Review: BELIEVER, Explosive DRUG WAR Remake Puts Faith in Livewire Cast

By Pierce Conran

Korean noir gets an action makeover in Believer, the explosive and hugely entertaining local remake of Johnny To's mainland Chinese crime saga Drug War. A parade of Korean character actors sink their teeth into deliciously over-the-top characters, including the beloved Kim Joo-hyuk, in his final screen role (completed just before his death in a car crash last October), in a retelling that both improves on and falls short of the original.

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News: Fox Resuscitates A BITTERSWEET LIFE Remake with Michael B. Jordan

By Pierce Conran

Stop me if you think you've heard this one before but a remake of A Bittersweet Life is reportedly coming together at 20th Century Fox with Michael B. Jordan taking on Lee Byung-hun's classic gangster role and former animation director Jennifer Yuh Nelson filling Kim Jee-woon's shoes in what is tipped to be a franchise-starter.

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News: MEMORIES OF MURDER Coming to the Small Screen

By Pierce Conran

It looks like Snowpiercer isn't the only Bong Joon-ho film getting the remake treatment. I don't normally cover TV news but I thought I'd make an exception for this. Considered by many to be one of the greatest Korean films of all time (it's my favorite), Memories of Murder is heading to the small screen in Korea as Signal.

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Busan 2014 Review: Action Thriller THE TARGET Misses the Mark

Part of MKC's coverage of the 19th Busan International Film Festival

By Pierce Conran

Normally we read about which new Korean thriller has had its remake rights snatched up by a Hollywood studio (news which invariably leads to a fervent chorus of opposition among Korean film fans) but these days we're starting to see an increasing amount of major Korean releases based on overseas properties. If we discount Japan, recent Korean films based upon foreign films include the 2012 romcom All About My Wife (based on the 2008 Argentine film Un novio para mi mujer) and last summer's surveillance thriller Cold Eyes (based on the Johnny To-producer HK feature Eye in the Sky from 2007). Following in their footsteps is the action-thriller The Target, this time based on 2010's Point Blank from France.

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Review: Action Thriller THE TARGET Misses the Mark

By Pierce Conran

Normally we read about which new Korean thriller has had its remake rights snatched up by a Hollywood studio (news which invariably leads to a fervent chorus of opposition among Korean film fans) but these days we're starting to see an increasing amount of major Korean releases based on overseas properties. If we discount Japan, recent Korean films based upon foreign films include the 2012 romcom All About My Wife (based on the 2008 Argentine film Un novio para mi mujer) and last summer's surveillance thriller Cold Eyes (based on the Johnny To-producer HK feature Eye in the Sky from 2007). Following in their footsteps is the action-thriller The Target, this time based on 2010's Point Blank from France.

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A Better Tomorrow (무적자, Mujeogja) 2010

Great production values

Song Hae-sung’s A Better Tomorrow is a flashy remake of John Woo’s seminal 1986 classic which tries hard to refigure the tale of brotherly love in a gangster-riddled modern Busan. John Woo served as an executive producer for this film, which is a co-production between South Korea, China, and Japan, something that would not have happened 15 years ago. Budgeted at $8.7 million, this is a pricy affair with excellent production values and some stunning set pieces, the problem is that the plot is so familiar and drawn out that it is difficult to care.

Ju Jin-mo, last seen in Ha Yu’s gay period epic A Frozen Flower (2008), plays the role of a gangster who tries to go straight and win the affection of his cop brother. Like the original the plot is thin and the outcome can be spotted a mile away. However Woo’s version was a seismic blockbuster that revolutionized the Asian film industry by creating a new type of stylized action film that would be emulated for years to come. This Korean update does feature some great gunfight sequences, but they are short and infrequent throughout the 124 minute running time.

The plot is a major problem in this new version as it cuts out some significant elements, such as the younger brother’s love interest, yet is still half an hour longer than the original. The characters do not have much depth and are often lacking in charisma, especially Song Seung-heun who cannot possibly match Chow Yun-Fat’s iconic cool from the original. It is a difficult task to recreate a beloved character and it is often wise to change the protagonist so as not to invite comparison, but Song's incarnation lacks three-dimensional characteristics.

The divide between the brothers

There are a few minor changes from the original: the gangsters deal in arms as opposed to counterfeit money; and the overseas set piece is set in Thailand instead of Taiwan. The most promising change is that the brothers are North Korean defectors, this also sets up the seeds of the younger brother’s resentment as the elder brother abandoned him when he initially defected to the south. While this could be an interesting premise, appropriate attention is not given to North-South tensions and this becomes little more than an afterthought.

One of my favorite things about Korean cinema is its propensity to hop across genres. This style of filmmaking can irk a lot of viewers but is also the reason many western audiences are so transfixed by these films. The Host (2006), Save the Green Planet (2003), My Sassy Girl (2001), and many others exhibit a deft handling of generic conventions as their narratives fly across horror, comedy, sci-fi, melodrama, action, and social commentary. This is also true of films that have not crossed over to western audiences, in fact it is pretty much the style of filmmaking that many have come to associate with South Korea. A Better Tomorrow does not cross genres and the reason I mention this is because it’s a damn shame that it doesn’t. It severely limits itself by working within the confines of an already limited original. It takes away without adding, it tones down instead of taking it to the next level. This wouldn’t bother me so much but there is so much skill and potential from a technical standpoint that I wish they had given themselves more leeway to experiment and add a real Korean touch.

The film looks great and has a couple of great, albeit brief, action sequences but is let down by an obvious and simplified plot, two-dimensional characters, and a horribly misjudged finale. Although the film was a hit in its domestic market (with over 1.5 million admissions), I think that director Song Hae-seong is capable of a lot better. Having previously helmed Calla (1999), Failan (2001), Rikidozan (2004), and Maundy Thursday (2006), by comparison his latest effort seems decidedly by-the-numbers.

★★★☆☆

Solid set pieces

Reviews and features on Korean film appear regularly on Modern Korean Cinema.  For film news, external reviews, and box office analysis, take a look at the Korean Box Office Update, Korean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

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