Just when it seemed like star power was starting to fade in Korea, a new vehicle for two of the nation’s most popular performers danced its way into the spotlight, enchanting four million local viewers in the process. Late last year and earlier this year a host of others (I among them), were calling out Korean stars for their failure to attract audiences to domestic cineplexes. Song Kang-ho, normally the country’s most reliable star, misfired with
Hindsight (2011), the first film in over a decade from Lee Hyeon-sun (
Il Mare, 2000) and a short while after
Countdown drew even less receipts despite starring what should have been a potent combo with Jeon Do-yeon (
Secret Sunshine, 2007;
The Housemaid, 2010) and Jeong Jae-yeong (
Castaway on the Moon, 2009). Since the star system has been powerful for so long, arguably too long a time, this shift in what drives a spectator to a theater has been seen as audience’s rejection of the less than-stellar features that the studios marched into the multiplexes, especially hollow blockbusters and these empty star vehicles (though personally I thought the above two films were a little better than what most people made them out to be).
.jpg)
.jpg)
.jpg)
.jpg)
