BiFan 2018 Review: BEAUTIFUL VAMPIRE Bites Into Endearing and Quirky Horror Romcom

By Pierce Conran

Combining the stylings of a young Park Chan-wook with the emotional sensibilities of the Korean drama world, debut feature Beautiful Vampire stood out from the crop of local indie genre features making their debuts at the Bucheon International Fantastic Film Festival this year (BiFan). Director Jude Jung imbues a playful style into a low-budget if thin genre comedy that features a compelling turn from rising name Jung Yeon-ju.

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Review: ALONG WITH THE GODS: THE LAST 49 DAYS Sacrifices Focus for Franchise-Building

By Pierce Conran

I'll admit that eight months ago I may have brought a certain amount of prejudice with me when I went to see Along with the Gods: The Two Worlds, the fantasy epic blockbuster that would become the second most successful Korean film of all time. Rewatching the film earlier this month, I realize my initial assessment was a little harsh and that it was more effective and engaging than I initially gave it credit for. This time around I went in with an open mind, twice, before collecting my thoughts. So I feel quite confident when I say that, sadly, Along the the Gods: The Last 49 Days is the bigger but far less successful half of Korea's first two-part blockbuster (though this may not have much of an impact on its financial prospects).

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Review: THREE SUMMER NIGHT Strips Down To Bikinis And Cheap Jokes

By Pierce Conran

Bikini bods, thugs and knuckleheads cross paths under the summer sun in the latest from Korean comedy maestro Kim Sang-jin. Just as chaotic as his earlier output but with less of an edge, Kim brings his trademark cause-and-effect comedy brand to Three Summer Night, a diverting yet forgettable spin on The Hangover.

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Review: INSANE Shoots Down the Middle

By Pierce Conran

Released early in 2016, the surprise hit Insane is the sixth film from versatile director Lee Cheol-ha. Employing a less than original premise, this thriller turns out to be a middle-of-the-road attempt that pales in comparison to a slew of stronger titles in what was a strong year for Korean thrillers.

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Review: UNWANTED BROTHER Puts Onus On Characters In Familiar Setting

By Pierce Conran

After nearly a decade away from the director's chair, Shim Kwang-jin returned with an unhurried take on a common tale of a lowlife manipulating those around him to pay a debt. Propped up by a few fresh spins on the well-trodden material and some earthy performances, Unwanted Brother is a worthwhile character study with subtle yet clear social overtones which debuted at the Jeonju International Film Festival in 2015.

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Review: ISLAND, An Elegiac Arthouse Mystery

By Pierce Conran

A man travels to Jeju Island, planning to kill himself in his grandparents' abandoned home, in the most intriguing Korean film to grace the Jeonju International Film Festival in 2015. A lushly filmed and thoroughly engrossing mystery channeling local family melodrama norms along with surprising genre tropes and themes of the loss in a hermetic urban society, Island is a deliberately paced and ambitious arthouse production from sophomore auteur Park Jin-seong.

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Review: THE DEAL, A Serviceable But Generic Korean Revenge Thriller

By Pierce Conran

Korea delivers yet another serviceable revenge thriller with The Deal, a well-oiled but overly familiar addition to the longstanding local genre staple. With young women violently murdered during downpours and Kim Sang-kyung once again playing a hapless detective at his wit's end, the film immediately calls to mind modern classic Memories of Murder, an inevitable comparison but a tough act to live up to.

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Review: THE HANDMAIDEN, Park Chan-wook's Deeply Engrossing and Highly Sexual Tale of Female Sexuality

By Pierce Conran

Following his Hollywood foray Stoker, Park Chan-wook returns to (mostly) home soil for his sumptuous and sensual adaptation of Sarah Waters' Fingersmith. Transposing the novel's setting from Victorian England to 1930s Korea and Japan, when the former was a colony of the latter, The Handmaiden is a deeply engrossing, highly sexual and at times darkly humorous tale of female sexuality brought to life in spectacular fashion.

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Review: YOURSELF AND YOURS Finds Hong Sang-soo in Wry and Perplexing Mood

By Pierce Conran

Celebrated indie auteur Hong Sang-soo returns to Toronto with his 18th film Yourself and Yours. Once again featuring artists boozing their way through a series of eateries as they lament over their personal woes, his latest work echoes the themes he's repeated throughout his career. Yet there's a darker than usual tone and less humanity on display here in a duplicitous narrative that appears to deliberately toy with its audience.

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Review: THE WAILING, A Bone-Chilling, Thunderous Descent Into Hell

By Pierce Conran

After turning the Korean thriller on its head with The Chaser and The Yellow Sea, director Na Hong-jin has reinvented himself again, aggressively pushing against the boundaries of genre cinema with The Wailing. A deafening descent into hell, it may also be the best Korean film since Lee Chang-dong's Poetry.

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Review: KARAOKE CRAZIES Kills It

By Pierce Conran

In Korea, few things are more important than karaoke. With thousands of karaoke bars, open all hours, littering every corner of the country, it's an activity that reaches every part of society, servicing hoards of stressed salary workers, bored teenagers or oftentimes a more licentious clientele. Karaoke is a frequent feature of Korean films, but in Karaoke Crazies, Korea's national pastime comes out front and center, serving as the focal point of an infectious blend of drama, comedy, thriller and absurdity.

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Review: THE HIMALAYAS Swaps Snowflakes For Tears

By Pierce Conran

For those looking for an expedition drama, be warned that despite its title, The Himalayas is first and foremost a melodrama. One concerning brotherhood, family and, above all, coping with grief. Himalayan expedition films seem to be in vogue at the moment, with 2015 already yielding Baltasar Kormákur's Everest and Japanese drama Everest: The Summit of the Gods due out in a few months, but Lee Suk-hoon's picture is more concerned with relationships than it is with the technicalities of mountaineering.

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