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Moon So-ri, Gong Hyo-jin, and Bong Tae-gyu are each more than capable of carrying their respective segments, and the supporting roles are well-cast. Unfortunately, Over the Border is altogether too gentle for its own good.
We can readily see that the movie is far more of a personal project for director Won Shin-yeon than his debut The Wig, directing from his own screenplay that generated considerable insider buzz. The bowl over the head also relates to how each character is confined within the roles that they play as husband, lover, daughter, subordinate employee, rules dating marine's daughter and divorcee. Pan-su somewhat reluctantly takes Byung-tae under his wing and starts to teach him what he has learned about fighting and about life. Director Kim nicely utilizes color to black and white transitions as well as a discordant soundtrack to note when the narrative is shifting.
Kim smears our faces in the worst of our actions to the best of our selves for us to contemplate during our bus ride home or while watching the bus we missed ride away. They are merely catalysts for the real drama to be acted out among the locals. Lee Jung-hwan's live-wire primary villain seems to think he is Juan Peron and his wife Evita. There are expectations in the roles we take on that often bring us to expect complementary roles from others.
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Why blow up a get-me-out-of-this-unhappy-marriage female fantasy scenario into an action extravaganza with shrapnel and body parts flying everywhere? In countries where the industry side of the equation is weak, a national cinema runs the risk of shrinking or being overwhelmed by Hollywood imports.
So it makes complete sense that the creatives in each country might come up with such a scenario as having to fake the memories of their estranged twin nation to appease the minds of an elder. Jang chose to look at the discrimination of contract workers. Reluctant to engage with her neighbors, Soon-hee is approached by different individuals, particularly by men who come with their own agendas. Kim has his own thing going and I hope the South Korean film industry affords him an opportunity to continue to explore his quirky take on relationships.
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These stockings will later provide cover for Han-soo's own methods of paying off his mother's debts. He enjoys an occasional stroll on the neighborhood riverbank and a dish of cold buckwheat noodles. So they trudged on through this one take, working with the obstacles the environment posed, and ended up executing a memorable scene.
Her destination might as well have been Brazil or Canada. His dentist's smile in the end becomes the single most frightening image in the movie.
That is, how amazing Jang is in his complexity, weaving together a story like no one else in South Korean cinema today. Both Mori and Seo, a real-life third-generation Korean-Japanese, deliver excellent, naturalistic performances. Kim's Family Ties is an ensemble story told in three seemingly unconnected segments. Frustrating for the reviewer, the best example of this happens at the end when Kim dismantles a ubiquitous scene in South Korean romances.
It is almost a given, however, that The City's reputation overseas will chiefly rely on its action scenes. They truly care about Han-soo and want him to reconsider his alienating choices, placing the earlier punches as one aspect of a complicated interplay between peers. Eun-hye is played by a girl Jeong Eun-hye with actual Down's syndrome and some of her own experiences were brought into the short. Threatened with exposure, Seon-ho's family decides to risk their lives and seek asylum south of the border.
Kim Eung-su works within moments of Hongian discomfort, yet his characters are louder and more histrionic than Hong's somber, muted souls. One day, at a private reading room, he comes across an eccentric old man named Pan-su who possesses an amazing skill for fighting. Under the help and training from Min-hyuk, she manages to control her strength to use it for good causes.
Yu Ha also deserves credit for keeping the film's violence resolutely unglamorous. Do Bong-soon was born with superhuman strength. Plus, they needed to complete the scene in one take since covering up their footprints for a second take would be quite an endeavor. However, due to its time of origin and the unlikelihood that Becker and Jo kick it together, Jo's script should not be seen as a copycat but as an example of parallel evolution. Indeed, inculcation of anti-Japanese patriotism is as far from its mind as one can imagine.
And humor is definitely where Way To Go, Rose! For the rest of the film, Yoon-hee might as well be a varnished paper cut-out.
Hopefully this will encourage Korean producers to keep trying new things. Tae-su reluctantly teams up with the short-tempered Seok-hwan Ryoo Seung-wan to avenge Wang-jae's death. Yoon Je-mun's so powerful in A Dirty Carnival snickering, weasel-like secondary villain is a colossal waste of his talent.
As a viewer it's tremendously refreshing. At least that goes in sync with the film's mortifying reference to tango and its cringe-inducing use of the dance tunes as background music. As for Yeo's film, that arose from mutual conversations he had with Jo back in and in no way was inspired or copied from Becker's film. Initially, Han-soo holds off from locating his father. Yet the film leaves you with an odd sense of emptiness.
This is the kind of stuff Jerry Bruckheimer would be too embarrassed to put in his blockbuster. Tae-su goes back to his hometown Onsung to attend Wang-jae's funeral. Romance proves, like countless Korean horror films of the summer season, how difficult it is to reformulate tired-but-true cinematic cliches.
Review ethics keep me from going into greater detail, but it's lovely in its cheekiness. The predictability of this episode, which is actually the second chapter of the omnibus, is not played for humor.
There have been some accusations in the Korean media that this film plagiarizes the s Hollywood teen comedy Three O'Clock High, which shares the same basic setup. Hwang delivers a showstopper as Lieutenant Do but the movie really belongs to Ryoo Seung-beom's Sang-do. We sense that, even when this thug is prattling on like an idiot while chewing mouthfuls of uncooked pork and raw garlic, he is capable of doing something seriously dangerous or unpredictable.
Indeed, the sequence, delirious and exhilarating, resembles a major dance number in a musical rather than a martial arts slugfest, which is all for the better as far as I am concerned. And the media is awash with constipation cures.
Intriguingly, The City is the least elaborate in describing the emotional violence and oppressive atmosphere and the least cheeky in mixing humor and drama since Die Bad. Yet it is made clear that the family is no less valuable because of it. This later work was originally screened at the Pusan International Film Festival.
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