Review: THE SPY GONE NORTH, Bold and Sumptuous Espionage Yarn Eschews Action for Geopolitical Intrigue

By Pierce Conran

Following his period action blockbuster Kundo: The Age of the Rampant in 2014, Yoon Jong-bin is back in the summer season lineup with his 90s-set espionage drama The Spy Gone North, which bowed earlier this year as part of the midnight lineup of the Cannes Film Festival. A timely though occasionally dense tale of covert agents and behind-closed-doors deals, the film employs detailed production values and a fascinating geopolitical context in a year that has seen the present-day Koreas draw closer than ever before.

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Review: THE WAILING, A Bone-Chilling, Thunderous Descent Into Hell

By Pierce Conran

After turning the Korean thriller on its head with The Chaser and The Yellow Sea, director Na Hong-jin has reinvented himself again, aggressively pushing against the boundaries of genre cinema with The Wailing. A deafening descent into hell, it may also be the best Korean film since Lee Chang-dong's Poetry.

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Review: THE HIMALAYAS Swaps Snowflakes For Tears

By Pierce Conran

For those looking for an expedition drama, be warned that despite its title, The Himalayas is first and foremost a melodrama. One concerning brotherhood, family and, above all, coping with grief. Himalayan expedition films seem to be in vogue at the moment, with 2015 already yielding Baltasar Kormákur's Everest and Japanese drama Everest: The Summit of the Gods due out in a few months, but Lee Suk-hoon's picture is more concerned with relationships than it is with the technicalities of mountaineering.

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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 BATTLESHIP ISLAND, Impressive Action Torpedoed by Nationalism

By Pierce Conran

UPDATE (Aug 8): Following a rare change of heart after seeing the film a second time, I've decided to change my original star rating The Battleship Island. I can't say that my criticisms are any different, but watching the film without having to sort through the dense story and its characters allowed me to appreciate many of the film's impressive details.

Following a pair of blockbusters, action maestro Ryoo Seung-wan aims to outdo his past successes with The Battleship Island, the biggest Korean release of the year. Set on a Japanese labor camp island, this star-driven, big-budget period escape drama strives for greatness but falls short, with a harried narrative too consumed with nationalist sentiment. That said, a bombastic climax sees Ryoo and his team put their best feet (and fists) forward in an impressive display of choreography and staging.

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Busan 2015 Review: VETERAN, Who's Gonna Protect Gotham When Bruce Wayne Grew Up to Be an Evil Super-Rich Punk?

Part of MKC's coverage of the 20th Busan International Film Festival.

By Kyu Hyun Kim, Associate Professor at UC Davis and koreanfilm.org contributor.

Seo Do-chul (Hwang Jeong-min), a veteran of the Seoul Metropolitan Police Agency, busts a ring of foreign car smugglers with his teammates, the muscle-bound Detective Wang (Oh Dae-hwan), ass-kicking Miss Bong (Jang Yoon-joo) and the cute rookie Detective Yoon (Kim Si-hoo), under the leadership of the perennially frustrated but bizarrely eloquent Chief Oh (Oh Dal-soo).  Do-chul, a pit bull of a cop, in the process of investigating the smugglers, befriends a trucker, Mr. Bae (Jeong Woong-in). Later, he is invited to a private party as a "consultant" to a hit TV series and witnesses the sponsor corporation's young heir Jo Tae-oh (teen heartthrob Yoo Ah-in) behaving cruelly to one of the partygoers. When Mr. Bae is found to be unconscious and critically wounded from an alleged suicide attempt, after directly confronting Tae-oh's corporation about his unfair firing, the cop smells a rat and starts an investigation, despite pressure from the higher-ups to look the other way. 

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Review: WAIKIKI BROTHERS, A True Korean Classic

By Pierce Conran

Yim Soonrye could lay claim to being the first female director to forge a lasting career in the Korean film industry. Indeed, she has one of the most varied filmographies among current filmmakers, yet ironically, or perhaps necessarily, she rose to prominence by making a pair of films that explored Korean masculinity far more successfully than the majority of her male contemporaries. 14 years on, her second feature Waikiki Brothers (2001) stands up as one of the best works of contemporary Korean cinema. Though the movement is generally considered to have ended with Lee Chang-dong’s Peppermint Candy in 1999, it’s also a film that could easily be included among the best of the Korean New Wave. 

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News: ODE TO MY FATHER Joins the 10 Million Viewer Club

After four weeks, JK Youn's blockbuster melodrama Ode to My Father joined the 10 million viewer club last night. It is the 11th Korean film to do so at the local box office and the 14th overall. It's also the fourth film of 2014 to reach the mark (a record), along with Frozen, Roaring Currents and Interstellar, and the first time that a director has breached the barrier twice, since Youn's previously managed the feat with Haeundae in 2009.

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Review: ODE TO MY FATHER Puts Blockbuster Spin On Melodrama

By Pierce Conran

Family takes centre stage in Ode to My Father, a new Korean melodrama that is every bit as bombastic as this year's naval battle hit Roaring Currents. Directed by JK Youn (Youn Je-kyun), whose last film Haeundae sauntered over the 10 million admissions barrier in 2009, this new epic drama proves to be an expert balance of scale and intimacy that will surely find a huge audience at home.

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