftentimes brutal) action and suspense. Excellent direction mixed with fantastic acting makes every kick, punch, and stab work as well as they possibly could. There is so much to the story that I would love to talk about, but I think I have said enough. Given that it was a secret incestuous relationship that led to both of their characters's downfalls in Oldboy, their casting together here as secret, verging-on-incestuous (do in-laws count? Swalski in the video and not only do men on the streets turn to look at her but top Hallyu star Lee Seung-jae has fallen for her.Will she be able to start a new relationship with "Man Manual"? Even under the assumption that Myung-Hoon would not be making it out alive (because of Exchange Pt 4: Attempted Murder), giving him that information makes no sense. Everything he sees he grabs with his hands and shoves in his face, which is to be expected. Needless to say, the next two paragraphs will delve heavily I am going to go heavily into spoiler territory. The forbidden experiment (depriving a child of basic human necessities to see what its basic nature truly is) is a fascinating one, and A Werewolf Boy puts an interesting spin on the idea. And in the rare moments when I wasn’t laughing, I was completely absorbed in whatever was on screen, usually some kind of tense or intense drama, which was just as deftly executed as the comedy. But after his boss (who he refers to as his secretary for what are probably cultural reasons) kicks her out, Young-Gun goes out to find and help her. But he holds his own, and there are some really cool fights (including on that takes place in a van that I'm pretty sure was actually shot out on the street as it was moving).
It seems like a pretty typical setup for a film about a woman who comes to her senses and realizes that money isn't everything. Most of the subtitled films I have seen (at NYAFF and otherwise) have imperfect translations. He said, "I know it must be hard to sympathize with people like me," and I nodded in agreement. An early scene features a man repeating kicking four tied up men in the testicles and hitting them with a large branch. The ending shows that Chul-Soo is alive, young, and well enough, but whether or not the two of them meet is unclear. But maybe in twenty-three years I’ll go to a high school reunion, and I will see old faces and try to rebuild some kind of relationship.
Regardless, my point is that it's weird, and it doesn't always work as well as I imagine the filmmakers hoped it would.
Some are worse than others, but they usually just seem like they needed another proofreader rather than an entirely different translator. But the film needed something to shake it up, and I guess that did it as well as anything else, as confusing, weird, and meaningless as it was. I know he was referring to the lower class when he said "like me," but that didn't resonate. It's funny, mostly because they all deserved it, but it also foreshadows all of the violent intensity that is yet to come.
I understand its importance, but unless it's really, really good it doesn't stand out to me. Perhaps that's the point; maybe it was just a dream, but it didn't seem to me that that was the intent, only the result.
Either way, being able to contact these blobs of good is a catalyst for some serious change. I can't believe that an actual person who was hired to translate this film could have failed so thoroughly at understanding the English language.
I'm being completely serious when I say that Bane (yes, that Bane) is a more likable voice for the poor than this guy. Soon-Yi, dog-training manual in hand, takes him under her wing and attempts to civilize him. Beginning with the key phrase "Wait," she teaches him some basic manners and at first glance he becomes a passable member of society. Once he is good as new, though, it just becomes about the wolf-like mannerisms that he kept with him.
Even if what's onscreen is occasionally problematic, the visual quality (CG excepted) makes it much easier to enjoy. Ga-young is not a sympathetic character, and her 180-degree flip feels somewhat contrived, like the plot device that it is rather than any legitimately earned character development. Every once in a while, there would be a run of a couple sentences that all made sense, and it would be almost as shocking as the horribly poor language usually on display. As they should.I instinctively want to see a tale like thus told on the cheap, maybe with stolen 16mm footage on unsuspecting public streets or in one long take on standard-definition video.
Alas, Lee went with what I would consider a high gloss, peppering the film with bothersomely expensive-looking shots. This isn’t much of a complaint in the scheme of things, but a form-substance mismatch is a form-substance mismatch, however slight.I recently asked a Korean film critic what I consider the prime question of that nation’s cinema: how on Earth do Korean filmmakers pull off so much melodrama so unobjectionably? Answers have always varied, but one common response is that melodrama is so deeply ingrained in Korean culture that, by now, they can actually execute it with some degree of subtlety and respect for the audience.
It’s got a dead baby in the first act, a hellish conflagration in the last, an act of penitential suicide to finish it off, and the running theme of friendship’s honor tested by some of the most harrowing circumstances imaginable.
I’m beginning to sense that this might be the predominant theme of modern Korean narrative: once forged, and no matter how abused or neglected, the bond of friendship — as well as all its attendant balance sheet — is escapable only in death, and maybe not even then. But this one emphasized one quality in particular to me: when Korean dudes are tight, they’re tight. This might be a mandatory-military-service-country kind of thing, and indeed, Jae-moon and Ye-joon, the buds in question here, met during their two years in the ranks.
Jae-moon becomes an entrepreneurial fried-chicken cook (which is a thing you can be in Korea) with a pregnant wife, while Ye-joon becomes a lonely stockbroker. But this class and lifestyle divergence don’t mean nothin’; one comes immediately whenever the other calls, even if it means putting hold important tasks like, uh, sex. Glorious third-trimester sex.Lee proceeds to put this friendship to the test and then some, but my strongest reaction wasn’t so much to the ensuing near-Greek moral struggle as it was to the relationship itself. All ready for that flood of virtuous feeling that can only come from turning the other cheek to those who have done you wrong, she finds that the one who’s done her wrong has, himself, converted — and claims to have already gotten word of his being forgiven, straight from the Man Upstairs. Hence the short turnaround time between Shin-ae’s first religious epiphany and first religious crisis.I’ve long been fascinated by the hold Christianity has taken in Korea. From the outside, the country can at times look like one big megachurch, but, as I recall, only about 30 percent of the population actively subscribes to the teachings of Jesus and Company.
Parts of Secret Sunshine seem to offer a commentary on this along the lines of “easy come, easy go,” but I’d be hard pressed to draw out an overall judgment on the religion. The group that draws Shin-ae in — or welcomes her in, if you see it that way — comes off more than a little loony, expressing their zeal through that distinctively unconvincing aesthetic, hollow plastic-y grandeur. Lee refuses to resolve her issues with faith, fate, and fatality, which is only good filmmaking, since they’re inherently irresolvable.



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How to communicate with confidence and clarity


 

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