Sunday, March 11, 2012

2012 Korean Cinema Blogathon


Modern Korean Cinema is very proud to be involved with this year's Korean Cinema Blogathon.  All of the event's links will be mirrored here throughout the week.

This post will remained stickied to the top during the week and can also be found as a tab in the above menu.

Hope you all enjoy this great event and please submit your own content!

This year's Blogathon is run by Rufus over at cineAWESOME! and all of the event's links can also be found at at KOFFIA, VCinema, Hangul Celluloid, New Korean Cinema, HanCinema and Far East Films.

Link Submissions Rules (from host cineAWESOME!):
-Please submit links with the author of the article, the title/topic of the article and the link to that article.  If in another language please indicate that in the submission as well!
-Submit links to [email protected], or on our Facebook page.



March 5, 2012

Richard Gray writes “Korean First: Sympathy for Mr. Vengeance” over at KOFFIA!

Cho Seongyong reconsiders The Yellow Sea over at his blog!

Amy watches Spring Bears Love (with cineAWESOME! favorite Bae Doona) over at YAM Magazine.

Paul Bramhall writes about his first experiences with Korean cinema in the article Hammer & Tooth: My First Encounter with Korean Cinema over at KOFFIA.

Our very own Jeff Wildman takes on one of the strangest romantic comedies in years: I’m A Cyborg, But That’s Okay.

Sarah Ward writes about one of the best actors in the industry today with her article Song Kang-ho: An adaptable icon over at KOFFIA

Giacomo Lee reviews highschool indie drama Bleak Night and our first tumblr entry!

DBBorroughs watches the war film 71-Into the Fire over at Unseen Films.

Martin Cleary starts a great list with Film Recommendations – Fifteen Films of the New Korean Cinema (Part One) over at New Korean Cinema.

Pierce Conran gives us the skinny on Korean ticket sales with Korean Box Office Update (03/2-03/4, 2012) over at Modern Korean Cinema.

Wildgrounds takes us on a tour of Korea with South Korean Film Locations.

Milo writes Mighty South Korean Thrillers: The Yellow Sea and The Chaser over at Blog of the Northstar

Connor McMorran contributes three! Hong Sang-soo articles Woman is the Future of Man HaHaHa and The Day He Arrivesover at Rainy Day Movies.

Pierce Conran reviews Song Il-gon’s latest film Always over at Modern Korean Cinema.

Ghost writes KOREAN FILMS: WE AREN’T ALL ABOUT VENGEANCE over at Yam Magazine! (So true)

Orion looks at sci-fi omnibus film Doomsday Book in Doomsday Book-Where is your Sci-fi Korea? over at Orion’s Ramblings.

Alua writes Korean Cinema…Outside of London over on the blog Otherwhere.

Dini R. takes a look at Bleak Night over at We Eat Lemon.

James Schergen reviews Come Rain, Come Shine over at Flying Guillotine.

Ki Mun reviews Helpless over at Scene in Korea.

Kenneth Brorsson, Rufus de Rham, Paul Quinn begin What’s Korean Cinema Season 2 with Castaway on the Moon over at the Podcast on Fire network.

Kenneth Brorsson reviews Oasis at Podcast on Fire Network.

Adam D. looks at the classic North/South feud in the form of kaiju films YONGARY and PULGASARI over at VCinema Show.

Pierce Conran reviews Countdown for the fine folks at VCinema.

Christopher Wheeler takes a look at Xtreme Korea with The Man From Nowhere over at KOFFIA.

Colleen Wanglund looks back at A TALE OF TWO SISTERS over at VCinema.

James Brown looks at his own experience with Korean cinema with Audacious and Refreshing: Discovering Korean Cinemaover at KOFFIA.

Julyssa continues from last year with MY LOVE FOR KOREAN CINEMA PART. 2 – SUNNY SIDE UP over at Yam Magazine.

Jimi reviews Kim Ki-duk classic The Isle over at Oriental Film House

Anna reviews Drifting Away over at Korean Indie (one of my favorite Korean music blogs)

Jacob Feltner reviews Bleak Night in an episode of Podcast Without Honor and Humanity.

Brad Gullickson watches The Good, The Bad and The Weird right here on cineAWESOME!

Wasim Hossain writes four! reviews: I’m a Cyborg, But That’s Okay, Poetry, Feather, and A Dirty Carnival.

Rufus talks about how he got started in the Korean film scene with The Beginnings: or how a joke changed Rufus’ life right here on cineAWESOME!

"The Emergence and Growth of Sexual Content in Korean Cinema" essay/paper that formed the basis for Hangulcelluloid's talk at the 'East Winds' symposium (Coventry university) in March 2012.

"Love, Loss and Laughter" essay/paper that formed the basis of Hangul Celluloid's talk at the 'Asian Exposure' symposium at CUEAFS last year.


March 6, 2012

Lynn Shipp reviews Bichunmoo over at Wolves In Winter.

Mark talks about The Problem of Movie Soundtracks over at Korean Indie!

Sung Moon reviews Take Care of My Cat for Yam Magazine.

Julian Buckeridge takes a look at Director Ryoo Seung-wan’s career with More Than Just an Action Kid over at KOFFIA.

Hieu Chau finds Korean film in Cinema with a Vengeance at KOFFIA.

Paul Bramhall writes Going International: A Look at ‘Ninja Assassin’ & ‘The Warrior’s Way’ for KOFFIA.

Martin Cleary continues his Film Recommendations – Fifteen Films of the New Korean Cinema (Part Two) over at New Korean Cinema.

DB Borroughs reviews Showdown over at Unseen Films.

Pierce Conran gives us his Top 10 Korean Films of 2010 over at Modern Korean Cinema.

Andrew Saroch reviews War of The Arrows for Far East Films.

Phil Mills reviews Death Bell for Far East Films.

Andrew Skeates reviews The Front Line for Far East Films.

Dini R. reviews 2011′s smash hit Sunny over at We Eat Lemons.

Orion writes Hollywood Invasion: the End of Korean Cinema? over at Orion’s Ramblings.

Mr. C reviews Miss, Please Be Patient (1981) over at Planet Chocko.

Marc Raymond gives us a “A Hong Sang-soo Primer” over at Cinephile Foreigner in Korea.

Rebo Luistro reviews Hello Ghost over at Rebzombie Reviews.

Marc Saint-Cyr reviews Lee Chang-dong’s Green Fish at VCinema.

Kimchi Soul talks about DVD Bang Experience over at, well, her blog Kimchi Soul.

Connor McMorran graces us with three reviews of Ryu Seung-wan films: No Blood, No Tears, Crying Fist, and The City of Violence over at Rainy Day Movies.

Pierce Conran reviews Champ at VCinema.

Dr. Stan Glick highlights the Hong Sang-soo retrospective at MoMI, and points to older reviews of Secret Reunion, Aachi and Ssipak, Poetry, and Secret Sunshine. As well as linking to an interview with Lee Chang-dong, and highlighting a very special issue of Asian Cult Cinema.

Alua reviews Crossroads of Youth over at Otherwhere.

Colleen Wanglund reviews Phone for VCinema.

Samson Kwok writes A Special Film: Bong Joon-ho’s Mother for KOFFIA.

Richard Grey talks Violence Meets Violence: I Saw The Devil over at KOFFIA.

Raelene L. talks about Discovering Korean Cinema: Redefining Storytelling and Kim Ki-duk’s 3-Iron for KOFFIA.

Mini Mini Movie Review posts a piece on an E J-Yong interview.


March 7, 2012

Dini R. Starts the day with a review of indie coming of age story Eighteen on We Eat Lemons.

Matthew J. Constantine returns to review the Blade Runner rip-off Natural City right here on cineAWESOME!

DB Borroughs reviews Children at Unseen Films.

Pierce Conran gives us the Korean Cinema News from 3/1-3/7 over at Modern Korean Cinema.

Paul Quinn posts two of his essays on Korean film done for the East Winds Symposiums over at Hangul Celluloid.

Amy writes about her love for Bae Doona (we love her too) over at Yam Magazine.

Paul Bramhall writes Hollywood Bound: Korea’s Trio of Talent Head West for KOFFIA.

Orion reviews Jeon Woochi over at Orion’s Ramblings.

Kimchi Soul reviews Crossroads of Youth and Handphone over at Kimchi Soul.

Ki Mun gives an overview of Korean cinema for March 2012 over at Scene in Korea.

Mr. C. reviews Armless Swordsman over at Planet Chocko. (I keep wondering where he gets all these great classic films!)

FilmPuff reviews Haunted Village aka Arang over at Not A Film Critic (in Portuguese but you should all be using Google Chrome which will translate)

Christopher Bourne reviews Tale of Cinema (part of the Love Will Tear Us Apart series at Japan Society NYC) over at The Bourne Cinema Conspiracy.

Pierce Conran reviews one of my favorite films Chilsu and Mansu over at Modern Korean Cinema.

DB Borroughs reviews The Man Who Was Superman over at Unseen Films.

Our own Jeff Wildman reviews Oasis and The Chaser right here on cineAWESOME!

Alua reviews Treeless Mountain at Otherwhere.

John Berra covers Dream for VCinema.

Rebo Luistro reviews Black Dress over at Rebzombie Reviews.

VCinema drops Episode 40 covering Saving My Hubby over at VCinema.

James Brown takes a Time Out: An appreciative stroll through Promenade over at KOFFIA.

Tim Milfull talks about How Oldboy Changed the Way I view Asian Cinema for KOFFIA.


March 8, 2012

Pierce Conran comes back strong with a review of 2011′s Penny Pinchers over at Modern Korean Cinema.

Over at Unseen Films, DB Borroughs reviews the funny Hi Dharma 2.

Dini R. is back from We Eat Lemon, this time with a look at the ‘sugar, spice and everything nice’ Antique.

Richard Gray over at KOFFIA gives us a look at Lee Young-ae’s career.

Peter Nellhaus gives us a review of Blood Rain at Coffee Coffee and More Coffee.

At Laxante Cultural, Pedro Alfonso takes a look at Chan-wook Park’s controversial Thirst. (In Portuguese)

Over at Robot x Robot, Lynn Shipp compares the good, the bad and the ugly of Korean Comedies in My Sassy Girlfriend Vs. Crazy First Love.

The one and only Dr. Stan Glick writes about Tale of Cinema over at AsianCineFest.

Guest contributor Adam Hartzell writes about two of Martin Scorsese’s favorite films, Park Ki-young’s Camels and Park Chan-ok’s Jealousy Is My Middle Name over at VCinema.

Over at Genkina hito’s J-Film Review, Jason Maher takes a look at Kim Jee-woon’s directorial debut The Quiet Family.

Yogi reviews Joong-Hyun Kim’s Choked over at Yogi’s Movie Consumption Blog.

Pierce Conran reviews Jo Beom-goo’s Quick over at VCinema.

Orion gives us The Promotional Weaknesses of Korean Films (Abroad) over at Orion’s Ramblings.

DB Borroughs of Unseen Films has written a review for the film Cyrano Agency. (If you live in NYC, this coming Tuesday to see it for free)

Over at Life As Fiction, Rahat Ahmed reviews Lee Han’s Punch.

Kim Ki-duk’s 3-Iron is reviewed by L over at La Troisième Chambre. (In French, but you can translate it with Google Chrome)

Christopher Wheeler discusses Revenge: Korean Style over at KOFFIA.

Charles Heidel reviews Kim Jee-woon’s The Good, The Bad, The Weird over at Greetings From Movie City USA.

Jacob Feltner from the fantastic Podcast Without Honor and Humanity has recorded three more episodes, Oishii Man,Marathon and In Between Days.

Colleen Wanglund writes about Epitaph over at VCinema.

Over at our friends at KOFFIA, Sarah Ward is Delving Into the Darkness of Park Chan-wook.


March 9, 2012

Jaime Grijalba reviews I’m A Cyborg, But That’s Okay over at Exodus 8:2 in Spanish.

Paul Bramhall writes yet another great piece for KOFFIA, titled Hwang Jang-lee: King of the Leg Fighters, Hwang Jang-lee is generally awesome so you guys should really read this one.

Michel Boléchala reviews The Cat for our first French entry over at SHINE.

Samson Kwok talks about how he discovered Korean cinema in Original and Incredibly Fun: Discovering Korean Cinema over at KOFFIA.

Pierce Conran gives us the Weekly Review Roundup for 3/5-3/9 over at Modern Korean Cinema.

Ki Mun reviews Eighteen, Nineteen over at Scene in Korea.

DB Borroughs reviews Truck over at Unseen Films.

Antoniya Petkova reviews the DVD of Front Line at Cine Vue and Midnight FM and The Man from Nowhere over at iCov both from Coventry University East Asian Film Society.

Coventry University East Asian Film Society also gives us Spencer Murphy’s interview with Lee Jeong-beom, Sabina Pasaniuc’s review of Bedevilled, and Mihnea Gheorghita’s review of Yellow Sea all at Cine Vue.

Josh Samford reviews Yellow Sea over at Varied Celluloid.

Israel Serralvo writes about Il Asian Cinema Awards in Spanish over at Hola Corea.

Tom Kent-Williams over at VCinema writes about the Korean animation Sky Blue.

Pierce Conran, again from our friends at VCinema, gives us a ‘look’ at the Korean thriller Blind.


March 10, 2012

Jon Jung, head honcho of VCinema, reviews Metamorphosis.

Jimi reviews Power of Kangwon Province over at Oriental Film House.

Dini R. reviews both Christmas in August and Cyrano Agency over at We Eat Lemon.

DB Borroughs reviews Life is Cool and Little Pond over at Unseen Film.

Gail Kavanagh gives us 10 Reasons to Become A Korean Cinema Addict over at Asian Cinema Cafe.

Kimchi Soul reviews The Day He Arrives at Kimchi Soul.

Refresh Daemon reviews Marathon over at Init_Scenes.

James Schergen reviews Ad-Lib Night over at Flying Guillotine.

Mr. C reviews Tigresses over at Planet Chocko.

Paul Bramhall takes a walk In the Footsteps of the Stars: My Trip to the KOFIC Namyangju Studios over at KOFFIA.

Kieran Tully writes about Korean film down under: accessibility for Australian audiences over at KOFFIA

Joseph Sampson gives us 3 Korean Movies for all Seasons at KOFFIA.

Sarah Ward gives us Complex and Compelling: The Yellow Sea over at KOFFIA.

Orion gives us Promotional Weaknesses of Korean Movies (Domestic) over at Orion’s Ramblings.

Ki Mun reviews Stateless Things over at Scene in Korea.


March 11, 2012

Elwood Jones writes An Introduction To Korean Cinema over at From the Depths of DVD Hell.

Kimchi Soul gives us the Top 5 Korean Cinema Events in London over at Kimchi Soul.

Bruno Zunino reviews Il Mare over at Asiaphile (in French).

Marc Saint-Cyr reviews A Bittersweet Life for VCinema.

Refresh Deamon writes Commentary: My Korean Cinema Story about his own personal experience with Korean film over at Init_Scenes.

DB Borroughs reviews Quick and Oki’s Movie over at Unseen Films.

Paul Quinn reviews The Crucible (aka Silenced) over at Hangul Celluloid.

FilmPuff reviews Doll Master over at Not A Film Critic in Portuguese.

Pierce Conran reviews War of the Arrows over at Modern Korean Cinema.

Dini R. writes Impressionable and Recommendable Korean Movies over at We Eat Lemon.

Mondocurry reviews Quick at Unseen Films.

Andrew Saroch reviews Penny Pinchers and Blind over at Far East Films.

Orion reviews Hansel and Gretel over at Orion’s Ramblings.

James McCormick reviews Invasion of Alien Bikini right here on cineAWESOME!

Kieran Tully writes Busan Film Festival 2011: The Reviews over at Tully’s Recall. (can also be found on KOFFIA)

THE BIG KOFFIA CATCH UP UPDATE:

Paul Bramhall writes Kim Ji-woon: International or Korean?…Take Your Pick.

Raelene Loong writes Discovering Korean Cinema: J.S.A. Joint Security Area.

Hugo Ozman write about The Won and Only Won Bin.

Christopher Wheeler muses on Poetry: Discover how film can truly be a beautiful creature.

Paul Bramhall wrote Lights, Camera, ACTION! – My visit to the Seoul Action School (posted on the 8th and I missed it!)

Kieran Tully writes So you want to run a Korean Film Festival: The KOFFIA Story. (also posted on the 8th).

Pierce goes over the fortunes of Korean box office in this week's Korean Box Office Update at Modern Korean Cinema.

Brad takes Gullickson a look at The Warrior’s Way for cineAWESOME!.

Refresh Daemon reviews A Moment to Remember and gives us Commentary: Memorable Music Moments in Korean Film over at his blogs init_scenes and init_music.

mondocurry reviews My Dear Enemy for Unseen Films.

Pierce Conran looks at Upcoming Releases over at Modern Korean Cinema!

John Kreng reviews A Bittersweet Life for his self named blog!

Jenna reviews 200 Pound Beauty for Yam Magazine.

Amy and Julyssa LOVE Sunny over at Yam Magazine…seriously. They really love this film.

Colleen Wanglund gives us her 10 Favorite Korean Horror films over at VCinema.

Josh Samford grapples with the biopic RIKIDOZAN: A HERO EXTRAORDINAIRE at VCinema.


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 UpdateKorean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Korean Box Office Update (03/09-03/11, 2012)

Helpless Continues Korean Hot Streak With First Place Finish



Title Release Date Market Share Weekend Total Screens
1 Helpless 3/8/12 35.60% 606,548 685,016 547
2 John Carter of Mars (us) 3/8/12 24.90% 368,197 413,150 511
3 Love Fiction 2/29/12 14.90% 251,821 1,477,986 434
4 This Means War (us) 2/29/12 8.60% 145,037 583,016 306
5 Nameless Gangster 2/2/12 5.50% 93,198 4,570,798 301
6 Stanley's Tiffin Box (in) 3/8/12 1.30% 24,847 33,395 162
7 Howling 2/16/12 1.30% 24,162 1,583,645 240
8 Legends of Valhalla: Thor (ic) 2/9/12 1.10% 20,348 739,037 169
9 Safe House (us) 2/29/12 0.90% 15,157 155,265 180
10 Dancing Queen 1/18/12 0.80% 14,701 4,000,931 114


The Korean Film industry's hot streak continues as a local film has led the marketplace for the 8th consecutive week.  This week's new leader is the 6th Korean film to occupy the spot in the past two months.  The more recent Korean films haven't been word of mouth hits like those earlier this year but nevertheless business is good and next week will likely yield yet another new Korean film in pole position.   Let's look at how this week's films fared.

Coming in first place was the new thriller Helpless which stirred up a little bit of controversy earlier this year when one of its one sheets was deemed too risqué and subsequently banned from promotional use.  The film opened with a very healthy 606,548 and reviews have generally been positive.  Given the sophomore stints of a lot of the past few weeks' films it's hard to day how it will hold up, not to mention another big opener bowing in a few days.

John Carter, the $250 million dollar Disney sci-fi pic bombed in the US this weekend but seemed to have slightly better luck in Korea with a decent 368,197 admissions during its opening.  It's not an enormous figure but the property is not known in the east so it performed about as well as could be expected.  Given the film's mediocre reviews, it is unlikely that this will stick around for long but it is not impossible that it could build an audience.  There's a deficit of sci-fi product in the country so this could potentially fill that spot.

Love Fiction saw a fairly steep 55% decline after its big opening which left it with 251,821.  It's a shade below 1.5 million admissions in total and shouldn't have much trouble crossing two.  It was strong out of the gate but looks to be fading fast.

This Means War dropped two spots to number four as it added 145,037 to its total, this represented a healthy 30% drop.  With more weekends like this it could cross the 1 million mark before long.

Nameless Gangster dropped again, this time 50% for 93,198.  It has 4.57 million admissions stowed away but seems less and less likely to make it to the big 5 mark though.  Of course that's just an arbitrary milestone as the film has of course been extremely successful.

Indian film Stanley's Tiffin Box opened with 24,847, a strong figure for a South Asian Film though nowhere near as impressive as 3 Idiot's run last summer.

Howling slipped three spots and was off 77% as it took another 24,162.  Sadly this looks like the end of the line for this well-liked film that simply got lost in the shuffle.

Icelandic animation Legends of Valhalla: Thor is hanging in there as it spends a 5th week in the top 10 with 20,348 take.  It won't cross the one million mark but getting past 750,000 will be seen as a strong achievement.

Denzel Washington and Ryan Reynolds thriller Safe House completely crumbled after it's already disastrous opening as it pulled in a meager 15,157 after a 78% drop.   We won't be hearing about this one anymore.

Closing out the top 10 is likely the last appearance of Dancing Queen as it shed half its theaters and slowed over 70%.  However its 14,701 weekend was enough to just cross over the four million mark, a fitting milestone to commemorate its very impressive box office run.

Next week the big new release will be Russian Coffee (Gabi) which will seek to push Helpless out of top spot.  I imagine it will though I am not expecting any gargantuan figure for its opening.  The film has had a troubled production and I'm not sure how high interest is, though certainly awareness is widespread.  Also opening is Hollywood romance The Vow and Chinese epic 1911.

Source: kobis.or.kr



The Korean Box Office Update is a weekly feature which provides detailed analysis of film box office sales over the Friday to Sunday period in Korea. It appears every Sunday evening or Monday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at Korean Cinema News and the Weekly Review Round-upReviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Friday, March 9, 2012

Weekly Review Round-up (03/05-03/09, 2012)

Due to the brilliant Korean Cinema Blogthon, this edition of the Weekly Review Round-up is the biggest we've ever had.

Enjoy!


CURRENT KOREAN RELEASES


Helpless


RECENT RELEASES


(Unseen Films, March 5, 2012)

(Modern Korean Cinema, March 5, 2012)

Bleak Night

(VCinema, March 6, 2012)

(Unseen Films, March 7, 2012)

(Yogi's Movie Consumption Blog, March 8, 2012)

(Flying Guillotine, March 5, 2012)

(VCinema, March 5, 2012)

(Unseen Films, March 8, 2012)

(koreanindie.com, March 6, 2012)

(We Eat Lemon, March 7, 2012)

(Rainy Day Movies, March 5, 2012)

(RebZombie Reviews, March 6, 2012)

(RedZombie Reviews, March 7, 2012)

(Film Business Asia, March 5, 2012)

(The Jeju Weekly, March 4, 2012)

(Modern Korean Cinema, March 8, 2012)

(Life as Fiction, March 7, 2012)

(VCinema, March 8, 2012)

(Film Business Asia, March 4, 2012)

(We Eat Lemon, March 6, 2012)

(Rainy Day Movies, March 5, 2012)

The Front Line

(KOFFIA Blog, March 6, 2012)

(Unseen Films, March 6, 2012)

(Far East Films, March 6, 2012)


PAST FILMS


(Unseen Films, March 7, 2012)

Antique, 2008
(We Eat Lemon, March 8, 2012)

(VCinema, March 5, 2012)

Bichunmoo, 2000
(Robot x Robot, March 6, 2012)

Blood Rain, 2005
(Coffee, Coffee and more Coffee, March 8, 2012)

Camel(s), 2002
(VCinema, March 8, 2012)

(Modern Korean Cinema, March 7, 2012)

(Otherwhere, March 6, 2012)

(Rainy Day Movies, March 6, 2012)

Death Bell, 2008
(Far East Films, March 6, 2012)

Dream, 2008
(VCinema, March 7, 2012)

Green Fish, 1997
(VCinema, March 6, 2012)

Handphone, 2009
(Kimchi Soul, March 7, 2012)

(Unseen Films, March 8, 2012)

(cineAWESOME!, March 5, 2012)

(VCinema, March 8, 2012)

(Planet Chocko Zine, March 6, 2012)

(cineAWESOME!, March 7, 2012)

(Rainy Day Movies, March 6, 2012)

Oasis, 2002
(cineAWESOME!, March 7, 2012)

Phone, 2002
(VCinema, March 6, 2012)

Pulgasari, 1985
(VCinema, March 5, 2012)

(VCinema, March 7, 2012)

(YAM Magazine, March 5, 2012)

(KOFFIA Blog, March 5, 2012)

(YAM Magazine, March 6, 2012)

Tale of Cinema, 2005

(Planet Chocko Zine, March 7, 2012)

The Chaser, 2008
(cineAWESOME!, March 7, 2012)

(Rainy Day Movies, March 6, 2012)

(cineAWESOME!, March 5, 2012)

The Isle, 2000
(Oriental Film House March 5, 2012)

(Genkinahito's Blog, March 8, 2012)

(Otherwhere, March 7, 2012)

(Rainy Day Movies, March 5, 2012)

Woochi, 2009
(Orion's Ramblings, March 7, 2012)

Yongasari, 1967
(VCinema, March 5, 2012)


The Weekly Review Round-up is a weekly feature which brings together all available reviews of Korean films in the English language (and sometimes French) that have recently appeared on the internet. It is by no means a comprehensive feature and additions are welcome (email pierceconran [at] gmail [dot] com). It appears every Friday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at Korean Cinema News, and the Korean Box Office UpdateReviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Thursday, March 8, 2012

Chilsu and Mansu (칠수와 만수, Chilsu wa Mansu) 1988

Chil-su and Man-su

Park Kwang-su’s debut feature Chilsu and Mansu came at a pivotal moment in Korean history and was one of the films that propelled the Korean New Wave. South Korea had been in a state of perpetual turmoil for decades and the 1980s were particularly difficult following Park Chung-hee’s assassination in 1979 and the tragic Gwangju massacre of 1980. The country was ruled by General Chun Doo-hwan through a despotic rule until 1987 when social unrest reached a boiling point following the torture and death of a university student. After this event Roh Tae-woo and the Democratic Justice Party were able to assume power through a legal and closely contested election. Park Kwang-su was already an influential member of the Seoul Film Group, which he founded, when he embarked on Chilsu and Mansu. Had the film been made any earlier than 1988 it is doubtful that it would have escaped heavy censorship or even have been made at all. Due to the changing political landscape the film was released in its intended form and is now a staple of the Korean New Wave.

The film features two actors who have endured as marquee names to the present day: Park Joon-hoon who plays Chil-su; and Ahn Sung-ki who portrays Man-su. Park was only just starting out in his career but had already received acclaim for previous roles, especially for his part in Youth sketch of Mimi and Cheolsu (1987), for which he won the best fresh actor award at PaekSang Arts Awards. Ahn on the other hand was a well-known actor who had been active since the tender age of 5 and was even in Kim Ki-young’s classic The Housemaid (1960). During the 1980s he starred in some of Korea’s most notable films, including A Fine, Windy Day (1980), Mandala (1981), and Whale Hunting (1984). They would both go on to star together in the smash hit Two Cops (1993) for which they won accolades at the Grand Bell Awards.

Man-su denied his chance to go abroad

Chil-su and Man-su are billboard painters trying to survive off meager work opportunities. Chil-su desperately tries to hide his status as he pretends to be an art student to Chi-na, a girl of higher status that he tries to court, and he also tells everyone that he will soon be leaving for Miami Beach. Man-su is a reserved man who tries to get as much work as he can, he cold calls prospective employers, even assuming provincial dialects[i] until he can find work, and in his off time he drinks heavily. They are both members of the working class and have been relegated to the fringes of society by no fault of their own. Isolation is what brings this unlikely pair together:

“Chilsu and Mansu links its protagonists by their feelings of alienation, one due to politics, the other due to youthfulness.”[ii]

Man-su lives in the shadow of his father, who is in jail for being a communist sympathizer. Having attended higher learning as a youth, he was given the opportunity to work abroad which would have resulted in his having a respectable career when he returned. However, on inspection of his papers he is denied his chance simply because of the political leanings of his father, which he does not ascribe to. This in effect thrusts him to the working class from which he can no longer escape, except through copious amount of soju.

Chil-su on the other hand is a vibrant character who is sociable and seems able to get by, he dreams of going to the Miami he sees in the colorful billboards he is paid to paint, in effect dreaming of escaping to a place that is fictional and which he has a hand in creating. Numerous times during the film he emulates his favorite Hollywood actors, from James Dean in Rebel Without a Cause (1955) to Marlon Brando in The Godfather (1972). His whole life is a lie, especially when it comes to Chi-na, the pretty girl of higher status whom he falls for, as he doesn't give her one shred of truth.

Chil-su tries to court Chi-na

Chil-su often goes so far as to costume himself so as to present a false image. He wears a military fatigue t-shirt (after he lies to Man-su about his position in the armed forces) and one adorned with an American flag (a place to which he assures everyone his passage is imminent). He even gets Man-su to play a part in his game as he dresses him up as a Parisian artist and they go to a nice club.

Park also finds other ways to visually link his characters together. They work side by side up in the sky as they paint billboards, largely ignored by society. By the narrative’s end they are so inextricably bound that they travel together on a tandem bike, experiencing the emotional highs and lows together. For example, as they return home for the final time before the climax they cycle along a wide, busy road and the bike twists which brings both of them down together. As they briefly land on their rearends, they see cars anonymously drive by, symbolic of a society which passes them by.

Chilsu and Mansu begins with a civil defense drill and we meet our protagonists separately in shots that are both framed by windows they are stuck behind. Man-su looks out the window forlornly and then up at the sky, a minute later we meet Chil-su, who is asleep on a bus before being woken by the conductor and told top disembark due to the drill. This gives us a clear image of who these characters are, Man-su is aware and jaded while Chil-su is unaware and transient due to his youth.

Man-su looks up at the sky

While the film deftly portrays the plight of two divergent members of the working class and the societal marginalization that binds them together, it is the extended climax, which serves as its greatest asset and the one it is justly revered for. Darcy Paquet states that:

“The sequence seems an appropriate symbolic starting point for the Korean New Wave, which was founded on the notion of giving voice to the oppressed, and which also had its share of confrontations with the state.”[iii]

In this sequence Chil-su and Man-su are taking a break from working on a billboard perched above a tall building. They are sitting atop it, feet dangling and drinking soju. Having given up hope on his dreams of being with Chi-na and moving away to the States, Chil-su confesses all his lies to Man-su who in turn takes all his pent up frustration, stands up, and begins to shout at everyone below. He is not saying very much in particular but people begin to notice and soon the police and military intercedes, since, as Nancy Abelman and Choi Jung-ha note:

“…the social gaze at these workers – a gaze that has posited them as protesters about to throw a Molotov cocktail – politicises them, making social activists of them.”[iv]

The conclusion to the film serves as a harsh indictment of Korea under military rule. Two oppressed individuals who have no intention of protesting or being involved in any social unrest wind up dead and in jail due to a paranoid institution which suppresses, and censors, any activity which could be construed as anti-authoritarian. As Kyung Hyun-kim summarizes:

The audible voice of authority...

“The moment they begin to verbalize their frustrations, in their effort to reconstitute their masculinity, they are found guilty by the state, subject to arrests and even death for a crime no one­­ – including the state – knows exactly how to identify.”[v]

Both Chil-su and Man-su may not have a political agenda as they vent to the world from the top of their billboard but although their words do not signify political protest, Park, having placed them in this circumstance, does politicize them, just as the crowds and authority that gathers below have. In the end, since they are unable to successfully integrate with society, Chil-su and Man-su can no longer attempt to do so and their actions unwittingly take them out of it. Chilsu and Mansu spoke to a generation upon its release and paved the way for further works of the Korean New Wave and many elements of this type of social commentary have survived and are featured in a variety of ways in today’s, admittedly far more commercial, Korean film industry.


[i] Kyung Hyun Kim, The Remasculinization of Korean Cinema (Durham, NC: Duke University Press, 2004), 145

[ii] David Desser, “Timeless, Bottomless Bad Movies”, in Seoul Searching: Culture and Identity in Contemporary Korean Cinema, ed. Frances Gateward (Albany, NY: State University of New York Press, 2007), 77.

[iii] Darcy Paquet, New Korean Cinema: Breaking the Waves (London: Wallflower Press, 2009), 23.

[iv] Nancy Abelmann and Jung-ah Choi, “’Just Because’: Comedy, Melodrama and Youth Violence in Attack the Gas Station”, in New Korean Cinema, ed. Chi-Yun Shin and Julian Stringer (New York, NY: New York University Press, 2005), 140-141.

[v] Kyung Hyun Kim, The Remasculinization of Korean Cinema (Durham, NC: Duke University Press, 2004), 151

...vs. the silent voice of the oppressed

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 UpdateKorean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.

Wednesday, March 7, 2012

Korean Cinema News (03/01-03/07, 2012)

A very busy week for Korean cinema news with lots of big announcements, but first and foremost we are in the midst of the brilliant Korean Blogathon, the links of which can be found below.

In other news I also had the great fortune of bumping into Bong Joon-ho at London Luton Airport last Thursday on my way to the East Winds Symposium + Festival and he told me he was in town to meet some actors for Snow Piercer.  So things seem to be heating up for that very exciting project which is set to start production in a few weeks.

Enjoy!





KOREAN CINEMA NEWS

Outside of Josh Brolin the casting has not come particularly quick or easy for the Spike Lee directed remake of Oldboy.  For the female lead both Rooney Mara and Mia Wasikowska have been offered and rejected the part and Twitch has now learned that the role of Marie has been offered to Elizabeth Olsen.  (Twitch, February 28, 2012)

Korean Film Festival in Australia (KOFFIA) Expands to Brisbane in 2012
KOFFIA is heading to Brisbane this September, so spread the word!  3 years, 3 cities, 3 times the fun!  No word on the line-up yet, but Sydney can certainly look forward to a full calendar of Korean films in the meantime. The second season of the Korean Cultural Office’s Cinema on the Park has also launched.   (The Reel Bits, February 28, 2012)

Nameless Gangster Emerging as Hottest Korean Movie of the Year
Nameless Gangster has attracted over 4 million spectators in just 26 days of its release, emerging as the first film to sell so many tickets in such a short time this year. It achieved the feat on Monday.  The success of Nameless Gangster is even more notable as it was achieved in February, considered the low season for movies, and is rated R, excluding younger viewers and families.  (The Chosun Ilbo, February 29, 2012)

From the Makers of Chawz Comes New Korean Supernatural Thriller
In The Fortune Tellers, bespectacled cutie Kang Ye-won heads to a remote village where a grand exorcism is about to take place.  Chawz was a bit overly long but it did a great job balancing comedy, pathos, and wild creature sequences so we should expect great things from The Fortune Tellers.  From these pictures, it certainly looks like it’ll be a lot of fun. The film opens in South Korea later this year.  (City on Fire, March 2, 2012)

Gorilla to Play Baseball in Korean Sports Comedy Mr. Go
Filming has already begun for Mr Go 3D, a sports comedy based on a popular manhwa (Korean comic) by Heo Yeong-man - his other works has also been adapted for Le Grand Chef.  The story is about a gorilla from a Chinese circus that is trained to play professional baseball in Korea.  Budgeted at $20 million, the ambitious live action film is being shot in stereoscopic 3-D and will utilize a combination of motion capture performances and digital effects à la Rise of the Planet of the Apes.  (Twitch, March 6, 2012)

So Ji-sub Stars in Korean Hitman Thriller A Company Man
Korean heartthrob So Ji-Sub turned heads around the world with his role in 2008's Rough Cut.  Already a star of television dramas, Rough Cut put So back on the map in Korea after a couple years away while he did his mandatory military service and he has been very selective with his roles since, appearing in big budget TV drama Cain and Abel and Chinese feature Sophie's Revenge.  And soon he will be back on the big screen at home thanks to his lead part in Lim Sang-yoon's A Company Man.  (Twitch, March 6, 2012)

Busan Plans for New Studio Complex
Busan, the South Korean city that is already home to one of Asia's leading film festivals, has moved forward with its plans to build a world-class film studio.  The KOFIC facility would be the second set of new studios to be built in the city, after the Busan Film Commission's on-going redevelopment project.  Late last month the city authorities signed an agreement with the Korean Film Council, (KOFIC) that is expected to see the two bodies jointly finance the new studios.  (Film Business Asia, March 7, 2012)


INTERVIEWS

Quirky New Film Makes the Most of a Hairy Mess
Love Fiction, the new film by Jeon Kye-su, has a quirky element that is generating a buzz on the Internet: armpit hair.  Since before the film’s release on Wednesday, the phrase has become one of the top searches on major Web portals.  But there’s more to this film than that.  The Korea JoongAng Daily recently caught up with Jeon and talked with him about his insightful and unconventional romantic comedy.  (The Joong Ang Daily, March 2, 2012)

Kim Min-hee Anything But Helpless in New Movie Role
Actress Kim Min-hee, who stars in the film Helpless, which is scheduled to be released next Thursday, fell in love with the movie as soon as she read the script.  "I love films about characters with checkered lives, so I thought this role would give me a chance to show what I am capable of as an actress because it fits my style," she said.  (The Chosun Ilbo, March 3, 2012)

Interview with Fox International Production Creative Executive Paul Huh
Will this be a source of new energy for the Korean film industry, or a new era in which it will have to compete with Hollywood’s studio system in making Korean-language films?  Fox International Production (FIP), part of the 20th Century Fox Entertainment group, has declared it is officially entering the Korean film production market.  Dohoon Kim met with FIP’s Korean Creative Executive Paul Huh to talk about their plans. After studying finance in New York, Huh started working in the Korean film industry first at MK Pictures's international sales team and later became a producer.  (KoBiZ, March 6, 2012)

TRAILERS

Doomsday Book


Over My Dead Body



BOX OFFICE

(Modern Korean Cinema, March 5, 2012)


Korean Cinema News is a weekly feature which provides wide-ranging news coverage on Korean cinema, including but not limited to: features; festival news; interviews; industry news; trailers; posters; and box office. It appears every Wednesday morning (GMT+1) on Modern Korean Cinema. For other weekly features, take a look at the Korean Box Office Update and the Weekly Review Round-upReviews and features on Korean film also appear regularly on the site. 

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.


Tuesday, March 6, 2012

Top 10 Korean Films of 2010


2010 was a great year for Korean cinema and as here at Modern Korean Cinema I'm going back through Korean film to get a sense of what were the best and most important films through the years.  I'm thrilled to present my top 10 for the year to coincide with the Korean Cinema Blogathon.  I have seen a lot of films from 2010 and the only major omission is Cafe Noir which has yet to find a DVD release, here's hoping there'll be one!

This follows on from January's Top 10 Films of 2011 and I hope to make my way back through to the 90s.

Without further ado, scroll through the top 10 below, followed by some honourable mentions and the year's biggest turkeys:

Intro - 10 9 8 7 6 5 4 3 2 1 - Best of the Rest

Top 10 Lists

Year  20202019 - 2018 - 2017 - 2016
2015 - 2014 - 2013 - 2012 - 2011 - 2010

2010s (Top 50) - All Time (Top 25)

Genre

Monday, March 5, 2012

Always (오직 그대만, O-jik Geu-dae-man) 2011


Korea has produced many romance films over the years and if you’ve seen even a few of them you may have noticed that things don’t always end well for the lovers.  Be it a spacio-temporal gap, a terminal disease or a handicap, there almost always seems to be something that separates them.  By force of seeing so many of these films I began to wonder if there might have been something behind this.  The most convincing reason I could come up with was that these separations may have been an allegory for a larger theme of separation that looms over Korea, namely the division of the peninsula.

While by no means a catchall theory, it think it stands up pretty well if you examine a number of the genre’s most famous offerings such as Lee Hyeon-seung's Il Mare (2000) and John H. Lee’s A Moment to Remember (2004).  However as the years wore on and my knowledge of Korean cinema increased, this has become a less satisfactory explanation.  It is quite simplistic and vague and though it can easily be applied to a film it can just as quickly be discredited.  I still think there’s something to it but now I can see that it is just one facet of a broader set of priorities for Korean filmmakers.


Song Il-gon, though not as well known as filmmakers like Park Chan-wook, Kim Ki-duk or Lee Myung-se overseas, is nevertheless one of Korea’s most impressive cineastes.  In a very short time he made Spider Forest (2004), Feather in the Wind (2004) and Magicians (2005), all critically-acclaimed films.  Spider Forest in particular was I film I was very impressed with which straddled a fine line between commerce and art and in the briefest possible terms I would describe it as what a Korean David Lynch film might look like.

Given his prior output, his latest seems like a bit of a departure.  A romance film with a big hallyu star, Always was the opening film of last year’s Busan International Film Festival.  If you didn’t know who was behind it, the film seemed just like any other Korean romance film and sure enough this is the kind of reception it received after it premiered.  Because of its mediocre reviews and its disappointing box office returns I was ready to write the film off but out of respect for Song I decided I’d give it a chance.  I must say I’m very glad that I did, while it did not scale the heights of some of his previous films, it turned out to be a rewarding experience that had more to offer than its generic trappings might imply.


Cheol-min (So Ji-sun) is a former boxer which a shady past who now solemnly works odd jobs to make a living.  Jeong-hwa (Han Jye-hyo) is a telemarketer who lost her sight in a accident and mistakes Cheol-min for someone one day while he’s manning the booth at a parking complex.  Sensing something sweet and sincere in him she frequently visits him, sharing his booth as they watch K-dramas.  Both have suffered trauma and this is alluded to early on.  Their pain and consequent vulnerability makes them sensitive and very well suited to one another.  There is something dark lurking within in Cheol-min which he hasn’t fully been able to hide away while Jeong-hwa has her own complex (typical of handicapped characters in cinema) whereby she is unable to accept help from others.

So far so plain, nothing here really hints at anything more than typical romantic fare.  So the question is:  Is Always Song Il-gon’s attempt to make a commercially viable film?  Given the demographic friendly plot, the presence of major Korean heartthrob So Ji-sub and the film’s big marketing push, the answer would appear to be yes.  But this doesn’t mean the film is devoid of substance.  First of all, the film looks great.  The luminous cinematography is hazy and frequently sun-drenched, which gives off a potent air of nostalgia not to mention romance.  Generally speaking the film is well-made, it is evident that the film is a result of a strong directorial hand.

As far as the leads go I would say that the casting of So Ji-sub works in its favor.  Primarily a K-drama actor, So has also impressed in a few feature roles, namely as the stoic gangster in Jang Hoon-s exceptional Rough Cut (2008).  The strong silent type, a staple character of the romance genre, suits him very well.  He succeeds in bringing both the physicality and vulnerability out of his character.  Han Jye-hyo on the other hand is less impressive.  Early on she is very endearing and gels quite well with So but soon she falls prey to excess as she shrieks her way through the film’s more dramatic moments.


At one point in the film, Cheol-min is engaged in a vicious cage fight.  He is presented as the opponent who faces a superior and notoriously dirty fighter.  What struck me about this scene was its ambivalence:  while outmatched, his opponent doesn’t resort to dirty tricks while he does, and this wins him the fight.  The film cleverly brings the concept of audience alignment into question.  We root for him because he is the protagonist and also because the film shows us, through codes and pieces of information, that he is the good guy while the other fighter is the villain, though we have never seen him before this point.  We take these clues at face value but as Cheol-min begins to brutalize his opponent it becomes clear that our moral compass can be easily duped by emotional manipulation.

The film is not without its faults, which include a very poorly defined antagonist and some clunky Deus Ex Machinas but by and large this is a successful outing for Song who has once again stretched out into new territory.  Always proves to be a fresh bent on an old theme and will likely reward discerning viewers who give the film a chance.  I hope a few more people see it as it would be a shame for it drift away into anonymity.

★★★☆☆



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 UpdateKorean Cinema News and the Weekly Review Round-up, which appear weekly on Monday, Wednesday, and Friday mornings (GMT+1).

To keep up with the best in Korean film you can sign up to our RSS Feed, like us on Facebook, or follow us on Twitter.