Let me say straight away that I regard Korean director Park Chan-wook as one of the best around and his much acclaimed vengeance trilogy (which includes the famed ‘Oldboy’) speaks for itself. Add to this his previous American debut ‘Stoker’ being an underrated gem and well to say I was looking forward to what came next, was an understatement. Once I discovered it would be a period piece though, for a director more known for contemporary (and bloody) revenge thrillers … I did feel a little trepidation.
A seasoned crook (Ha Jung-woo) with his eye on a wealthy heiress (Kim Min-hee), sends a trusted young pick pocket (Kim Tae-ri) to pose as her handmaiden. Once gaining the Heiress’s trust the crook himself poses as an eligible count in hope of marrying the heiress and gaining access to her fortune. Once plan is set in motion however the pick-pocket/handmaiden finds herself drawn to the lonely heiress who has lived all her life in a secluded mansion, overseen by a controlling and perverted uncle.
This beautifully shot film is full of character and period atmosphere, complete with stunning costumes and spot-on performances. It’s an intriguing premise that twists and turns, spread over three distinct parts, where we get to see the differing points of view of the various characters and gradually learn about each of their underlying plans and cunning manipulations. Who will come out on top? Think to some extent Dangerous Liaisons and you’ll have a good idea what this about. It’s got a quirky sense of humour (especially during some explicit but not particularly erotic sex-scenes) and some of the Korean / Japanese traditions are fascinating. For a film by Park Chan-wook however it lacks the showmanship he’s displayed in the past, going for a more sedate, realistic vibe that’s still eye-catching thanks to gorgeous cinematography and lavish locations / set design. At over 2 and half hours, it’s a bit drawn out, but packs in a lot of personality. Not as immediately essential as his best work … but still one to check out if your a fan or enjoy quality Korean cinema.
The arrival of a mysterious Japanese hermit in a small South Korean village sparks suspicion and escalating stories amongst the townsfolk, which quickly turn to hysteria when a strange virus begins to cause the people to turn violent and kill each other. A bumbling Police Sergeant becomes involved in the investigation and soon learns his young daughter may have contracted the same virus.
This acclaimed horror / thriller is directed with no-end of visual flair by Na Hong-jin (The Chaser) and is filled with interesting, flawed but very believable characters and not-unlike-Seven atmosphere in a constantly rain-swept village. It has a very compelling mystery at it’s core and several strong performances that kept me interested. The inclusion of Korean and Christian beliefs and superstition mixed with the spreading of rumours and prejudice towards the mystery hermit was also a clever approach. Add to this some gorgeous cinematography as well as several memorable scenes and I was having a great experience with this latest Korean effort.
However as the story neared it’s conclusion, a twist turned events on their head but thankfully impressed me with how well it suddenly made everything fall into place … that was until a second twist turned that revelation on it’s head also, and then I was left confused. Up until that point I’d been gripped and the very well observed and powerful ‘father trying to save his daughter’ narrative was looking to make this an easy recommendation. But despite a dark-as-it-gets ending (which did leave it’s mark) I came way feeling rather cheated. Shame.
There’s certainly been a number of quality movies coming out of Korea in recent years … from the acclaimed films of Park-chan Wook (‘Old Boy’, ‘Sympathy for Mr Vengeance’) to quality horror like ‘I Saw The Devil’. So I thought after enjoying such movies, I’d better seek out some more Korean cinema. So we come to this much talked about take on the 28 Days Later formula of a virus outbreak and a hoard of ‘infected’. This time during a routine train journey.
We’re introduced to a businessman (Yoo Gong) going through a messy divorce and trying to retain some sort of relationship with his daughter. However on a train journey to take her back to her mother, said business man and a group of interesting characters soon discover that a virus has broken out and is spreading like wildfire. This is classic stuff, not dissimilar to a disaster movie where the viewer is introduced to a range of personalities each with their own agendas and back stories. However with the threat of a growing number of infected on the train and not knowing if the destination is safe, a battle for survival quickly ensures with tension cranked up to 11. I felt this brought back genuine thrills and intensity to horror that seems to have been missing for a while. It favours heart-in-mouth moments (whenever a window shatters) over gore and has impressive CGI and slick production values throughout.
The setting was claustrophobic and made for some genuinely chilling moments and the range of different characters (all well acted, particularly the young girl) made me care for not just the principle leads but almost everyone (bar a particularly selfish guy who you’ll be booing towards the end). It’s the sort of movie that keeps you guessing about who will survive and how things will turn out and for me, made for probably the best movie of the year so far.
Ok, I’ll admit I like shock-cinema foreign thrillers such as Old Boy & I Saw The Devil, not just because they are usually very violent with often taboo subject-matter, but also because they’re usually directed with no end of skill and style. This is no exception. A serial killer is going about picking up prostitutes, then torturing and killing them, whilst filming them on camera. He then uploads the footage to an internet website where it attracts the attention of a lonely, troubled reporter whose career and marriage have both failed. When the reporter is mugged one night, his interest in the videos takes over and he films the two men he murders in self-defence, and proceeds to upload the footage onto the website. This then sparks the interest of the serial killer, who starts to goad the reporter into doing further killings.
Directed by The Mo Brothers, this unflinching character study may not be pleasant viewing, and involves some pretty graphic scenes (the attack on the pimp for example) but excels at showing two complex personalities, delivered with powerful performances from the leads. The serial killer’s inner demons surrounding the death of his sister, his inability to comfortably date the nice girl from the florists … and the reporter’s struggle to bond with his own daughter whilst hoping to reconcile his relationship with his ex … are both very well observed. This was also a clever commentary on modern society’s obsession with documenting and filming even the horriblest of situations (who can forget how many filmed the World Trade Centre attacks?). Also at times how we saw something from the killer’s point of view, only for it to have subtle differences when seen through someone else’s eyes was very clever.
Deviations into English language were a bit odd (the two guys seem to resort to English when speaking via webcam), and supporting characters are under-developed. It may also explore a well-worn subject … but offered up a fresh perspective and some genuine surprises. Not for everyone, but fans of hard-hitting thrillers with plenty to leave you thinking – this is one to check out.