Review: BAD GUYS ALWAYS DIE Suffers A Slow Death

By Pierce Conran

One of the more high profile among the many China-Korea collaborations of the last few years (prior to the THAAD-related meldown in relations), Bad Guys Always Die teams Taiwanese star Chen Bolin with top Korean actress Son Ye-jin in an action-comedy (leaning more towards the later) set on Jeju Island, an extremely popular holiday spot for both Koreans and Chinese tourists.

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Review: BE WITH YOU, Pleasant Fantasy Drama Stays the Course

By Pierce Conran

The Korean fantasy romance, a genre that has spawned modern classics such as Il Mare and Ditto, has fallen on hard times in recent years but makes a strong case for a return to form with Be With You, an engaging new vehicle for stars Son Ye-jin and So Ji-sub.

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Review: THE TRUTH BENEATH Unearths Dark, Stylish Mysteries

By Pierce Conran

A great year for Korean genre cinema keeps getting better with the release of Lee Kyoung-mi's long time coming sophomore feature, the riveting The Truth Beneath, a sumptuous and anarchic political thriller, kidnap drama, suspenseful whodunnit and kaleidoscopic descent into delirium. Falling between the stylistic panache of Park Chan-wook's Lady Vengeance (2005), on which she was a scripter and assistant director, and the manic paranoia of Tetsuya Nakashima's Confessions (2010), Lee's latest features a career-best performance by Son Ye-jin in a narrative that occasionally gets mired in tonal vagaries.

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Busan 2014 Review: Lame Leads Sink THE PIRATES

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

By Pierce Conran

Fast on the heels of Kundo: Age of the Rampant and Roaring Currents, the summer’s latest period blockbuster enters a crowded field in a market that has of late become oversaturated with similar fare. With lowbrow, poorly executed humor tucked into an uninspired medley of rote genre mechanics, The Pirates fares the worst among this year’s large-scale Korean productions.

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Review: Lame Leads Sink THE PIRATES

By Pierce Conran

Fast on the heels of Kundo: Age of the Rampant and Roaring Currents, the summer’s latest period blockbuster enters a crowded field in a market that has of late become oversaturated with similar fare. With lowbrow, poorly executed humor tucked into an uninspired medley of rote genre mechanics, The Pirates fares the worst among this year’s large-scale Korean productions.

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The Tower (타워, Taweo) 2012

Following the biggest ever year for Korean cinema, it is perhaps fitting that the very last work to be released in 2012 was a spectacle-driven disaster film highlighting the industry’s technical proficiency. Likened to previous blockbuster failures such as Sector 7 (2011), My Way (2011) and this year’s R2B: Return to Base, there was a danger that The Tower could have made for a sour note to conclude Korean cinema’s fortuitous year. Any such qualms were quickly dispelled however as the film registered the industry’s all time second-biggest opening day and is well on its way to an enormous finish.

It’s Christmas Eve and the brand new Tower Sky complex, a brilliant pair of skyscrapers soaring over Seoul’s skyline, is busily preparing for its glitzy holiday party. During the festivities, a helicopter dropping artificial snow crashes into the building and ignites a fierce blaze, threatening the lives of hundreds. Now, a building technician, his daughter, a restaurant manager and a legendary firefighter must brave the flames.

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