Busan 2020 Review: STEEL RAIN 2: SUMMIT Dives into Thrilling and Surprisingly Funny Geopolitical Waters

Part of MKC's coverage of the 25th Busan International Film Festival.

By Pierce Conran

Released three years, ago, the geopolitical action-thriller Steel Rain (2017) was a solid success on the charts but one that was completely overshadowed by two films that hit theaters within a fortnight of its release, Along with the Gods: The Two Worlds and 1987: When the Day Comes. Given its closed narrative and what was a positive but muted reception, it hardly seemed a likely candidate for the sequel treatment, still a rarity in the Korean film industry. Yet, three years later that’s exactly what we got, but what’s even more surprising is that despite returning with the same director, stars and theme, Steel Rain 2: Summit completely reinvents itself and manages to surpass its predecessor in almost every way.

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Review: STEEL RAIN, Bombastic Action-Drama Ponders Nuclear Armageddon

By Pierce Conran

The first of a trio of major end-of-year releases in Korea this winter, Steel Rain is the third North Korea-themed action-thriller of 2017 (following Confidential Assignment and V.I.P.) and easily its most bombastic. From The Attorney helmer Yang Woo-suk, who adapts his own webtoon of the same name, the threat of nuclear armageddon on the Korean peninsula has never been so great in a film that is as ambitious as it is disjointed. Leads Jung Woo-sung and Kwak Do-kwon reunite just over a year after Asura: The City of Madness.

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Review: ASURA: THE CITY OF MADNESS Unleashes Unbridled Machismo in Brooding Noir

By Pierce Conran

It's a man's world in Asura: The City of Madness, and a rotten one at that. Cops, prosecutors and politicians jostle about with unbridled machismo in a noirish caricature of corruption in the latest thriller to balk at the irresponsible behaviour of Korea's power brokers, following Veteran, Inside Men and A Violent Prosecutor.

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Review: THE KING, A Korean Scorsese Crime Saga

By Pierce Conran

Coming in the midst of an unprecedented political scandal and benefitting from a prime Lunar New Year holiday release date, prosecutor drama The King aims to be the first Korean hit of the year. A glossily entertaining saga with big stars, timely corruption themes and a boatload of Scorsese references, this fourth film from director Han Jae-rim aims for greatness until a finale that ultimately buckles under the weight of its own political ambitions.

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Review: Stylish And Well Performed, SCARLET INNOCENCE Surprises And Delights

By Pierce Conran

Adapted from a Korean folk tale and starting off as a softly lensed romantic melodrama, you'd be forgiven for thinking that Scarlet Innocence, the latest work from noted visual stylist Yim Pil-sung, must be primed for a local audience. Yet this surprising genre-bending effort, which had its world premiere at the Toronto International Film Festival, holds off from showing its true colors until it has lulled you into a comfortable reverie. A successful exercise in subverting expectations, Scarlet Innocence may also prove a watershed moment for Yim, an acclaimed director whose high profile and gorgeously designed works have so far failed to translate into box office returns.

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News: Jung Woo-sung to Hunt Monsters in New Period Film

In the midst of the incredible popularity of Korean period films, yet another production has been announced. Jung Woo-sung has boarded Jakseoui Byeon - Attack of the Water Monster (a literal translation of the Korean title). A Joseon Era creature feature, the film be helmed by Chaw (2009) director Shin Jung-won.

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