Darcy Paquet Yesterday Big-budget sci-fi extravaganza Yesterday is the first of the infamous three "big bombs" that detonated at the Korean box-office in mid This is a shame, because even though it wasn't a crowd-pleaser, No Blood No Tears is forceful, well-crafted, and distinctively grim. But he has produced much stronger work than this in the past -- films that get under your skin, rather than seducing you with their charms. Whereas in Virgin Stripped Bare by Her Bachelors he plays with the idea of memory, in his latest work Turning Gate, Hong seems to be focused on the idea of comedy. Yeon-hee Chang Jin-young seems to be the only one who's helping him seriously. The local critical response was highly mixed; some gave the film great praise, while others criticized its excessive violence. This is just my personal experience, please read it with a light heart. Stylistically, the film is a curious mixture of MTV-style rapid cut and expressive cinematography and the old-fashioned, now-you-see-it-now-you-don't scare tactics.
Is it just me who thinks that the movie's vision of the utopian "unified Korea" looks suspiciously like North Korea's "paradise on earth"? Based on Yi Man-gyo's award-winning novel and directed by the poet Yu Ha, best known for the collection of sardonic, laid-back, "postmodern" poetry entitled On a Windy Day We Must Go to Apgujeong-dong, which he also adapted into a movie in it was a surprise sleeper of the spring season, attracting more than one million viewers nationwide and besting such big-budget competitors as Chihwaseon and Funny Movie at the box office. Ji-won makes two efforts to escape this man's pursuit: However, Yeon-hee turns out to be serious about having a financially rewarding marriage. Suddenly, out of the shower he's a normal family man, caring and considerate. Apart from its remarkable imagery, the film also proves to be a touching portrait of how children deal with loss. Punk music itself represents a multiplicity of cultural influences. Neither do I feel like taking the movie to task for toeing the hoary Koreans-not-Japanese- should-conquer-the-world- nationalist line. Quite frankly, nothing much happens indeed; but it's what the characters experience during this timespan, how they grow out of it, which makes this film interesting. Hyun-soo Jung Joon-ho always arrives late, doesn't dress properly, and often looks detached from the real world. When his initial plans fail, however, he and his girlfriend, a leftist with radical views, find themselves contemplating the unthinkable. Many will be struck by the challenge met by Moon So-ri in portraying a severely handicapped woman, but Sol Kyung-gu has also given tremendous life to his character, and the two of them together are brilliant. One of the immigrants interviewed, whom I'm guessing is Eritrean or Ethiopian, represents one of the core themes with this comment made in English: Hong's latest film provides an interesting mix of popular and arthouse sensibilities, and internationally, too, it is likely to attract wider audiences than his previous films. Kam Woo-seong is at once bland and sly: Then we jump years later where over a dozen warriors commit to re-establishing their domain. While not an earth-shaking masterpiece, No Comment is an attractive way to showcase talents of up-and-coming filmmakers not yet considered "safe" to take on big-budget projects: We often forget this, but we don't have to answer when our phone rings. Like "Memories," "Going Home" is gorgeously photographed by the frequent Wong Kar-wai collaborator Christopher Doyle and well designed, saturated with near-monochromatic, faded colors and making good use out of deliberately anachronistic costumes and props. Yeh Ji-won is particularly memorable for her forthright, slightly neurotic portrayal of our hero's first conquest. The boy is furious at this upheaval in his life, taking out his frustrations by misbehaving and making wild demands of his grandmother. I used to have this personal ethical rule that I must watch every film twice before I settled on my feelings about it. Actually, the "dummies" here belong to a traditional theater troupe, whose master perishes in a suspicious blaze after trying to dispose of his favorite puppets. Smitten by her beauty, he goes and sits next to her, but she glares at him in disgust and walks away. A metaphor for "selling out"? Newcomer Chae Min-suh is also impressive as Kim's wife, in her first-ever acting experience.
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