Posts tagged ‘korean film’
Before we get too deep into 2017 here’s a baker’s dozen of some of my most memorable cinematic viewing experiences from last year. My only requirement for this list is that the film had to be seen on the big screen, whether in a regular theatrical run or in a film festival. Though I spent a lot of time last year consuming media online and on DVD those viewings don’t count for this list. There is in no particular order except MOONLIGHT is number one.
1. Moonlight: Barry Jenkins’ masterful, virtuoso film has so many strong points that I could (and probably will) write an entire essay about it, but here I’ll just mention one thing. Jenkins knows exactly when to have his characters speak and when to keep them silent, enacting a complex choreography between dialog and subtext that emphasizes the film’s theme of the performativity of gender, identity, and masculinity.
2. The Mermaid: Stephen Chow Sing-Chi returns to slay the Asia box office with this incredibly loopy cinematic manifestation from the inside of his one-of-a-kind brain. In Hong Kong in the 1990s no one made comedies like Stephen Chow and it’s good to see he’s successfully crossed over to the greater Chinese film industry. Chow continues to combine a uniquely twisted worldview, a highly refined cinematic eye, lowbrow humor, a beautiful visual sense, cynicism and romanticism, maniacal wordplay, slapstick, random violence, and gross-out humor in a way that no other filmmaker can match.
3. Train To Busan: Although ostensibly a zombie apocolypse flick, Yeon Sang-Ho’s film is also a melodrama, teen romance, road movie, and critique of capitalism all rolled into one thrilling ride. Gong Yoo anchors the film with his sensitive and vulnerable performance as a man caught up in a madness far beyond his imagining and control
4. Three: Johnnie To’s yearly masterpiece, which dissects the Hong Kong crime film vis a vis the hospital movie. Every shot and every scene is a meta commentary on its genre forerunners.
5. Old Stone: Johnny Ma’s indie film is a scathing attack on the hypocrisy and idiocy of China’s Kafka-esque judicial system as it depicts one man’s attempt to escape a spiraling set of circumstances that threaten to ruin his life.
Viewed at the 2016 San Diego Asian Film Festival
6. The Lockpicker: Randall Okita’s bleak & angsty drama looks at a teenager dealing with loss, alienation, and anomie in snowy Toronto. The film is a very slow burn that pays off in the end. The casual cruelty of high school students rings very true and as a parent of a teen I found this movie to be terrifying. Led by a very strong performance by first-time actor Keigian Umi Tang, despite some confusing narrative moments the film sustains its tone of dread and anxiety throughout. Viewed at the 2016 San Diego Asian Film Festival
7. Anti-Porno: Sion Sono’s playful and sexy pranking of Nikkatsu Studios’ Roman Porno films is made especially meaningful since it was produced by Nikkatsu itself. Viewed at the 2016 San Diego Asian Film Festival
8. Fan: Shah Rukh Khan, the Badshaah of Bollywood himself, leads this twisted, meta examination of stardom and fandom, playing a dual role as both the adored and the adorer in a dysfunctional symbiotic relationship between a movie actor and his biggest fan. SRK is fearless in this film, exposing more warts than many other superstars might be willing to reveal. Director Maneesh Sharma delves into the darker side of fame, with the full support of his willing star.
9. The Magnificent Seven: Antoine Fuqua directs a deeply subversive and radical film disguised as a Hollywood action movie. This joint shows that the subaltern can speak as well as shoot a gun. Bonus points for looking at alternate expressions of masculinity, male bonding, and homosocial love.
10. United Red Army (The Young Man Was, Part 1): Naeem Mohaiemen’s experimental documentary deconstructs the audio recordings of the conversations between members of Japan’s militant revolutionary Red Army and Bangladeshi government negotiators after the group landed a hijacked plane at Dhaka in 1977, adding in Mohaiemen’s own wry recollections of the event that he witnessed as a child via television broadcasts. Viewed at the 2016 Third Eye South Asian Film Festival in San Francisco.
11. Mele Murals: In this documentary about Native Hawai’ian mural artists Tadashi Nakamura creates a thoughtful rumination on giving up selfhood in order to serve community, art, and culture. Viewed at the 2016 CAAMfest in San Francisco
12. At Café 6: In yet another highly satisfying entry in Taiwan’s teen melodrama genre, director Neal Wu draws out excellent performances from his young cast. Though it doesn’t stray far from its genre conventions it hits all the right notes with subtlety and emotion, effectively looking at friendship, fate, love, and loss. After spending way too much time looking at the surgically enhanced beauty of so many K-drama stars it’s nice to see Cherry Ngan’s snaggle-toothed smile and Dong Zijian’s imperfect boy-next-door charms.
13. The Wailing: Na Hong-Jin’s creepy thriller had me off-balance throughout its running time, with its constantly changing POV and its refusal to adhere to genre conventions. Also in the mix is a strutting, scene-stealing performance from the ever-awesome Hwang Jung Min as a badass shaman, some incredibly disturbing man/dog violence, and boils and pustules galore. I was shuddering for days after seeing this one.
NOTE: An earlier version of this list appeared on sensesofcinema.com
So I got on the plane from Frankfurt to SFO on Sunday and I was horrified to discover that there were no back-of-the-seat individual video screens on the flight. I could not remember the last time I was on a flight longer than an hour without personal video service and since I was staring an 11-hour transatlantic flight in the face, I was pretty pissed off at myself for booking on United Airlines, which is apparently so impoverished that it can’t afford to upgrade its fleet to 21st century standards. That bit of first-world bitching aside, I started to think about the many films I’ve seen lately on those tiny little embedded monitors, so herewith follows the first in an irregularly scheduled series of reviews from the airplane movie film festival. All details from a haze of jet lag, leg cramps, and crappy airplane food.
The Great Gatsby: a fun and spectacular adaptation of F. Scott Fitzgerald’s classic book, this one by the reliably lurid Baz Lurhmann, who transformed the book into a video game complete with swooping camerawork, hiphop, and Leo DeCaprio brooding as the titular character. Toby Maguire not in a spidey-suit is good as Nick Carraway, the Jazz Age babe in the woods. Another little surprise was Bollywood legend Amitabh Bachchan in a small role as a Jewish bootlegger (since apparently Indian is the new Oriental). I haven’t read Fitzgerald’s book (what?) and I have no allegiance to its plot particulars so I enjoyed the movie as a standalone piece, with the Jay-Z soundtrack and anachronistic mylar party streamers adding to the shiny fun.
The Silent War: Tony Leung Chiu-wai as a blind guy helping the military crack codes in 1949 China. I either missed the plot point or it was never clarified as to whether Tony was helping out the Communists or the Nationalists, and I missed the last twenty minutes of the movie due to starting the film too late (a recurring error on my part), but the art direction was pretty authentically period and Tony and Zhou Xun, who plays a sleek Chinese spy, both acquit themselves pretty well. My movie-viewing experience probably suffered from seeing the film on a tiny digital screen, so if I get the chance I’ll watch it again to get the full effect of the nice cinematography and slick 1940s costume design, since I love the look of peplum skirts, finger rolls, and tweed coats.
Star Trek: Into Darkness. A dumb and dreadful followup to the excellent Star Trek reboot from a few years back that features a very Anglo Benedict Cumberbatch as Khan, which is weird since the character was memorably portrayed in previous incarnations by Mexico-born Spaniard Ricardo Montalban. Cumberbatch is properly menacing and he bellows in his best Shakespearean actor mode, but since Montalban’s archetypal Khan is permanently etched in my brain, Benny’s blue peepers and pale skin threw me off. Zachary Quinto continues his excellent vocal mimicry of Leonard Nimoy (who gets a brief cameo, looking very aged) and Chris Pine grimaces as young Captain Kirk. British actress Alice Eve is good as Dr. Carol Wallace, but her character’s braininess doesn’t preclude her a fan-service scene in her underwear. As a busty blonde she also has a passing resemblance to her TOS predecessor, Yeoman Janice Rand, which means that she & Capt. Kirk will probably get busy some time in future installments. Zoe Saltana as Lt. Uhura mostly exists to be the emotional proxy for the stoic manly men in the movie since every time a crisis comes up the movie cuts to her looking shocked or sad.
Iron Man 3: another film viewing tragically cut short due to my inept movie-watching time management. Robert Downey Jr. swaggers and smirks and Gwyneth Paltrow takes up space, and I suspect one’s enjoyment of the film is directly related to how much you like RDJ’s schtick. He’s a really good actor but I’m having trouble remembering the last non-Iron Man movie I’ve seen him in lately (Zodiac? Sherlock Holmes?). I wanted to see the end of the movie to find out more about The Mandarin, the neo-Orientalist character here presented as a middle eastern/western Asian character by half-desi actor Ben Kingsley. But alas my seatback screen went haywire halfway into the movie and I couldn’t get it to work in time to watch the whole thing. So I took a nap instead.
A Werewolf Boy: a charming little South Korean fable about a girl and her lycanthrope, here played with shaggy-haired K-pop charm by Song Joong-ki. This movie was one of the top grossing films in S. Korea last year so, although teen romances aren’t usually my thing, I wanted to check it out to get a sense of the South Korean pop culture gestalt. Although it’s supposed to be set “forty years ago,” around the 1970s, there were some glaring anachronisms in the art direction and costuming, but despite its shoddy mise-en-scene the movie was a fun little timepass. This is the second wolf-girl teen romance movie from Asia that I’ve seen recently, the other being Mamoru Hosoda’s animated movie Wolf Children, so I’m thinking—are werewolves the new vampires? Or if I want to put a cultural studies frame around it, what do the popularity of these films say about the ongoing transnational hybridity of Asian identities? Sorry, been writing a lot of academic proposals lately so my mind is locked in theoryspeak.
Although it’s got its share of body slams and bloody fisticuffs, Fists of Legend, (now playing in select multiplexes in the U.S.) is a nice change of pace from the typical extreme South Korean fare that shows up in U.S. movie houses. In contrast to gangland thriller New World or spy flick Berlin Files, the two most recent Korean movies to roll through town, Fists of Legend is a surprisingly gentle and warmhearted piece of filmmaking. Despite its pugilistic trappings, it’s much more than just a fight movie.
The 2.5 hour-plus movie centers around Legendary Fist, a mixed martial arts reality show that pits former teenage streetfighters, now paunchy and in their forties, against trained MMA fighters. Among the middle-aged gladiators is Lim Deok-kyu (Hwang Jung-Min), a former teenage boxer who now owns a noodle shop. His wife died long ago, his angsty teenage daughter is in trouble at school, and his noodle shop is failing, so Deok-kyu signs up for Legendary Fist for the $20,000 prize money and a chance to redeem himself in his daughter’s eyes.
Despite its sometimes gory fistfighting scenes, Fists of Legend is not so much Thunderdome as it is a critique of contemporary South Korean social and cultural mores. The movie alternates between swaggering 1980s high school kids and their modern-day middle-aged incarnations, bouncing through bullying, father-daughter dynamics, media culture, teenage cliques, corporate corruption, and cronyism, among many other topics, in its long, sometimes meandering cinematic journey.
The sincere and slightly homely Hwang Jung-Min, who was outstanding as the hotheaded loose cannon in New World, is awesome as the noodle shop owner trying let go of the past. Also good is Yoon Je-moon as the corporate toady who learns to stand up for himself. The bad guys are somewhat one-dimensional but the many good guys have a lot of heart and depth. The film is also refreshingly unglamourous in its portrayal of midlife existence, although the fit and trim Hwang does have some pretty cut abs.
All in all the narrative’s bobs and weaves make for a fun and diverting way to spend 154 minutes. It’s not a classic, but it’s good, solid commercial entertainment.
NOTE: The increased number of Korean films gaining theatrical release in the U.S. is part of the resurgent Korean Wave now devouring the U.S. pop culture landscape. Following up his billion-views youtube megahit Gangnam Style, PSY’s latest MV Gentleman has as of this date reached 110 million hits and counting in the three days since its official release. The astoundingly hot Lee Byung-hun is tearing it up shirtless-style in the hit Hollywood actioner GI Joe: Redemption. Kia is apparently the trendy new auto line amongst young groovesters. And Korean Fried Chicken is the ono grind of choice among late-night post-club snackers.