Part of MKC's coverage of the 11th New York Asian Film Festival.
(by Peter Gutiérrez)
No doubt about it: it’s definitely a cliché to remark on how a
nthology films can be uneven – in fact, it’s probably also a cliché at this point to point out how commonplace such an observation is. Yet although this assessment applies to
Doomsday Book, which gets its North American premiere Wednesday evening at NYAFF, the film is also refreshing in that I could see different viewers holding disparate ideas as to which are the stronger and weaker entries in this ambitious, three-part science-fiction extravaganza.
The opening story, “A Brave New World,” takes what seems like a well-worn zombie formula and, in the hands of Antarctic Journal’s Yim Pil-Sung, fashions one of those optimal mixtures of the audaciously dark and the goofily humorous that can make Korean genre cinema so wonderful. That’s not to say that Yim’s goals are purely pulply, its ironical tone and light intellectualism are evident from the title. Taking its cue less from Shakespeare, or Huxley, and more from the Bible, this segment looks terrific and boasts some solid storytelling, so you’ll be forgiven for not noticing its more highbrow aspirations. Like Steven Soderbergh’s Contagion, which played for both more laughs and more horror, “A Brave New World” is so adept at grabbing and holding your attention that you may be a bit disappointed when it seems satisfied in leading you into romance (!) territory and leaving you there.
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