Posts Tagged ‘Korean Cinema’

Works for what it is

After a really long time, as I had some alone time on a Saturday night, I thought of reliving good old days by watching a movie, alone. While browsing through my HDD, I came across this movie called ‘Alone’. ‘Alone’ being a horror and foreign movie was icing on a cake. What better do you need than a movie titled ‘Alone’ on a day alone. The movie too lived up to the hype. It was a classic jump scare, no nonsense film with a decent twist. Only that I had to watch it into two splits, instead of one, like how the conjoined twin were split, because I seemed to have so gotten used to sleeping on time.

It was a clean movie. There is nothing to complain about it. You get what you want. It transcends boundaries and works genuinely. If the movie had been treated in the same way, no matter what the language is, it would have worked similarly. May be that’s why so many directors were tempted and make it in their language. But unfortunately, missed the point which I earlier told. The treatment, if diluted would surely would spoil the film. I’m sure in the Tamil version there would have been needless sentiments and songs and Hindi version because it had Bipasa would have hot scenes. May be that’s why originals are best. The same could be said about the director duo of Banjong Pisanthanakun and Parkpoom Wongpoom’s ‘Shutter’.

Like a typical template horror, the film starts with eerie title card, followed by a suspense shot on Pim’s (Marsha Vadhanapanich) birthday. Loved the Thai version of ‘Happy Birthday’ song, it was cute. Once they get to know about her mother’s illness, Wee (Vittaya Wasukraipaisan) and Pim go to Korea to see her. Pim starts to see horrific images from there, followed by doctor visit. After sometime, Wee too starts seeing bits of what Pim sees. During a chance encounter with Pim’s mother, he gets to know the real story and there is the twist.

Even though the film happens entirely in dark, a good excuse for horror film makers to not try anything new, this film, as it deals will conjoined twins, uses mirror and its reflection to good advantage. Especially loved the shot where Pim sits in front of the mirror when she revisits her house after a long time. You can feel as if there are two different people in two mirrors. As it’s in different angle, it appears as if there are two different people. But it actually is the same person with different expression, due to the angles. That’s lovely shot. Also lights and shadows were used well to get a reflection. The director knew how to use the theme well.

As I exactly knew what to expect, I got what I wanted. That’s why it’s difficult to write so genre friendly movies. It does everything as per template and satisfies. You can neither criticize not applaud. That is the reason why taking risks and going beyond regular template makes films interesting. May be if because I’ve not watched any film of late in this genre, it worked for me. Not sure, if someone who specializes films of this genre would be able to take it in the same vein as I did.

Guess by now, people have even forgotten that we’re in lockdown. But back then in march it was a different exercise. What started as a guilty pleasure became an obsession of late and I made it a point that I share at least one review per day. And sometime back I decided to list them up as I’m a big fan of lists. It’s funny to think of it that I’ve did this joblessly which amounted to a total of 278 movies this year. But that’s how I’ve been all through my life.

So here you go… with all the movies listed in one of the three categories below with a link to my review…

Good

This is the best of best. Sema, vera level, chance e illa and all these adjectives join the group. Only the elite get into it and luckily for me there were a lot of films I could add it up in the category.

Ayyappanum Koshiyum
Tumbbad
Gully Boy
Avane Srimannarayana
Thithi
Parched
Badlapur
The Irishman
Gantumoote
Ugly
The Shape of Water
Asha Jaoar Majhe
Agent Sai Srinivasa Athreya
October
Killa
Firaaq
Ee.Ma. Yau
Maqbool
Orphan
Joker (2019)
Ishq (2019)
Dallas Buyers Club
Uncut Gems
Dil Se..
Kapoor & sons
Jonaki
Talvar
Tu Hai Mera Sunday
Ee Nagaraniki Emaindhi
Udta Punjab
Crazy, Stupid, Love
Ghatasraddha
About Time
Anantaram
Les Diaboliques
Striker
Synecdoche, Newyork
Collateral
Brahman Naman
Vidheyan
Bulbbul
The Tale of Princess Kaguya
The Last Samurai
Mathilukal
Meesaya Murukku
BlacKkKlansman
Badhaai Ho
Steel Rain
Tune in for Love
The Stoneman Murders
Action Hero Biju
Irandam Ulagaporin Kadaisi Gundu
Raat Akeli Hai
Parava
Baby Driver
Only Yesterday
Dolemite Is My Name
June
Thondimuthalum Driksakshiyum
The Raid
Peranbu
Amar Prem
Aadai
Detective Byomkesh Bakshy!
A Death in the Gunj
Jogwa
HIT: The First Case
Raman Raghav 2.0
Ladies vs Ricky Bahl

Bad

Actually, this is the average category and just about anything gets into it. Some great films which didn’t work for me, some bad films which worked for me, time pass ones etc.

Oh My Kadavule
Jiivi
Highway
K.G.F Chapter 1
Dheepan
Contagion
Brochevarevarura
Predestination
Don’t Breathe
Driving License
Dharala Prabhu
Inland Empire
Sila Samayangalil
Unarchigal
Kannum Kannum Kollaiyadithaal
Kuttram Kadithal
Kavaludaari
Varane Avashyamund
Mother!
Nathicharami
The Pianist
Mathu Vadalara
U Turn (2018)
Jallikattu (2019)
50 First Dates
Manmadha Leelai
Photograph
Android Kunjappan Ver 5.25
Maragadha Naanayam
Merku Thodarchi Malai
Shoplifters
English Vinglish
Real Steel
Mard Ko Dard Nahi Hota
Moondru Mudichu
K.D.
Sinister
Vikrithi
Ek Main Aur Ekk Tu
Unda
Karwaan
The Great Gatsby
Her
Herbert
Helen
Kshana Kshanam
Looper
Birbal Trilogy Case 1 Finding Vajramuni
Jyeshthoputro
Hey Jude
Nani’s Gang Leader
Sin City
Chitralahari
Maachis
Rosemary’s Baby
Capernaum
Njan Prakashan
Masaan
Gandu
The Imitation Game
Mayurakshi
Awe!
Mallesham
Maacher Jhol
Ek Hasina Thi
Paan Singh Tomar
The Notebook
The Informant!
From Up on Poppy Hill
Pyaar Ka Punchnama 2
Psychokinesis
Moonnam Pakkam
Ivan’s Childhood
Sherlock Jr.
Kanasemba Kudureyaneri
Ohm Shanthi Oshaana
The President’s Barber
Take Off
Nautanki Saala
Krishna and His Leela
C U Soon
Bela Seshe
Arrietty
Spadikam
Manu
Kappela
Seoul Searching
Article 15
Iyobinte Pusthakam
Yavanika
Schindler’s List
Whisper of the Heart
Ek Ladki Ko Dekha Toh Aisa Laga
Bala
Koode
Vanilla Sky
North 24 Kaatham
1942: A Love Story
Sarvam Thaala Mayam
Unforgiven
Soorarai Pottru
Oththa Seruppu Size 7
Varathan
Fukrey
Fukrey Returns
Vellai Pookal
The Wailing
Kettyolaanu Ente Malakha
Fan
The Raid 2
Ishqiya
Dedh Ishqiya
The Twelve Tasks of Asterix
To Let
Dangerous Beauty
Newton
Paava Kadhaigal
War
22 Female Kottayam
Anand
Lipstick Under My Burkha
Moonlight
Pelli Choopulu

Ugly

These were the ones which was to my utter dismay. Something which I couldn’t stand and thought was a total waste of time. There could be good movies too in the list but if it had totally not worked for me, I’d have added them in there.

Kali
Raazi
Psycho (2020)
Vazhakku Enn 18/9
Paa
2.0
Okja
Annayum Rasoolum
Maya
Sudani from Nigeria
Manam
Pickpocket
Dia
Visaranai
Raja Vaaru Rani Gaaru
The Lunchbox
Manusangada
Virus (2019)
Snowpiercer
Trance
Midnights Children
Jagat
Roma
Marriage Story
Arrival
Dil Dhadakne Do
Joseph
The Wind Rises
Sindhooram
Mughal-E-Azam
Aithe
Sin City A Dame to Kill For
Trapped
Okkadunnadu
The Tourist
Choked
Tope
Uyare
Seven Years in Tibet
12 Years a Slave
Shuddhi
The Town
The Half of It
Parama
5 Sundarikal
Amen
City of God (2011)
Kerala Café
Ki & Ka
Madras Café
Sulemani Keeda
The Ghostwriter
Yahaan
The Theory of Everything
Joker (2016)
Escape from Alcatraz
Sanju
Oru Vadakkan Selfie
J. Edgar
Hero (2019)
Bhaag Milkha Bhaag
Ennu Ninte Moideen
American Hustle
NGK
True Grit
Eeda
Flushed Away
Time to Hunt
Putham Pudhu Kaalai
She’s Gotta Have It
Forgotten
Oru Indian Pranaya Kadha
In the Line of Fire
The Big Short
Da 5 Bloods
Athiran
Padosan
Room
Silsila
Goodachari
Honey Boy
Woh Kaun Thi
Aradhana
Silencer (2020)
An Evening in Paris
Gulabo Sitabo

Chills and thrills with a heart and brain

It’s a rarity to see a generic horror film with 2.5 hours of screen time. Only cult movies like a ‘Rosemary’s Baby’ or ‘The Shining’ would fit the bill perfectly because they’re mood pieces. After getting to know that the film has got rave reviews, I thought of watching it in spite of not being a horror movie fan. In fact, both the above factor got me curious to watch the movie. When something outside of your comfort zone impresses you, it’s a great feeling. ‘The Wailing’ almost did but I couldn’t conclusively say so.

The film has a typical South Korean opening with tired faces and not so beautiful setting. In fact, it very much reminds of ‘Memories of Murder’ with a tired police officer getting ready to go a murder spot. I’ve said time and again, the humor that Koreans induce in their films are terrific. Especially the sarcastic ones. Even though it’s a murder spot for which Jong-goo (Kwak Do-won) gets ready to go. He’s interrupted first by his wife, then by mother and then by kid who want him to eat, do household chores and get even excited about the murder because being in a village its something different for them from their routine.

Next up they see a naked woman in front of police station and go for another killing. This time its more horrific than the first one. Except for one woman with no name who keeps on throwing stone at them, there isn’t any clue which they get. She identifies the Japanese man as the ghost. Meanwhile a local hunter tells a story similar to that of what comes in Jong-goo’s dreams where he sees a man with red eyes eating a deer, raw.

Jong-goo and Hyo-jin (Kim Hwan-hee) along with his nephew, a Japanese-speaking deacon named Yang I-sam (Kim Do-yoon) go the Japanese strangers (Jun Kunimura) house to investigate. The environment is chilling. We get to know that he in fact would have done all the murders. On the way out they even spot Jong-goo’s daughter Hyo-jin’s (Kim Hwan-hee) shoe there which gets Jong-goo tensed. He leaves a fierce warning to the Japanese man to leave the place. That’s where the film looked like it intentionally got lengthier. Why couldn’t he just make him move out of there. The photos look like enough evidence to do so. He keeps telling him in spite of the Japanese man insulting him by not answering and burning the photographs.

But thanks to him, there is enough thrill moments. The first one involving the dog and the second one where Jong-goo’s gang come to kill him. Both are superbly shot adrenaline rushing moments. Add to it, the shaman scene was brilliant. May be for people in the west, all these could have been a cultural experience but being Indians, these are beaten to death concepts in our horror comedies. In spite of that, the scene still worked, thanks to the making and sound.

That shaman part comes at a good one hour before the climax. It’s only post that the film becomes monotonous. It’s understandable that they do not want to give a typical ending where all the forces act upon but what happens post that is a mundane man vs evil fight which at no point looks like something man would win.

The last part involving Moo-myeong (Chun Woo-hee), Il-gwang (Hwang Jung-min) and the Japanese stranger is a bit confusing as to who is whom and indeed becomes a fight amongst ghosts than between man vs ghost. The confusion I guess is intentional because till the end, I couldn’t identify who’s the real wrong doer. Also, I couldn’t identify Moo-myeong to be the girl who threw stones initially so I was surprised by her appearing all of the sudden. If I had known of that, the film would have been a still better experience.

All twist and no substance

In my last of the Korean thrillers in the current set of Netflix films, this looked like a promising dark and unruly movie through its posters. Not being a really famous one, I thought this movie would be on the lines of ‘Chaser’ but the movie started slow, went on with the same pace for some time and after a sudden twist, it upped the tempo but couldn’t keep going on with the momentum throughout. Even though the film relies heavily on twists, not everything makes us enjoy with awe. It just looks like a template Korean film in the end.

The film follows the story of a young man Jin-seok (Kang Ha-neul)moving to a new house along with his family. He wakes up with a start after a bad dream but immediately is at peace watching his loving family. The family is too good to be believed with a brother that he adores and a father and mother he loves. He has problems with anxiety and takes pills to counter it. After his sudden disappearance of his brother, the film changes its course. He identifies that it’s not his real family and they’re there to avenge him for a murder. Even though he doesn’t remember murdering anyone, eventually he discovers why he did. The final act where that happens is such a lull that it doesn’t show any spark.

The situation where the film happens doesn’t look like a practical one. Because its not so easy for someone to make them believe that they’re in 1997. May be shifting house is a ploy so that he’d not get information on that but one look at the neighborhood, it’d be easy to find out that its not 1997, even though he’s force fed the information. Another point is, after his brothers return, he mentions that he doesn’t remember a thing, citing it as a selective amnesia. Again, why would you use a term which your captive is affected with, especially when you’re trying to cheat him that everything is normal. These points didn’t go well for me.

When Jin discovers that he’s not 21, but is 41, it doesn’t feel like a revelation at all because we don’t see a marked difference in the environment just for that one scene. Till the point he doubts his brother of conspiracy, it was nice. When his family gets involved, the tempo slowly fades. When it becomes a case of murder and a lot of people get involved, the movie totally loses its sheen. The director should have invested in each of the twist so that we could believe it. That would have lent more authenticity to the happening. That’s what masters do. It was all too sudden here and we couldn’t connect with any of it.

Finally, at least the climax could have been made harsh instead of a depressing one because when they both die, it was only a relief rather than sadness. If the movie had ended at a point where Jin tries to confess but couldn’t because of the poison which Yoo-seok (Kim Mu-yeol) has already induced, it would have been nicer. Yoo would have been irritated because of that and that would have lent some amount of wanting for the viewers in the end at least. But the typical conclusive end to the film spoils whatever is built throughout the film.

Time to snooze

After watching a couple of great Korean films, ‘Time to Hunt’ was a disaster. Beginning with a plan for heist, I thought that’s what the film was all about but the heist happens only for five minutes. Post that its just a one vs three hunt on road. The heist was too easy to happy and the hunt was too boring to see. Together it ended up being a snooze fest, only to be got up by the noise, or may I say, music, of bullets, because that’s the only thing which chimed with the rhyme of the film. Otherwise it was a blatant disaster.

The setting of the film is dystopian, making us wonder why. Maybe they wanted to negate the extra cost needed for the extras and also to not worry about the logic because in a dystopian world no one worries about who kills whom. So, the setting is convenient for them and they blast away in the entire film. I’d have been happy if they had at least stuck to the action genre completely where all guns go blazing but trying to bring in the emotions in between spoils the flavor of the film. Also, the whole gunman episode was too lengthy for the liking.

The film starts with two friends welcoming a third one from prison, who supposedly had been behind the bars due to a jewelry job gone wrong. Upon his releases, he realizes that the already dystopian world had got dystoped further in those three years. I’m not sure whether to laugh for the ignorance or get irritated by it. Anyways they lose their cycle shop, currency and what not. So, with the help of “friends” from jail, they try to make another robbery, this time from a gambling zone. Booyah!

Swiftly they collect some guns and do the robbery, which was one of the worst I’ve seen on screen. Because there is nothing thrilling in it. The actual story of the movie is how an assassin hunts these three amateurs (fuckin’ amateurs as one of the guards at gambling house call them). In reality, these three don’t have a chance. Wish the assassin, Han (Park Hae-soo) had killed them in their very first meet. At least the feature film would have been a short film and worked at least for the shock value. But he gives them a Rajnish reprise so that he can hunt them slowly and enjoy the exercise. Maybe it was enjoyable for him but definitely not for us.

The director cleverly uses the climatic conditions so that he can keep a check on production values. Almost everything is hazy, thanks to the weather, so we don’t how much dystopian the world is. On top of it, Jun-seok (Lee Je-hoon) keeps telling about how he’d enjoy the sun shine in Taiwan, which is more irritating. I thought I’d at least get to see some good locales in some time but that doesn’t happen too.

Every situation in the movie is too convenient to occur. His release from the jail, the heist, their shop, the hospital with staffs when the three friends enter and hospital with no staffs when the assassin enters, a room to relax in an abandoned flat, no worry about food, fuel or shelter or even ammo. Just when Jun was about to die, the other gang enters, deus ex machina with a huge caps lock. The smile in the face of the assassin should have either been satisfying if we had rooted him or at least disappointing if we had rooted for Jun but it only annoys because it’s a film we wish gets over by some means.

Worse of all is the climax, Han is supposedly not dead even after repeated wounds because he’s a man who’d not die before his job gets done. So, what does Jun do, he practices with the guns and plastic bottles in a private beach, dreams about his friends and takes a trip back to his place to avenge his friend’s death. Seriously, part two for this shit?

A Bollywoodish Korean drama with an old age charm

After a long time, it felt nice to watch a soft feel good romantic drama. Gone are the days where simple films existed. Even if simple films come nowadays, they are forced to make look simple, they’re not simple from the heart. But with ‘Tune in for Love’, it had that old age colonial charm. May be if it had been a Bollywood or Kollywood movie, it would have been spoilt by a whole lot of drama and song sequences but because it was Korean and the expressions were kept to minimal, it was soothing to watch. Thus, making it a relishable experience.

Thanks to my really bad experience with the excruciatingly painful watch of ‘My Sassy Girl’, an atrociously famous film for no reason, and, if you hail from this part of the world and back when civilization was normal, you could see so many ladies watching these Korean serials so madly. All this repelled me from venturing into yet another Korean romcom. So, I resorted to badass action films from the same counterparts which was satisfying both my adrenaline as well as my cinematic eye. But for a change, with lot of skepticism, when I watched ‘Tune in for Love’, it ended up being a sweet little movie.

Mostly in a love story, apart from the leads, there would be a sidekick. The sidekick plays an integral part who makes or breaks the film. More confident and serious approach would lead to no sidekick love stories like a ‘Vinnaithaandi Varuvaayaa’ or a ‘Before Sunrise’. But generally, to add a comedy flavor there would be an irritating ‘hero’s friend’ character almost in any Kollywood movie. What’s worse is they would have a separate love track which would be annoying to core. So, for a change when the sidekick her was a lady’s friend, who’s more like an elder sister. It was so pleasant to watch. In fact, her character was more beautiful than the two leads.

The film spans across a couple of decades but the growth of the story as well as the individuals are more organic here. We don’t see heavy makeup filled faces and over acting. In fact, it’s not much evident that they had aged. They look like same people, which was a relief. Plus, them being Koreans and us being non-Koreans, it was not easy to find out the difference. No matter what, they both were such a lovely couple. Even though Cha Hyun-woo (Jung Hae-in) was more celebrated, it’s Kim Mi-soo (Kim Go-eun) who was more lovable. What a fine woman she is. A dream of any man.

The story stars in 1995 with a couple of ladies running a bakery and Hyun-woo enters asking anything with Soy. He’s thus nicknamed ‘Tofu’ by the ladies. Hyun-woo and Mi-soo start developing a bond but fate has other ideas. Hyun-woo’s friends take him to a bar where he gets involved in a brawl and sent again to juvenile prison. When the meet again, it lasts just for a night. The third time, even though they contact each other after a lot of hindrance, they couldn’t even meet. Heartbroken Mi-soo carries on with her life. Fate again has other ideas and it brings them both together. What happens to them post that forms the climax.

‘Tune in for Love’ is like a sweet summer romance. Just that it doesn’t get over with every summer. The separation and the joining are not as dramatic as it happens in any other movie. We also don’t feel the adrenaline rush in our body whenever they meet by a chance encounter. It has the pleasantness of reading a book in an open lawn lying on a bedsheet with warm weather which just breaks out after a cold season. You understand the feel isn’t it. It’s that type of well.

In addition to it, the way Hyun-woo’s past haunts him and how it plays a role in their romance is beautifully shown without any exaggeration. Food plays an important role here too. As someone who’ve been eyeing to have Ramen at a right time and at right juncture, this movie was icing on the cake. Thanks to Eun-Ja’s (Kim Gook-hee) cooking skills, we get to see a variety of dishes. They’re not the typical westernized dishes but something which Koreans eat in a Korean way. Thanks to my recent trip to Cambodia. The setting of the place they eat and the climax radio station and all reminded me of my beautiful stay in Phnom Penh a couple of days. ‘Tune in for Love’ not only served as a breezy entertainer but also as a film which stroked up the nostalgia.

Blood Rain

This is one movie which is hard to find but for anyone who watches, it would right away go into their all-time favorite list. Such is the intensity of the film. And only Koreans can do it. Koreans are master storytellers aren’t they. We always associate Korean film for its Point Blankness and raw appeal but Koreans can be great at humor too. Both slapstick and wry. Even though an action movie, it oscillates between tension and humor effortlessly. And to top it, it has some fine acting, on the lines of more famous ‘Parasite’ wonder, Song Kang-ho.

The film effortlessly talks about geo politics, internal politics as well as external politics. And the beauty is that even if you don’t want to concentrate and know everyone of it, it still works. Thanks to the fantabulous action sequences. Guess the fight in the hospital would be right up there as one of the greatest hand combats. Editing is near perfect, with every movement, there is a gunshot, except for the one shot where Captain Choi Myung-Rok (Jo Woo-jin) tries to stab the North Korean Number One, all other shots were as brilliant as it could get. The tension is palpable, right in the league of the sauna fight in ‘Eastern Promises’.

The film is tense right from the start, when a former agent of the North Korean Special Forces is assigned a task to kill the Supreme Guard Commander, Gwang Dong-Park, and the minister of the State Security Department, Du-won Kim by RBI chief Ri Tae-han (Kim Kap-Soo). On the other hand, even though divorced from his wife, South Korean senior presidential secretary for foreign affairs and national security Kwak Chul-woo (Kwak Do-Won) lives better off. Partly due to his own attitude, because he’s a carefree man. Meanwhile in Pyongyang, Eom gets into an accident to kill the minister. Eom is then given another task but before the action we see what a dedicated man he is to the country. His house is in shambles and he could do nothing much than do the job he’s assigned to. So much happens even before we get to the story in entirety, thus letting us know that a lot more is going to happen going forward.

Then a huge chaotic event happens. The idea looks far fetched but the making makes us buy it. It was one of the intense crossover screenplays where a lot of events happen in parallel and gives the desired result in a grand fashion. The beauty of it is, it’s the scene through which the audience know what the titular significance is. In that way its so impactful and if not already serious, makes up sit upright in the seat and watch the proceedings even more carefully. The shootout is one of the best. Blood and gore are something Koreans do beautifully but the way they had made this scene would melt even the strongest of heart. In addition to it, its choreographed superbly too because its not easy to shoot a scene with so much extras.

The idea of having a president on the run is again far fetched but works conclusively, thanks to crisp making. It doesn’t feel like all magic like a Michael Bay film. Screenplay is tout, so even if it feels all coincidental, it still works. When we feel that it’d be a film where Eom would be on a run and Kwak would chase him, we get a twist when they both meet. The film becomes more political. A lot of politics happens on who wants what. In short there is a group which wants war, call them the bad ones and another group which wants to prevent it, call them the good ones. Both the parties are not restricted to one part of the region so it’s humanity vs evil in the end.

Both Eom and Kwak join hands to avert the war and devise as much strategies as possible. Even though it succeeds, the ending is a bitter sweet one. The way the chemistry builds between them too is terrific. Especially, there is a scene in car where they ridicule a pop singer based on South Korea. They two are terrific in that. Especially Kwak, he was a bundle of energy even in such serious film, which is great to see.

‘Steel Rain’ may be not as famous as a ‘Memories of Murder’ or a ‘Parasite’ but in spite of being a Netflix film, it has a great production film and right up there as one of the best Korean thrillers.

American Pie with a heart

‘Seoul Searching’ was soul searching at the least. Maybe it was titled like that because of the word soul searching. It’s one of the rare teen movies which has a lot of heart to it. Don’t get carried away with the title or the trailers and expect a raunchy movie to watch with your buddies. ‘Seoul Searching’ is a movie, which is not meant to be enjoyed, strictly with guys. But like how ‘American Pie’ brings ingenuity to the sex comedies, ‘Seoul Searching’ brings credibility to the teen movies. It’s right up there, only next to ‘Fame’, which is my all-time favorite college movie.

The movies feel is much similar to ‘Fame’. May be ‘Fame’ is not as raunchy as this one but to justify ‘Fame’ to be one of your all-time favorite movies is difficult. It’s the same with ‘Seoul Searching’. It is a kind of film which doesn’t fit the frame. Though a number of movies try it by being quirkier, they do it just for the sake of it and end up annoying. Experimental movies with this theme mostly lose it because it’s not made with feel. We see them as detached products but with ‘Seoul Searching’, it starts and ends in a drastically different way. When it starts, we feel the people to be nothing but cartoon characters but when it ends, they are individuals who are so close to our heart. Guess that’s where the movie scores.

The way the film is projected, its hard to identify even whether the premise is true. Considering it true, that, due to Korean war, people had been dispersed to various locations. It sets up a great premise. The narration by itself is so much fun, it gets on us in the first few sentences. It’s like saying, “but we had other ideas”. The way a bunch of people arrive, it feels like “American Pie Presents: Band Camp”, for which I was thoroughly excited but it ended up converging the raunchy and emotional angle to a single line in the end. Though messy throughout, it was fun, it’s like a taste you get only in road side eateries, no matter how shabby the place is. Even though there might be a lot of tasty dishes out there in posh restaurants, something about road side eateries charms you. “Seoul Searching” gives you that feel with all its messiness.

The movie follows a number of kids who are brought to Korea to teach culture. Most of them look like crackpots and have troubled past. In one room is Sid (Justin Chon), Sergio (Esteban Ahn) and Klaus Kim (Teo Yoo). Sid is an eccentric individual who’s into punk music and Klaus is a German and the only decent guy amongst the group. But its Sergio who scores big time with his Mexican accent and attitude. Even though they don’t come up as a gang made for each other, they form a great gang within no time. Thanks to the difference in thinking and contrasting lifestyle, the way they form a group is so much fun.

The movie starts with gate crashing and parties but slowly shows the emotional side of the individuals as well. The only problem is we couldn’t relate to how one would feel living out of the country. They are more Americans and Germans than they are Koreans so to understand them is pretty difficult. That too putting them all in one location, its like one big prison with all culprits. Not demeaning them but the environment is similar, may be that’s why a lot of time grills and locks were shown. And when one of them breaks, he’s from military.

The ladies angle too were explored really well with a Taekwondo girl with an abusive father, an alcoholic due to family strain and a quiet girl who find her biological mother. All of them do a decent job. Actually, the quiet girl’s story didn’t evoke much interest but her last confrontation with her mother, even though filmy, was beautiful.

The climax ball was so much fun especially due to Sergio and ends full Bollywood style, thanks to Klaus. It’s romantic and cheesy, yet agreeable. Because by now we know their past and know how much they’ve longed for true love. And when it happens, it bursts out in full flow. That’s why its so genuine and beautiful.

Clean Cut

Koreans show why they are still the masters of dark comedy. In everything, they go an extra mile. Be it sarcasm, horror or action. Sarcasm sometimes hits you so hard that if you were one among the many who is targeted, you would feel like moving out of the theatres. Same with horror and action, which is gory to the core. Guess that is why Korean films both sustain interest as well as is repulsive. ‘The President’s Barber’ is one hidden gem in that category.

‘The President’s Barber’ follows the suit of ‘Parasite’ in its way to criticize the government and the history. While ‘Parasite’ does it subtly and artistically. ‘The President’s Baber’ is more on the face, quirkier, funnier and at times even crueler. Sometimes it is so strong that it repels the viewers who are watching. The only negative is that, we, as people who are not from that part of the world and not aware of the history, not all incidents could be correlated.

The film follows the suit of ‘Forrest Gump’ but ‘Forrest Gump’ takes the funny tone in spite of being a quirky imaginative film. Here the humor is black, even if its laugh out loud, still it’s extremely black. Koreans are the best when it comes to laughing at themselves. ‘Forrest Gump’ may be works better than this because, first, it does not take risk and the American history is somewhat known to Indians. Even if not, at least it is easy to know as the information is readily available and it is easy to put a face to it. Whereas in ‘The President’s Barber’, the events are not quite straight forward but the criticisms are uglier and harsher. Another difference is the making. Having been more used to Hollywood techniques, ‘Forrest Gump’ is easier to grasp.

Seong Han-mo (Song Kang-ho) is a barber and owns a shop in the president’s neighborhood, the Blue House. At first, I thought even ‘The Blue House’ was a pun like ‘White House’ but only later I understood that it indeed is the official residence of Korean President. Han-mo is a simple person who wants to do well for family. His role is similar to that of more famous ‘Parasite’. He plays a person from lower income group who’s powerless and couldn’t do anything about it. Look how dissimilar the characters from same strata are, when we compare ‘Vidheyan’ and ‘The President’s Barber’. The worker in ‘Vidheyan’ too is of a man who’s resigned, knowing he can’t do anything against a powerful person. Here, Han-mo too is a similar person. However, even in resignation, look at the way they both differ. In ‘Vidheyan’ the worker accepts the fate and even is devoted to the master, here in ‘The President’s Barber’, the devotion is only out of fear. At no point does he become one among them. It is such a curious analogy.

Song Kang-ho is such a terrific actor. For us, it is tough to differentiate faces when it comes to Asian films; I guess it would be the same when they watch our films. It is not racist but fact. Their body language works more than the emotions. So most of them give out a blank stare, which rather is like a signature Korean emotion. Kang-ho masters it, especially in the scene where he is beaten up in front of his son; it is the cruelest of the scenes. With his wife insulting on one side and his son being sorry on the other, the way Kang-ho carries that scene makes us feel so bad.

There were quite a few stand out scenes apart from that one too, like the initial riot scene where she delivers the baby, the whole sequence in the climax where he tries to treat his son, Han-mo telling to the president about how he has been there for twelve years etc. There could be others too but these are at the top of my mind. Anyways that scene where he gets beat up was the best of the lot, equivalent or if not better than the ‘Parasite’ climax.

Bad film made well

It is not as funky a film as the name suggests. But not a bad film either. Ideally this should have gone down as one bad film but gets saved due to solid treatment. The director believes that he’s making a good film and gives us an honest and unique product. The film revolves around a mysterious superpower which the protagonist gets out of the blue and shows what he does with it. It’s mostly a single incident film, something we pretty much know what’s going to happen but whatever happens, happens properly.

The film ends with Shin Roo-mi (Shim Eun-kyung) opening a restaurant called ‘Superpower Chicken’. That would have been a more intriguing title and defined the quirky nature of the film than ‘Psychokinesis’ because the present title gives a serious tone to the movie and the background and snapshots in Netflix projects it like that of typical bloody and gory Korean films but this one ends up being a sweet little film.

The film starts with a quirky ad for a fried chicken restaurant but immediately post that we see a group of invaders trying to invade a dilapidated shop of the same girl who featured in the ad. The scene looks like a zombie attack, may be Yeon Sang-ho wanted to do it intentionally so that people will feel that it’s a zombie film but turns out its not. In the next scene we see the mob pulling the girl out of the shop. It’s a cruel scene but they don’t harm her, they are more interested to get into the place, her mom comes to save her but, in an attempt to run down the mob, she kills herself as one of them pushes her down. Once she stops moving, there is a moment of contempt in mob. So, the emotion ranges from a zombie film to a cruel Korean film to a sentimental film. In the end her mom dies and all Roo-mi could do, is weep. More than anger, it’s the tragedy that strikes her.

In a parallel story we see a meteor dropping on earth and some liquid from it getting mixed with water which Shin Seok-heon (Ryu Seung-ryong) drinks. That gets him superpower to move things. The way his character is established as an organized man who has left his family and working as a security guard who steals the coffee powder shows how earthy the film is. He’s just another common man, not someone we pity but someone who’s invisible. His invisibility is not as strong as the family in Parasite. Seok-heon is just a commoner and nothing more. Not someone whom anyone would be interested to listen.

With his mysterious powers he tries to earn money to live happily but due to the sudden death of his wife, he gets to meet his daughter who is in deep trouble. With his powers he fights the people who try to cause trouble to his daughter. That gets him few fan following and makes him famous. It severely reminded me of Shankar films, especially Anniyan. But Shankar would have given a larger than life feel to the movie and spoilt it completely. Even though there were hardly any unguessable twists and turns in the film, the film keeps us interested because of its pleasantness. And unlike a superhero film where the superhero suffers because of the newly acquired powers, Seok-heon doesn’t suffer anything like that. Thanks to Roo-mi who clears that doubts we all have when we see the exertion on Seok-heon’s face whenever he does the psychokinetic act.

The end too is pretty guessable but the Director of Tae-san, Hong (Jung Yu-mi) does a quirky turn to the events and lights up the subject. That’s when the politics in films gets evident and we know that the film has an underlying sarcasm about politics throughout the film. The villains lead by President Min (Kim Min-jae) and his associates too provide a comic relief to an otherwise mundane subject. In the end when he’s locked up, obviously he escapes out of it and saves the people. But doesn’t walk out as a hero but only as a commoner. There are bigger powers above him so he’s still a dejected man. He doesn’t protest against his arrest, rather, gladly accepts it and serves the sentence. The final shot is interesting which makes us think that a shopping mall is built but the place remains an empty ground. When he asks Kim Jung-hyun (Park Jung-min) to leave from the place sighting that it’s an eye sore, that pretty much reflects the mood of the movie.