Thanks for your patience!
UPCOMING FILMS
(Next Projection, October 1, 2012)
(Screen Daily, October 5, 2012)
(The Hollywood Reporter, October 4, 2012)
(Variety, October 29, 2012)
Friday, October 5, 2012
WKR: Busan Reviews Pour In (09/29-10/05, 2012)
Little late in posting this as I got caught in covering my first Busan Film Fest, starting my new job at the Korean Film Council and moving into a new apartment! That said, plenty of great content from BIFF and will have caught up on all of the Weekly Korean Review updates by weekend's end!
Thanks for your patience!
Thanks for your patience!
Thursday, October 4, 2012
BIFF 2012 - Opening Film: Cold War (Hong Kong) 2012
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Part of MKC's coverage of the 17th Busan International Film Festival.
If Cold War, the opening film of this year’s Busan Film Festival, is heralding a new paradigm for commercial Hong Kong cinema, then I can’t say that it’s something I’m very excited about. Over-produced and austere, it features strong and slick production values but lacks the confidence, verve or panache of the likes of Johnny To. A potentially interesting tale of internal corruption within the upper echelons of HK law enforcement, the film mostly takes place in brilliant high rises, far from the bustling streets below. The colors are muted, the angles stark, and the production design is far too neat, all of which create a distancing effect: it's hard to get into the rhythm of the film. The lifeless performances, relentless pacing, bombastic staging and needlessly convoluted plot only add to the woes of this disappointing effort from two new directors which ample experience in the field.
Leung Lok-Man and Luk Kim-Ching’s resumes as behind-the-scenes experts, Leung as an art director and Luk as an assistant director (including on the Macau sequences of this year’s Korean blockbuster The Thieves), are readily evident on screen, as the proceedings are immediately swept up in a concisely-edited urban aesthetic. Set pieces, though uneven, are often impressive. Taking a page from To’s book, some of the film’s best scenes are well-constructed sequences of breathlessly combined parallel scenes.
Wednesday, October 3, 2012
KCN: BIFF Gets Ready to Take Offf (09/27-10/03, 2012)
KOREAN CINEMA NEWS
White Night directed by Leesong Hee-il, who once caught attention with No Regret, has been invited to the Vancouver International Film Festival and the London Korean Film Festival. 6 years after he proved the possibility of Korean style queer film with No Regret, he made a new film White Night, which will be screened at the Dragons and Tigers section of the 13th Vancouver Film Festival (September 27th ~ October 2nd) and the 7th London Korean Film Festival (November 2nd ~ 23rd). (KoBiz, October 2, 2012)
Monday, October 1, 2012
KBO: Masquerade Lords Over Chuseok Holiday (09/28-09/30, 2012)
Masquerade Lords Over Chuseok Holiday
| Title | Release Date | Market Share | Weekend | Total | Screens | |
| 1 | Masquerade | 9/13/12 | 47.70% | 1,379,364 | 5,234,423 | 935 |
| 2 | Taken 2 (us) | 9/27/12 | 27.80% | 776,843 | 962,350 | 682 |
| 3 | Spy | 9/20/12 | 9.30% | 275,007 | 840,498 | 454 |
| 4 | Brave (us) | 9/27/12 | 7.40% | 208,613 | 223,901 | 435 |
| 5 | Ted (us) | 9/27/12 | 2.40% | 66,326 | 83,150 | 248 |
| 6 | Ghost Sweepers | 10/3/12 | 1.60% | 48,271 | 53,628 | 176 |
| 7 | Wolf Children (jp) | 9/13/12 | 0.90% | 28,266 | 217,147 | 145 |
| 8 | Tad the Lost Explorer (us) | 9/20/12 | 0.70% | 20,515 | 127,868 | 194 |
| 9 | Pieta | 9/6/12 | 0.60% | 18,365 | 570,949 | 142 |
| 10 | Resident Evil 5 (us) | 9/13/12 | 0.40% | 10,870 | 550,480 | 132 |
WKR: Masquerade and Coverage from MoMA's Yeonghwa Screenings (09/22-09/28, 2012)
Sorry for the delay for this week's Korean review round-up. I'm transitioning from on job to another, moving out of my apartment, and getting ready for Busan. On that note, there will be no weekly updates during the festival, they will be retroactively added later in October.
Thanks for your understanding!
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Thanks for your understanding!
CURRENT FILMS
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Masquerade
Friday, September 28, 2012
Yeonghwa: Korean Cinema Today 2012 - Pink (핑크, Pingkeu) 2011
Part of MKC's coverage of the 3rd Yeonghwa: Korean Cinema Today event at NY's Museum of Modern Art. (previously published).
The passage of time affects us all in certain ways, our experiences and our memories all take on different forms after we’ve lived them and they leave behind a trace. This imprint can be faint and slip through our conscious memory just as it can leave an indelible mark, a scar that bears the weight of its genesis. Most things change with the passage of time but some do not and Jeon Soo-il’s new feature Pink is a dirge to the intransigence of the roots of our defining characteristics.
Jeon, who hails from Korea’s vibrant port city Busan, is a fiercely artistic filmmaker who has quietly been making films for the past 15 years. While respected within the filmmaking community, Jeon has never attracted anywhere near the same level of international reputation as his arthouse contemporaries, such as Hong Sang-soo (The Day He Arrives, 2011), Kim Ki-duk (Spring, Summer, Autumn, Winter… and Spring, 2003) and Lee Chang-dong (Poetry, 2010). His films are slow, deliberate and difficult and though they are successful on the festival circuit (he has won awards at Fribourg, Busan and Venice), a larger audience may never gravitate towards his oeuvre.
Thursday, September 27, 2012
Yeonghwa: Korean Cinema Today 2012 - Ideological Barriers and Invisible Borders in Poongsan (풍산개, Poongsangae) 2011
Kim Ki-duk is one of the filmmakers who initially drew me to Korean cinema. The first film of his I saw was The Isle (2000), which was, in a French DVD edition, packaged together with Lee Chang-dong’s Peppermint Candy (1999). While the films may have been very different they were also a fantastic double bill that complemented each other in many ways. I wasn’t as shocked by the violence as I may have been because I had already seen Park Chan-wook’s Sympathy for Mr. Vengeance (2002) and before dipping into Korean cinema, had more or less exhausted Takashi Miike’s catalogue up until that point (around 2003).
Park’s film, while harrowing, was a pure piece of cinema brimming with adrenaline and the pure pleasure of filmmaking. Lee’s poignant drama was elegant, realistic, literary, and propelled by social issues and recent Korean history. Kim’s effort was slow and laconic, it was violent while at the same time elegiac. The Isle had an artist’s touch and was unlike anything I’d seen before, just as the previous two films were. Indeed I was very lucky to have selected the three Korean films that I did as my introduction to the nation’s cinema, the hooks were in deep from the start.
Wednesday, September 26, 2012
KCN: A Bittersweet Life Gets US Remake, Pieta Sales and a Boatload of Posters (09/20-09/26, 2012)
It's been a very busy week here in Korea as I'm switching jobs, moving, preparing for Busan and have lost my phone so apologies for the slower pace of articles and this abbreviated version of Korean Cinema News.
One half of the directing duo behing Menace II Society, From Hell and The Book of Eli, Albert Hughes, is set to direct a fast-tracked remake of the seminal Korean gangster film A Bittersweet Life. Anthony Peckham, recently behind Invictusand Sherlock Holmes, has been brought in to polish the script. No word yet on cast or possible release date.
There's been a awful lot of news surrounding Korean films being remade in Hollywood or Korean directors making their mark in Tinseltown lately but this is one development I can't get excited about. I'm generally not a fan of foreign films being remade (much less Korean ones) so I'm not one of the people who is excited for Spike Lee's take on Oldboy. However, I do recognize the potential that such an original premise has in a new market. The same goes for the upcoming remake of Castaway on the Moon, one of the very best films made in the last decade. Last I heard, Mark Waters (of Mr. Popper's Penguins fame) was at the helm, and while I don't think that'll amount to much I do concede that it is property with a fantastic premise, ripe for the remake treatment.
Monday, September 24, 2012
Yeonghwa: Korean Cinema Today 2012 - Blind (블라인드, Beulraindeu) 2011
Part of MKC's coverage of the 3rd Yeonghwa: Korean Cinema Today event at NY's Museum of Modern Art. (previously published).
First impressions are important and as film viewers we are particularly prone to making rash decisions based upon the opening moments of anything we watch. This is perhaps even more important in this day and age as multimedia is so readily accessible. Our already short attention spans are dwindling ever further as we can easily switch between TV channels, on demand, stored digital, and portable media. Those first few minutes of a film can dispense a large volume of information but even so, they cannot always prepare you for what you are going to see. Opening scenes are important but not every kind of film can benefit from a flashy beginning.
One of this year’s most successful Korean films, Blind does not get off to the greatest start and blunders on through the first act with heavy feet, trampling through the early stages of the plot. Subtlety is not the film’s strong suit and the quicker this is accepted, the better. Once I got used to the heavy-handedness of the proceedings I was able to enjoy myself but the film walks a dangerous line from the start. It doesn’t really announce itself properly and seems like a relatively sober affair at first, it is only as it continues in unsubtle fashion and when things become even more ridiculous that you begin to understand the intent of the film, which is to be a trashy and entertaining potboiler. It does succeed on that last count, but it takes a while to get there and is not without its fair share of problems.
KBO: Masquerade Still King (09/21-09/23, 2012)
Masquerade Still King
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| Title | Release Date | Market Share | Weekend | Total | Screens | |
| 1 | Masquerade | 9/13/12 | 60.50% | 1,192,689 | 3,227,946 | 922 |
| 2 | Spy | 9/20/12 | 16.80% | 341,696 | 415,422 | 576 |
| 3 | Resident Evil 5 (us) | 9/13/12 | 5.70% | 101,271 | 501,391 | 331 |
| 4 | Ted (us) | 9/20/12 | 3.90% | 81,313 | 100,920 | 301 |
| 5 | Pieta | 9/6/12 | 3.50% | 69,518 | 505,744 | 292 |
| 6 | Wolf Children (jp) | 9/13/12 | 2.90% | 61,269 | 169,760 | 220 |
| 7 | The Bourne Legacy (us) | 9/6/12 | 2.10% | 39,773 | 998,212 | 262 |
| 8 | Traffickers | 8/29/12 | 1.90% | 36,518 | 1,618,528 | 192 |
| 9 | The Thieves | 7/25/12 | 0.40% | 6,969 | 12,944,840 | 86 |
| 10 | London Boulevard (uk) | 9/20/12 | 0.30% | 6,735 | 11,617 | 131 |
Friday, September 21, 2012
Howling (하울링, Hawoolling) 2012
Following a slightly longer break than usual, Yu is back with his fifth feature and I was excited the moment I heard about the project. Not least for his involvement but also due to the participation of Korean thesps Song Kang-ho and Lee Na-young and the premise which was initially loglined as a procedural about spontaneous combustion. Though not an outright failure, the film did not find an enormous audience in Korea when it opened in February and has since picked up a number of detractors but as far as I’m concerned, though a flawed film, it is one of the best genre efforts of the year to date.
WKR: Masquerade and Bounty of Recent Releases (09/15-09/21, 2012)
Lee Byung-Hyun's smash hit period pic Masquerade gets a number of reviews this week while a wide selection of recent Korean films gets covered all around the world, from DVD and cinema releases to TIFF, Zipangu and Yeonghwa: Korean Cinema Today coverage.
CURRENT FILMS
Masquerade
(Film School Rejects, September 20, 2012)
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