Review: RIGHT NOW, WRONG THEN, Stars Shine in Classic Hong Sangsoo

By Pierce Conran

Following Hong Sangsoo's career guarantees for viewers, at the very least, one thing - developing a keen eye for detail. The auteur's films are remarkably similar to one another, from their lecherous male director/professor characters and conversations over bottles of soju, all the way down to their repeating details and occasional (but abrupt) camera zooms and pans.

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Review: COLLECTIVE INVENTION Asks the Right Questions, But Has None of the Answers

By Pierce Conran

Wrapping a raft of social issues plaguing modern Korean society into a simple allegory, Collective Invention, a quirky comedy-drama with dashes of the same humor found in Bong Joon-ho's work, is a succinct but relatively straightforward affair. The setting is ripe for social commentary, but none of the observations rise above the superficial and ultimately the film is let down by a storyline that feels underdeveloped and ends on a wishy-washy note of false hope.

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Review: REACH FOR THE SKY Goes There and Beyond

By Pierce Conran

The last few BIFFs have each afforded us one great documentary (Non-Fiction Diary, Factory Complex), and 2015 proved to be no exception with the discovery of the timely Reach for the SKY, a compelling look at a common but disastrous problem at the root of modern Korean society - competitive education. Constructed like a thriller and featuring a taut and ominous mise-en-scene, this joint production between Korea and Belgium is gripping from the start and builds to a devastating climax.

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Review: ORDINARY PEOPLE Offers Tired Gags in Familiar Situations

By Pierce Conran

Three years after his debut Over and Over Again, director Kim Byung-june returned to Busan with a much livelier effort that strives to mix social realism and situational crime comedy. Aping the lowbrow comic efforts of Korea's commercial realm, Ordinary People looks to punch above its weight but by carrying over the issues that marred his debut and juggling a jumble of themes, Kim's latest strikes a discordant tone that is unlikely to move the masses.

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Review: MEMORIES OF THE SWORD, Remembering Better Sword Fighting Flicks

By Pierce Conran

The wild card in the quartet of major Korean releases released in 2014's high summer season (alongside Assassination, Veteran and The Beauty Inside), the star-driven period spectacle Memories of The Sword proved to be a perplexing experience with jarring tonal shifts and unclear aims. Not even Lee Byung-hun and Jeon Do-yeon, two of Korea's most dependable stars, rise above the material, while newcomer Kim Go-eun is an awkward anchor to the film's emotional heft.

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Review: OWNERLESS FLOWER UHWUDONG Can't Choose Between Erotica And Drama

By Pierce Conran

Thirty years after Lee Jang-ho's landmark film Eoh Wu-dong (available to watch for free on the Korean Film Archive's Youtube channel), a period ero that became a surprise critical and commercial hit in 1985, Lee Soo-sung offers up his own version of the tale, called Ownerless Flower Uhwudong (different spelling, same name), which had a limited theatrical run earlier after its festival premiere at the Bucheon International Fantastic Film Festival in 2015.

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Review: ANGRY PAINTER Presents Artsy Revenge Erotica

By Pierce Conran

Following his trip From Seoul to Varanasi in 2011, arthouse filmmaker Jeon Kyu-hwan took a bigger leap overseas with Angry Painter, an indie tale of revenge and despondency that spends much of its running time trapping through the cold climes of Estonian capital Tallinn.

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Review: TRAIN TO BUSAN Rides the Rails With the Undead

By Pierce Conran

For his live-action debut Train to Busan, indie animation director Yeon Sang-ho, whose films The King of Pigs and The Fake have drawn international acclaim, has taken the zombie thriller, stuck it into the claustrophobic confines of a train, and taken aim at Korea's government and its hierarchical divides. A tense and inventive mix of genre thrills and social anxiety, Train to Busan is a Korean blockbuster with an unusually clear focus.

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Review: THE TREACHEROUS Sexes Up History In Convoluted King's Court Potboiler

By Pierce Conran

History gets a savage makeover in The Treacherous, a period offering from Korea detailing the tyrannical reign of King Yeonsan, long known as the most despotic ruler of the Joseon Era. High on provocation and low on historical accuracy, this work from genre-hopping veteran Min Kyu-dong seeks both to titillate and to offer a serious examination of a notorious King's rule and the complicated machinations in his court.

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Review: THE WORLD OF US, A Complex And Compelling Children's Tale

By Pierce Conran

Following the enormous promise shown in her terrific shorts Guest (2011) and Sprout (2013), director Yoon Ga-eun delivers in spades with her feature-length debut The World of Us, a beautiful look at the undulating friendships and rivalries between a trio of 10-year-old girls. Yoon returned to the Generations program of the Berlin International Film Festival, where Sprout was awarded the Crystal Bear for Best Short Film in 2014.

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Review: THE BEAUTY INSIDE, High Concept Melo Is as Glib as Its Title

By Pierce Conran

A corporate-sponsored high concept web series gets the glossy Korean melodrama treatment in The Beauty Inside, top romantic offering of summer 2015. Featuring a laundry list of Korean stars all playing the same character, this debut film by music video director Baik stays very true to its source material, while also expanding it with familiar local melodramatic elements.

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Review: NORTHERN LIMIT LINE Mistakes Nationalism For Narrative

By Pierce Conran

2014 gave us the nationalist call-to-arms Roaring Currents and, following its record-breaking run, the following summer unsurprisingly treated us to its own entree of patriotic balderdash, the melee of melodrama and jingoism that is Northern Limit Line. Going right for the tear ducts, this limp cash cow often feels more like a TV drama than the naval thriller it pretends to be.

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