Review: THE BEAUTY INSIDE, High Concept Melo Is as Glib as Its Title

By Pierce Conran

A corporate-sponsored high concept web series gets the glossy Korean melodrama treatment in The Beauty Inside, top romantic offering of summer 2015. Featuring a laundry list of Korean stars all playing the same character, this debut film by music video director Baik stays very true to its source material, while also expanding it with familiar local melodramatic elements.

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Review: C'EST SI BON Trades Rich 60s Music Setting for Dull Romance

By Pierce Conran

A terrific period setting is squandered in the disappointing C'est si bon, a twee and lethargic romance masquerading as a dynamic folk music biopic. Programmed as one of this year's two major Lunar New Year holiday releases (the other being period action-comedy sequel Detective K: Secret of the Lost Island), Kim Hyun-seok's sixth film seeks to expand on the director's proven credentials in the rom-com field (Cyrano Agency, 2010) by enticing older viewers with music and period detail designed to evoked their youth.

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Busan 2013 Review: Cold Eyes Looks to the Best for Inspiration

Part of MKC's coverage of the 18th Busan International Film Festival.

Korean thrillers have earned a reputation for consistency over the years and though there may only be a few great ones, the majority of them are solid efforts. However, we’ve come to expect a lot of the same tropes as a result of this consistency, so much so that they have begun to feel too familiar over time. One of the latest offerings from the genre is Cold Eyes, which set the stage for a summer full of Korean thrillers (others included Snowpiercer, The Terror Live, The Flu and Hide and Seek). With an innovative approach to location filming in Seoul and by featuring three stars playing against type, Cold Eyes may seem familiar but it’s also a fresh and exciting addition to the genre.

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Whose Lie is it Anyway: Ad-lib Night (아주 특별한 손님, Aju Teukbyeolhan Sonnim) 2006

Part of Rex Baylon's ongoing feature on director Lee Yoon-ki.

The expectations placed upon us by our family can be emotionally and mentally crippling. Parents have no way to predict how there actions, no matter how well intentioned they are, will scar their kids, and children are ultimately at the mercy of circumstances outside their control or understanding. Because of this the relationship between parents and children seem to always suffer from some form of dysfunction. Be it from things said in anger or things left unsaid one doesn’t leave childhood without some scarring.

Opening on a bright summer day in Seoul, Lee Yoon-ki’s third feature Ad–lib Night (Aju Teukbyeolhan Sonnim, 2006) begins with two men arguing over the facial features of a woman standing innocently across from them. Watching them stare at her one can’t help thinking of the innumerable scenes in film of men and boys spying on women. Are they playboys, predators, or harmless peeping Toms? We soon get our answer as the two men corner the woman and begin having a conversation with her media res. They call her Myung-eun and we discover that they knew each other since grade school. She rebuffs their attempts to get close though and corrects their assumption that she is Myung-eun.

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