World Cinema – 4 Films You Need To Watch From South Korea!

Some of the most impressive films of all time have come from different countries around the world. Many audiences find solace in Hollywood productions, or English Language films, and while there is nothing wrong with that it feels necessary to show people what they’re missing.

South Korean cinema has probably produced some of the most stylish films of the past 20 years, and although the country has been making films for a lot longer, the past few decades seem to flourish more than others. It seems unfair to forget an entire nations cinematic history, so maybe we can revisit South Korean cinema once again, but for the time being, here is 4 films you should definitely look out for.

 

 

A Bittersweet Life (2005)

Director: Kim Jee-woon

A loyal mobster is given the order to investigate his bosses mistress. When he finds her with another man, that isn’t his boss, he decides to go against his orders and let her live. His decision leads down a path of punishment and revenge.

South Korean revenge thrillers are common, and usually they become the most recognizable on an international scale. A Bittersweet Life is among one of the best,  and although it shares a similar style to other revenge thrillers, it never loses it’s personality. The gruesome thriller is lead by Byung-hun Lee, who deserves all the praise in the world for bringing a cold intensity to his performance, with a little added softness to balance it all out. It’s brutal, bold and on a couple of occasions actually funny. It’s violent, exciting, and still feels fresh in a group of similar films.

 

 

Train to Busan (2016)

Director: Sang-ho Yeon

A virus that turns its victims into zombies breaks out in Korea. A group of passengers find themselves fighting for survival on a train to Busan, among them is a vacant father and is young daughter.

Zombie films are somewhat hit and miss, and from a financial point of view, this film unique selling point is that it’s setting is mostly on a train. But, that’s just a selling point. The film’s heroism, surprising depth and sheer velocity is what put it above and beyond. While most horror’s only go for the scares, Train to Busan flourishes with it’s storytelling, without forgetting the horror.

 

 

The Host (2006)

Director: Joon-ho Bong

A creature emerges from a river in Seoul with it’s attention turned on the people. Waves of people are attacked and in all the anarchy, Park Gang-Doo’s daughter is taken captive by the creature. As a desperate father, he assembles his dysfunctional family to save his daughter.

This genre piece captures the essence of anarchy that comes with a creature feature. Not only that, but it doesn’t take itself to seriously, which is even more important. What The Host does, is use it’s genre as a base, and at the core develops a story about family and how much we need them despite any differences. The importance of family is the highlight, with an ode to creature features that gives the genre a new lease on quality.

 

 

Joint Security Area (2000)

Director: Chan-wook Park

At a point that separates South and North Korea, two North Korean soldiers are found dead. With neutral parties investigating the murders, things start to heat up.

Although my synopsis is somewhat vague, it seems appropriate for the effectiveness of the reveal. Less of a twist, but more of statement. What’s gives the film a certain beauty is a it’s tender story of friendship blossoming in a hostile setting full of hatred and war, and while it seems easy to pick any of the Chan-wook Park films (Oldboy, Lady Vengeance, Thirst), JSA has more levity too it, being his most socially aware film, and it’s that reason it’s on this list. If you’re looking for style, look no further than Park’s master technique, it just so happens to be accompanied with a little social commentary, and heart.

Reviews! – Annihilation, Unsane + Proud Mary

Annihilation (2018)

Director: Alex Garland

When her husband returns home, after being presumed KIA, Lena (Natalie Portman) becomes aware of the true nature of his last mission. With an army background and scientific career, Lena joins a mission into the unknown ‘shimmer’, to look for answers about her husbands mission.

Alex Garland’s title has patiently changed to director, and the patience paid off with Ex Machina which became a modern classic almost instantaneously. With his second feature, he gives us another dosage of intelligence and soft Science Fiction but with added horror and daunting ambiguity. The scares are balanced, only jarring the softness but never destroying it, and the ambiguity leads you to ask questions that Garland isn’t afraid to let you answer yourself.

Verdict: 5/5

 

Unsane (2018)

Director: Steven Soderbergh

A young woman is admitted against her will to a mental hospital where they keep her for as many reasons as they can. While she begins to question her own sanity, her biggest fear confronts her.

Soderbergh’s use of the iPhone provides the right atmosphere and grain for what is a frustrating, yet exhilarating experience. The film’s trailer bolsters a constant feel of paranoia which the film succeeds in doing for the majority, but what it leaves out is facing your fear, and inability to lose all traces of it. In some ways it’s the films downfall, but yet another impressive note on Soderbergh’s filmography.

Verdict: 4/5

 

Proud Mary (2018)

Director: Babak Najafi

A hit woman, named Mary (Taraji P. Henson), takes out a target not knowing his son sits in the next room. A year later, Mary saves the child while inadvertently causing trouble for the crime syndicate she works for.

As the opening scene is upon you, it’s clear that Proud Mary is trying to pay homage to the female led blaxsploitation films, but the out of sync music and chopping editing doesn’t do any of them justice. With a central focus on an underdeveloped relationship, and underwhelming use of probably one of the most charismatic actresses in Hollywood today in Taraji P. Henson, this action film feels completely half-cocked.

Verdict: 2/5

This Week’s Films! – Valerian and the City of a Thousand Planets + Dunkirk

Valerian and the City of a Thousand Planets (2017)

Director: Luc Besson

When Alpha, a city home to thousands of species, comes under a threat from an unknown source, galactic agents Valerian (Dane DeHaan) and Laureline (Cara Delevingne) try to stop the threat.

Having a budget over 150 million dollars, this space opera makes the most of every penny. From scene to scene, Besson’s focus is on bringing to life a pure spectacle. However, its beauty lies in its visuals, and not in the story. There is no doubt that when award season comes it’s a visual contender, but with an unexciting love story and shallow characters, it’s too weak to be considered anything special.

Verdict: 3/5

 

Dunkirk (2017)

Director: Christopher Nolan

It’s 1940, with allied soldiers surrounded on the French Coast, British forces attempt to evacuate the beach. With soldiers scrambling for survival by any means possible, everyone waits for a miracle.

Traditionally, the War genre’s focus has always been about the element of heroism. But Nolan’s ticking time bomb of a film becomes about survival. With Han Zimmer working once again at the height of his powers, and each cast member being as solid as they can be, the whole spectacle is a harrowing symphony that will keep you on the edge of your seat.

Verdict: 5/5

This Week’s Films! – Hacksaw Ridge, Lion + Jackie

Jackie (2016)

Director: Pablo Lorraín

After the days of the assassination of her husband, Jacqueline Kennedy (Portman) deals with grief while trying to ensure the memory of her husband is appropriate. As all this happens, she becomes an icon to the people.

The well-dressed character study sheds light on a devastating situation in American history, and with a single character focus it brings out a tremendous performance from Natalie Portman. Unfortunately the reason that the score, set design and central performance really drive this film is due to a lack of story. There is a depletion of interest as the emotions unfold but the far more engaging assassination plot just floats in the background, but never reaching the surface.

Verdict: 3/5

 

Lion (2016)

Director: Garth Davis

When young Saroo gets lost on a train as a child, he is eventually adopted by his Tasmanian parents. After years of being raised by his new adopted family, an adult Saroo (Patel) can’t help but think of the family he lost, and decides to reach out to them.

An incredible true story that’s a match made in heaven for any actor looking for a challenge. Split basically down the middle, you see two very different parts of our main characters life, causing his morality to be questioned and in turn our own. A film that tests its audience through emotion and story, yet still managing an artistic flare, is a well deserved award contender.

Verdict: 4/5

 

Hacksaw Ridge (2016)

Director: Mel Gibson

The heroic story of a WWII Army Medic, Desmond Doss (Garfield), who declined to bare arms during the battle for Hacksaw Bridge. While doing his basic training, he is met with hate and bullying from other soldiers, who do not believe in the same philosophy.

A return to form for Mel Gibson with a gripping account of one of World War II’s greatest heroes. With a fluent transition from war-time romance to explosive Saving Private Ryan-esque battle scenes it becomes one of the better war films for a long time. Even when the religious driving force of the story feels a little heavy-handed, it’s completely justified with the documented interviews at the end – showing you just how heroic Desmond Doss really was.

Verdict: 5/5

Greatest Films from the 21st Century Nominated For Best Picture: Part 1

As award season is in full fruition and the highly anticipated Oscar nominations are finally out, it’s important to look back at the films that were so close winning the gold. As for the winners of the Best Picture Award, that’s a list for another time.

1. Crouching Tiger, Hidden Dragon (2000)

Director: Ang Lee

At the 73rd Academy Award ceremony, the film that took home the Best Picture was Ridley Scott’s Gladiator. While being a very compelling film and rediscovering a lot of lost Sword & Sandals charm, a film from the same year that actually may have deserved the award is Ang Lee’s Crouching Tiger, Hidden Dragon.

It’s attention to finding intricate details, outstanding choreography and being extremely entertaining at the same time are what give the film a cinematic blend. Ang Lee captures his setting to perfection as each scene holds wonderful fighting without losing sight of what’s around the action. A stunning film that is one of the best to come from the 21st Century, and with four Oscar wins behind it, it’s surprising that it didn’t win Best Picture.

 

2. The Lord of the Rings: Fellowship of the Ring (2001)

Director: Peter Jackson

While Return of the King made up for its predecessors lack of Best Picture wins, it could have easily been a three-year streak for Peter Jackson’s epic fantasy trilogy. Losing out on the award to Ron Howard’s A Beautiful Mind and the second film of the trilogy losing out to Rob Marshall’s Chicago, it’s unfortunate not to see each film holding the gold.

With all three films hitting the 4 hour mark, Jackson perfectly grabs his audience into discovering each aspect of Tolkien’s world. With so many characters woven into the intricate tapestry that is the 12 hour spectacle of the entire trilogy, it’s impossible not to be engulfed and amazed.

 

3. The Pianist (2002)

Director: Roman Polanski

Taking home the Best Actor Oscar, The Pianist is often regarded as a film fueled by its central performance. While Adrien Brody fully deserves his win, his performance is a powerful cog in an emotional charged machine of a film.

The World War II drama is arguably one of Polanski’s best efforts, his focus on the emotional and physical torment on the Jewish community surpasses any film that has tried to tackle it since. With a broken wasteland of pain and suffering accompanying the piano ambiance of sophistication, it’s difficult not to be moved from one scene to the next. It’s by far one of the best films of 2002 and possibly one of the best achievements of that particular decade.

 

4. Lost in Translation (2003)

Director: Sofia Coppola

Winning the Oscar for Best Original Screenplay, Sofia Coppola cemented herself as one of the most exciting auteurs of the 21st Century. In terms of competition, it’s difficult to beat the already mentioned The Lord of the Rings: Return of the King. 

Relying on its subtlety, Lost in Translation creates a softly comedic and moving story between mismatched pairs of people, searching for something they can’t find. It tackles happiness like no other, and despite the powerhouse that is Sofia’s father, she proves herself as an artist continually.

 

5. Finding Neverland (2004)

Director: Marc Forster

It’s not rare for films to be handpicked for more than the average nominations, Finding Neverland was nominated for 7 Oscars which included Best Picture and Best Actor. However the film only took home Best Original Score, fully deserving the award, however it would have been more than acceptable to see Forster’s drama piece become a big winner.

Johnny Depp is in easily one of his best roles as J. M. Barrie, the author of Peter Pan. The film focuses hugely on the juxtaposition between child like fantasy and grounded reality, and with Depp working on both ends of the maturity spectrum, it can easily drift from heartbreaking to optimistically gratifying.

Brokeback Mountain (2005) Directed by Ang Lee Shown on the set, from left: director Ang Lee, Heath Ledger, Jake Gyllenhaal

6. Brokeback Mountain (2005)

Director: Ang Lee

One of the biggest upsets in Oscar history will be Ang Lee’s stunning Brokeback Mountain losing out to the unsubtle and clunky Crash.  The silver lining is that Ang Lee took home the award for Best Director, however the Best Picture outcome will still remain a huge stain on the history of the award.

Although the Hollywood romance is slightly more emotional than others, the film approaches homosexuality in a much more honest way than most films circulating the Hollywood system. With stunning cinematography, and two central performances that are simply mind-blowing, this film is by far by the best film of 2005.

 

7. Letters From Iwo Jima (2006)

Director: Clint Eastwood

With this year being the long-awaited Scorsese year, it would be difficult for any film to take home the Best Picture Oscar. However Letters From Iwo Jima is a solid war drama that is an intensely change in pace for Eastwood and is one of his best films.

The cinematography is the real winner here, its grainy visual style matching the explosive effects gives the film some extra intensity. Beating its sibling film The Flags of Our Fathers in quality, it’s Eastwood’s dedication to his format that really shines as well. It’s definitely a testament to the directors work and also a breath of fresh air in terms of recent war films.

 

8. There Will Be Blood (2007)

Director: Paul Thomas Anderson

The 2008 Oscars saw the Coen Brothers sweep with their high intensity thriller,  No Country For Old Men. In such a great year for film, it’s very difficult to argue a stand out winner, especially when the competition is Paul Thomas Anderson’s There Will Be Blood. 

Anderson is one of the most exciting auteurs working today, his films are full of aesthetic genius and working at his zenith he made There Will Be Blood. With Daniel Day-Lewis working at his very best, the character of Daniel Plainview has become one of the most human antagonists in film, making him all the more intimidating.

 

9. Michael Clayton (2007)

Director: Tony Gilroy

Gilroy’s film Michael Clayton was unfortunately placed in the running against the already mentioned There Will Be Blood and No Country Old Men, leading to a lack of attention when it came to award season.

Without the use of excessive violence to make this thriller exciting, it relies heavily on its pacey dialogue and faith in its leading man. It’s quality storytelling that is helped by wonderful performances, especially from George Clooney, who proves that his natural charisma can morph into a powerful performance that really anchors the quality of the film.

 

This Weeks Films! – La La Land, Live By Night + Manchester By the Sea

 

Manchester By the Sea (2016)

Director: Kenneth Lonergan

When his brother dies in the hospital, a reclusive handyman must go back to his hometown to care for his nephew. As he deals with grief, Lee Chandler must face past trauma and the memories that haunt him in Manchester.

To be truly heartbreaking and devastating but still manage to have moments of genuine laughter is hard to do in a film, but Manchester By the Sea hits the nail on the head with every scene. Lonergan has proved his versatility with well-rounded characters and created one of the most organic feeling films for a long time. A film like this needs its cast to be spot on, and with Casey Affleck in a career best performance as Lee Chandler, it’s his ability to be deadpan but never over sighting the inner pain of his character that will surely see the actor win many awards. Maybe not as a magical as it’s opponents in award season, but is still hauntingly emotional – making it one of the better relationship dramas you’ll see for a long time.

Verdict: 5/5

 

La La Land (2016)

Director: Damien Chazelle

With a couple of chance meetings, a passionate jazz musician (Ryan Gosling) and a failing actress (Emma Stone) eventually come together romantically. As they both strive for greatness in their particular career paths, their relationship proves harder than they thought.

Everything you love from your classic musicals, but with far more modern creativity at the helm. Chazelle’s clear passion towards Jazz seeps through the screen and he uses his unique ability to balance the intricacy of music with the technical creativity of film, but with a great story piloting the huge spectacle it is impossible not be overwhelmed by the quality that is on offer. Casting what is becoming the hottest on-screen combination in Emma Stone and Ryan Gosling, it’s their impeccable chemistry and acting ability that is really the icing on the cake. The term ‘instant classic’ can be thrown around a lot, but La La Land hits all the right notes, finally bringing the wonder of classic musicals to a modern audience.

Verdict: 5/5

 

Live By Night (2016)

Director: Ben Affleck

Still soar from the war, young Joe Coughlin (Ben Affleck) works outside of the law in Boston. After being swindled by an ex-lover and a prominent gangster, Joe begins work for the mafia and is sent to Tampa Florida. As Joe’s work flourishes so does his hunger and ambition.

It is harsh to say that the film is plagued by style of substance, but as a director Affleck has a flair for creating gritty pieces of work that challenge our thought process, which is unfortunately what his most recent effort lacks. Granted the setting expects much more of a suave atmosphere, however the whole production feels overdone and too Hollywood for what you come to expect from Affleck. Having said that it has its moments, and with decent performances from a great cast you can still enjoy a little sneak peek into the prohibition era’s style and ruthless aggression.

Verdict: 3/5

 

 

This Week’s Films – Hell or High Water, Snowden + Sully.

Hell or High Water (2016)

Director: David McKenzie

When their mother dies, and their family farm faces foreclosure, two brothers set out too rob a string of banks to save their land. However just a few steps behind them is a soon to be retired ranger and his partner.

The collaborative effort of writer Taylor Sheridan, and director David McKenzie drops us straight into the robberies. It allows its characters traits and stories play out under the surface of what seems like a simplistic plot, but being a subtly deep tale that brings element of the Western to a modern audience. With three central performances that are firing on all cylinders, especially Jeff Bridges, you can expect big things come award season from Hell or High Water.

Verdict: 4/5

Sully: Miracle on the Hudson (2016)

Director: Clint Eastwood

When the plane Chesley Sullenberger is piloting takes heavy  damage, he has to make a split second decision and land on the Hudson River. Saving the lives of all the passengers, he became a media sensation and hero, but his superiors felt otherwise.

Eastwood has taken a story that everyone knew about and translated into an entertaining film. It’s unfortunate though that despite the quality of story, there doesn’t seem to be enough of it, causing a little more filler than expected. However it’s crash scenes are wonderfully displayed and Tom Hanks’s turn as the hero pilot is his best role in years.

Verdict: 3/5

 

Snowden (2016)

Director: Oliver Stone

The dramatization of Edward Snowden’s life as an American Intelligence employee, and his eventual decision to leak confidential documents through the media.

If you forgive it’s Hollywoodisation of certain scenes, you can appreciate Stone’s best work years. While it’s already provocative story thrills you, it’s Joseph Gordon-Levitt’s surprising turn as Snowden himself that really drives this film to its real potential.

Verdict: 4/5

This Week’s Films – Arrival + Louis Theroux’s My Scientology Movie!

Arrival (2016)

Director: Denis Villeneuve

When twelve mysterious spacecraft’s come to earth, the United States Army seek the help of a linguist to communicate with the aliens. As the world becomes inpatient and countries lose communication, the risk of losing peace and heading war becomes more likely.

As Villeneuve has become one of the most consistent directors in recent years, It’s no surprise the anticipation for his work grows with ever film he makes. What Arrival does, is match the global panic and political strain of an alien invasion, but also managing to form so much emotional power through its lead character. Villeneuve showed us with Sicario his formidable skills at building tension, and Arrival has the same tense overtones running throughout the entire film. It seems as though 2016 was waiting for its final few months to give us it’s very best, but Arrival isn’t just in the top-tier of 2016, its innovation and ideas make it one of the better invasion films of the 21st Century.

Verdict: 5/5

 

My Scientology Movie (2016)

Director: John Dower

Acclaimed BBC Journalist Louis Theroux explores the worldwide religion that everybody has heard of, but doesn’t really know enough about, the Church of Scientology.

The Church of Scientology is a subject that a lot of people have interest in, its reputation and celebrity following put it in direct spotlight of people’s curiosity. While Louis Theroux’s monotone and low-key ruthlessness, along with interesting subjects have given his work a lot of anticipation, it seems as though he may have bitten off more than he can chew. You get the stories and reenactments, however what people want is to know just what goes on. Even with numerous ex Scientologist’s at the helm, the film doesn’t breakdown any barriers into the world of the religion. Having said that, the film is more focused on the individuality within Scientology making it a little different to other films of the same subject.

Verdict: 3/5

 

 

 

 

This Week’s Films – Deepwater Horizon, Swiss Army Man + More!

Deepwater Horizon (2016)

Director: Peter Berg

Based on the true story of all the people working on Deepwater Horizon, the oil rig in the Gulf of Mexico that exploded in April of 2010. The film follows particular people as they try to survive the aftermath of the devastation.

The story is known all over the world, but the heroes of the story have yet to be noticed on a massive scale, until now. Deepwater Horizon is just as good as any disaster movie you’ve seen, and the reason behind this is that we already know what’s about to happen. Berg doesn’t play on the idea of shock because we already know what’s coming, making it far more impressive when it leaves you overwhelmed by the sheer velocity thanks to a no-nonsense style. As a collaborative piece its brilliant, and fueling the on-screen spectacle is the entire cast working at their very best.

Verdict: 4/5

 

Mascots (2016)

Director: Christopher Guest

In the competitive world of Mascots, a select group are followed as they prepare for glory and attempt to win the most coveted prize of all, the Golden Fluffy.

Whilst Netflix have managed to produce game changing television, it seems the Netflix original films are yet to have a major impact on the cinematic world. It’s mockumentary format is hugely helpful in creating a comedic opening for all the characters through its awkward improvisation. But as the film builds, and the characters build, the comedy becomes thinner and thinner and by the end you feel reluctant to feel any sort of comedic affection towards a huge portion of the films characters.

Verdict: 2/5

 

Captain Fantastic (2016)

Director: Matt Ross

A father devoted to raising his children away from a materialistic world, through radical physical training and intellectual education, finds himself questioning his skills as a parent when his mentally ill wife kills herself. As the eccentric family leave for the funeral, along the way they must deal with the difficulties of the real world.

A comedy at its core, but a dark one. As the film builds the central families foundations, we prepare for an emotionally charged comedy thanks to the characters and the writing put before us. While the films eccentricity gives it a unique tone, it’s lingering theme of ‘accepting something you don’t understand’ makes it wholesome allowing for a wide-spread viewership. If all that isn’t enough to make you watch it, then Viggo Mortensen giving a career best performance should do the trick.

Verdict: 5/5

 

Swiss Army Man (2016)

Director: Dan Kwan & Daniel Scheinert – (The Daniels)

Seconds before committing suicide, a stranded young man notices a dead body washed up on the shore. When he discovers the corpse’s peculiar abilities, the two form an unlikely friendship and work together to get back home.

In the vast wasteland of films coming out year after year,  originality is becoming scarce. But every so often there is a film that blows you away. Enter Swiss Army Man. Not only is the surreal journey full of wonder, hope and more importantly despair – but every step of the way there are surprises and the Daniels have created one of the most unpredictable films ever. It’s that unpredictability that launches this film as one of the year’s finest. While Paul Dano is great, yet being all too familiar, it’s Daniel Radcliffe’s flatulent corpse that really steals the show. As Manny (the corpse) goes through an entire lifetime of emotion in one journey, we see Daniel Radcliffe giving the performance of his career, making his post-Potter work all the more exciting.

Verdict: 5/5

This Week’s Films – The Magnificent Seven + The Girl With All the Gifts.

The Magnificent Seven (2016)

Director: Antoine Fuqua

When a wealthy business man and his hired gunmen terrorize a small town for their land, the towns people decide to hire a bounty hunter (Denzel Washington) for help. With a lack of fire power, the bounty hunter joins forces with six other talented gunman to help him.

With such a great cast and entertaining action sequences there is always going to be some fun to be had with this remake. But what the original had (even though it’s a remake itself), is great characters. While Fuqua seems to focus on the style, he forgets that driving his bullet fueled remake is 7 characters, all as important as the other. Unfortunately for the seven, it seems only a couple have a real story to tell, and the rest are battling for screen time. For the film itself, it doesn’t quite understand the difference between a real Western, and Hollywood stars playing dress up.

Verdict: 2/5

 

The Girl With All The Gifts (2016)

Director: Colm McCarthy

In a post-zombie apocalypse Britain, a group of survivors flee from their base of solitude when zombies break through the fence. Within the group is a young girl, who potentially could be the key to saving the human race whilst being a threat to the people around her.

The synopsis reads as a zombie horror film, but whilst it is a key component what really drives this film is its morality and huge social commentary. From its daunting throat singing score to its vast character density, this is not only one of the best films of the year but one of the greatest zombie orientated films you’ll ever see.

Verdict: 5/5