Jeong-hye is neither autistic nor misanthropic: To explain the film's strengths without spoiling its content is difficult. After three straight "hits", I think Kim has to file this in the "miss" category. A heavy hitter emotionally, though not in angst-ridden or melodramatic ways. Architecture and the Body, skateboarders interact with a city and its structures differently than the rest of us. And although the sound design is exquisite when the skates meet the concrete, in stark contrast to Take Care of My Cat, the soundtrack is pretty lame compared to the former film's lush, perfectly syncopated, cell-phone-like melodies.
I should also note here in fairness to the director that the documentary footage that is meant to be screened over the end credits does pack a complex emotional punch. Thus, the final act that brings down the Park era comes across as being quite matter-of-fact. Despite his status as a veteran director, Park has always shown a youthful glee in poking at society's sore spots. What struck me during this sixth film by Hong was how so many of the lines of dialogue, such as the subtitles "Why insist when it doesn't work? Working with actors does not seem to be Kim's forte. The relaxed, convincing performances of the actors also deserve notice. The amazing thing is that, like Hong, Park's Yu-rim is a completely believable character in the Korean context, a fascinatingly disgusting or disgustingly fascinating, take your pick combination of taekwondo-kicking-under-the-blanket machismo, uncommunicative obtuseness, irresponsible immaturity and, yes, boyish charm. I read Last Bang as a film about history. It's a shame, because this project seemed to hold so much potential. Mokdugi Video first appeared on its own pay-per-view internet site in where it was seen by thousands and developed a cult following. In her masterful debut, Take Care of My Cat, Jeong brought us into the lives of five girls as they crossed into womanhood while negotiating a space for themselves within the opportunities and constraints available to them as young, Korean women in their city of Inchon. When Park is on top of his myriad tools of cinematic expression, the results have always been breathtaking and it is no exception here. Campy, a little sloppy, and way over-the-top, though its manic energy was fun. I don't want to give away the details, but Park manages to address the tension created by our unconventional couple in a way that is both matter-of-fact and completely unexpected. Gradually, however, it is revealed that she is planning an elaborate revenge against Mr. And repetition of this single image underscores the repetition of single banal moments in Hong's films. For the past seven years he has served his gangster boss with unflinching exactitude. This turned into a problem for Green Chair when its investor, Hapdong Film, decided it was too bizarre to hold any commercial potential, and shelved it. His past glory worth almost nothing in the present day, he has found a creative but strenuous way to earn money: There is So-yeon's uncle, a middle-aged man with bleached blonde hair who hasn't spoken since his wife abandoned him. The end result is certainly unique and memorable, but sadly its central concept seems to work much better as ideas in a screenplay, than as images on celluloid. Few filmmakers adopt such a strategy, though Atom Egoyan's The Sweet Hereafter comes to mind as another example of a film with its emotional climax in the middle, rather than the end. It feels nihilistic at times, and as in Oldboy -- which will surely be compared to this film countless times -- the violence is strong and innovative enough to become a topic of conversation. In the same image I discussed in the beginning here, Tong-su's dark blue almost purple jacket compliments Young-sil's cranberry scarf, adding a dissonating pleasure to the displeasure of that scene. What could have been!
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