Former Arsenal star Andrey Arshavin's model wife is forced to pay Aeroflot thousands after being thrown off This is compounded by the fact that the two main characters do not speak to each other. Their performances work from dance in how they move their bodies and from music in how they manipulate their boards in ways that arouse percussive slaps, clicks, clacks, grinds, and carves upon the metal and concrete that makes a city. The terrifying moment a In this sense, too, Red Shoes , despite its artistic gloss and undeniably creative touches, perhaps remains a conventional horror film, ultimately unable to illuminate the hidden recesses of the female mind. Green Chair represents one of his most successful efforts in doing do.
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Part of the film's attraction comes from the thrill of anticipating when Jeong-hye will break from her routine and reveal her inner turmoil. Non-smokers sometimes cannot abide smokers breath or are allergic to cigarette smoke. Put simply, Ryoo's performance is mesmerizing, and watching him is one of the film's biggest pleasures. Despite his status as a veteran director, Park has always shown a youthful glee in poking at society's sore spots. Shocking moment Egyptian engineering student, 18, is 'threatened and abused by gang of women on a bus' A special treat is the appearance of ultra-cool actress Oh Yun-hong The Power of Kangwon Province as Mun-hee's friend -- the warmth and camaraderie the three characters share is one of the film's key strengths. And such is a life worth living.
She described Luke as 'like a chav' who wrote messages to her in 'text-speak'. He never wanted to talk. Nobody had any reason to believe he was not a boy. Barkers web of deceit began to unravel in May when she, as Connor, stayed the night with Jessica. Miss Barker with Hollyoaks star Kieron Richardson.
The court heard how she suffers from autism spectrum disorder and attention deficit hyperactivity disorder, commonly known as ADHD. But I was never ever allowed to touch him in any way at all. He never let me. At 15 or 16 you are never going to question why. Gemma Barker spent hours creating fake profiles of boys on social networking sites. To her horror, the face she saw was that of Aaron Lampard, who she knew was dating a friend of hers.
I knew nobody would believe me. Three weeks later, Jessica went to the police to report the person who had pretended to be both Connor and Aaron, still not realising it was Barker. Barker was arrested in a park while dressed as Aaron. I felt deceived that the person that I loved was not actually real.
That was the only way I could cope with it. Barker was jailed for two and a half years on Monday after admitting two counts of sexual assault and one of fraud. The offences took place between November 23 and May 10 She received month terms for the sexual assaults and three months for the fraud, the sentences to be concurrent.
Jessica waived her right to anonymity to speak on This Morning. The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline. Friday, Mar 16th 5-Day Forecast. Share or comment on this article e-mail. Most watched News videos Virgin stewardess confronts couple caught in plane toilet sex act Pedestrian bridge in Florida collapses, trapping cars underneath What went wrong?
The shocking seconds after Miami's ton Now Hillary Clinton fractures her wrist after slipping in Love is in the air! Strangers who had just met on a Russia rages at 'unforgivable' claim from Boris Johnson Moment Miami's ton 'Instant Eyewitnesses relive the horror of Miami bridge collapse The moment darts player nicknamed The Boss Ski lift from hell!
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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. This is not to say that the film isn't beautiful. The colors and cinematography, not to mention the rugged setting and elaborate set design, may indeed be the film's strongest element. But despite the fact that Lee Won-jae and Kim Seong-jae's screenplay has won praise within the local film community, the completed work struggles to hold all of the material contained within it.
Major plot points are revealed by voiceover, rather than onscreen action, and to accomodate the film's two-hour running time, many ideas are simply thrown at the viewer, rather than being fully expressed. Partly as a result, much of the gory violence feels like compensation for a lack of drama.
It's a shame, because this project seemed to hold so much potential. Kim does have talent, and he employs some creative transitions in moving from scene to scene. Unconventional casting was also used in putting Cha Seung-won in the lead role, for his first non-comic effort since Libera Me However, lower marks go to the musical score by Jo Young-wook Oldboy, Silmido , which features a distracting reworking of Rakhmaninov that manages to snuff out much of the film's poetry.
According to traditional shamanist beliefs, chicken blood is supposed to provide some protection against malevolent spirits. Towards the end of the film, we are shown the depths of the villagers' panic in a scene where at least five real-life chickens get their heads chopped off in gory closeups no time to close your eyes -- it's upon you in an instant.
Clearly there was no CG imagery at work here. I imagine the crew simply cooked them up for lunch after the scene was shot, which makes you think: But philosophical issues aside, the shots are so viscerally disturbing that they distract from a major plot twist that occurs just moments before, and it gives moralizing film critics like myself?
After all the ink spilled in newspapers worldwide over the fish in The Isle and the octopus in Oldboy , Korea is probably now going to become known as that country that likes to rip apart live animals in front of the camera.
It's perhaps fortunate for the makers of Blood Rain that in the same month as its debut, Danish filmmaker Lars von Trier premieres his Manderlay at Cannes with a scene featuring a live donkey slaughtered on set.
People don't judge movies purely by objective criteria; they are also drawn to particular works because it says something to them personally. The Bow , I'm sad to say, was an even tougher slog for me than usual, and a critical consensus seems to have emerged that it is not up to the level of Kim's other recent work.
Manohla Dargis of the New York Times went so far as to call it "risibly bad", which is about as nasty a term as I can think of. So what went wrong with The Bow , anyway? The story centers around a man in his sixties who has been raising a young girl since childhood on a ship that floats unanchored off Korea's western coast. Though the borders of her world are obviously quite limited, she seems happy, and the old man plans to marry her the day she reaches legal age. The two make their living by hosting fishermen aboard the boat, and also tell fortunes in a rather bizarre and dangerous fashion, by shooting arrows whizzing past the girl's head into a Buddhist painting on the side of the boat.
This method of fortune-telling appears to have been invented by Kim, though possibly inspired by the common practice of dropping a dart onto a spinning disc The film opens in striking fashion with a shot of the weapon that inspired the film's title. When fitted with an additional piece, the bow becomes a stringed instrument.
Sadly, however, the instrument doesn't fit into the film's plot beyond providing for occasional mood music. The bow is utilized more often as a means of fending off lecherous fisherman from the young girl, who braves the dead of winter in a flimsy dress, and who like all the women in Kim's films is pretty gorgeous. Soon, however, a sensitive male college student shows up on board, and the old man discovers he's going to need more than a bow if he wants to keep the delectable young thing for himself.
One of Kim's most common approaches to storytelling is to set up an isolated or marginalized world usually a physical space, but sometimes a way of life like in 3-Iron that operates by its own elaborate set of rules and customs. Part of the pleasure in watching his films comes in exploring and coming to understand these worlds and how they operate. For example, in The Bow we are shown how the girl and the old man defend themselves in a series of repeated scenes. First we are shown the man's skill with the bow, then we see how the girl's spatial knowledge of the boat and archery skills can serve as a second layer of defense.
These scenes don't really add much depth to the human characters, but they characterize the "society" of the boat itself. One of the problems with The Bow is that the basic setup is quite simple, compared to his previous films. The world of the floating temple in Spring, Summer The set of attitudes and customs which Kim presents in the film may not be "genuine" Buddhism, but they are worthy of notice in themselves.
In The Bow , however, once the ground rules are established, Kim has little left to fall back upon. The protagonists remain rather one-dimensional, and so the characters' psychology cannot properly sustain the narrative. Also, outside of the girl Han Yeo-reum, having changed her screen name since appearing in Samaritan Girl and the old man Jeon Seong-hwan from Ogu , the acting is horrendous.
Working with actors does not seem to be Kim's forte. This is compounded by the fact that the two main characters do not speak to each other. It's true that one of Kim's strengths is to be able to tell stories using very little dialogue.
The lack of dialogue between the leads in The Isle and 3-Iron worked well because these couples could communicate with each other emotionally, and the absence of words only accentuated their strange bond. However, in The Bow the old man and the girl spend much of the film growing emotionally more detached.
Since they don't talk, the only way left for them to communicate is to trade angry stares, which they do, over and over and over again. In this way, the lack of dialogue comes across feeling more like a gimmick than an integral part of the film. Despite all these weaknesses, the film probably could have been saved with decent music. However the score is sappy, not particularly melodic, and repetitive enough to make this minute film a very frustrating experience.
After three straight "hits", I think Kim has to file this in the "miss" category. Min-jae Yu Ji-tae , formally trained in mountain climbing at Switzerland and in awe of the charismatic Do-hyung, is joined by the bookish navigator Young-min Park Hee-soon , the rather thuggish but sharp communications expert Seong-hoon Yun Je-moon , the genial cook Geun-chan Kim Kyung-ik and the electronics specialist Jae-kyung Choe Deok-moon.
When Min-jae discovers an old journal left by a British expedition 80 years ago, he begins to notice odd parallels between the journal entries and his team's experience.
Antarctic Journal had been a long-gestating pet project for the young director Im Pil-sung , whose short films including Baby and Souvenir received much critical kudos.
I had been hearing rumors about the alleged brilliance of Im's screenplay revised with input from director Bong Joon-ho and writer Lee Hae-joon for several years. The big-budget production 8. Despite the high expectation, however, the movie had a disappointing domestic run, contributing to the latest industry wagging about the decline of so-called star power in Korean cinema.
Antarctic Journal has its share of problems but neither its stars nor its technical staff can really be blamed for them. While the character of Do-hyung is certainly not a stretch acting-wise for Song Kang-ho, he still does an excellent job in communicating the man's mental breakdown, mostly with subtly vacant stares and ill-timed smiles: Yu Ji-tae presents a credible audience identification figure, whose faith in human reason and decency becomes severely tested.
The rest of the team members are played by capable, theater-trained actors, making the most out of sometimes unevenly distributed dialogues and scenes.
Sometimes two characters enter into a conversation while occupying extreme right and left corners of the screen, leaving a stretch of white space in the middle, signifying a distance that cannot be breached by communication. There are poetically beautiful but unnerving moments such as a beam of sunlight that pours into the makeshift tent, seemingly taking on the solidity of a pole made of golden glass.
The film also includes some very impressive set pieces, most notably those involving ice crevices. Kawai Kenji's Chaos, Ghost in the Shell score is exceedingly effective in musically evoking the eerie atmosphere of Antarctica, simultaneously cold and intimate, and Dong-hyun's grim and relentless drive. Regrettably, Antarctic Journal never makes up its mind about whether to stick to genre conventions or not.
Is the film a new sack filled with old wine, an exotic update of true and tried horror cliches, perhaps a snowbound R-Point or a retread of John Carpenter's Thing ? Or is it primarily a psychological thriller, the real horrors generated by the team members' paranoia and self-possession? Or is it a human drama, which explores the innate insanity of the "can-do" spirit that propel Korean "leaders" like Do-hyung toward his goal, with the bloody and torn bodies of his "family" strewn along the path?
Antarctic Journal is a little bit of all of the above, but these elements never congeal into a coherent shape. True, the fact that the audience does not receive sufficient "exposition" about what exactly is going on is in itself not such a serious problem. The real issue is that the film's mysteries are neither grounded in its characters nor anchored in its narrative design: To give but one example, what the heck is that white figure clearly recorded by a video camera but which no character seems to be aware of?
What about the ghost from Do-hyung's past: It eventually becomes tiresome to try to "figure" all these things out on your own. I can imagine many Korean viewers, expecting all the loose ends to be somehow tied up at the end, even if it involves a ridiculous deus ex machina "It was all a dream! They never left the camp! Antarctic Journal contains enough impressive visuals and solid performances not to mention Kawai's bone-chilling music score to be worthwhile for viewers with an open mind and penchant for spectacles.
Those who perhaps expect another emotionally satisfying genre hybrid in the manner of Save the Green Planet are advised to adjust your expectations lower. I personally wish Director Im had gotten rid of all the CGI "horror" effects and simply focused on Dong-hyun's character, exploring, Scorsese- or Herzog-style, his grand, foolhardy obsession and the ultimate abyss it leads into.
This might have given this slick but flawed film a chance to kindle the softly glowing ashes of greatness at its core. And I noticed something when I tile-d up my screen with the image of Hong Sangsoo 's Tale of Cinema that is the left-center image at the top of this page.
Because of the repetitive positioning of Hong's shot, this image creates dissonance when wallpaper-ed. Multiplied, the thick white line that divides our two characters appears to be a border, so Tong-su Kim Sang-kyung - Memories of Murder and returning to work with Hong again after his exemplary portrayal in Turning Gate and Yong-sil Uhm Ji-won - Over The Rainbow , The Scarlet Letter appear to be looking away from each other when in fact, as we know from the single image alone, they are looking at each other.
I actually brought over a colleague at my day job and asked her, 'Are the characters looking at or away from each other? She waffled in confusion - 'Looking away, wait, no, they're looking at each other, wait? The Warholian multiples my computer affords results in an optical illusion of the 'Do you see a young or old lady?
And repetition of this single image underscores the repetition of single banal moments in Hong's films. This confusion around what constituted the border of the image highlights the tentative crossing, retrenching and re-crossing of borders, real and unreal, that Hong's characters engage in within each film and across his oeuvre. The film begins with what we will later discover is a short film. This short film designates the first half of the larger film that is Hong's Tale of Cinema. This short film yet revealed to us as such involves a character named Sang-won Lee Ki-woo - He Was Cool , Sad Movie who happens upon an old classmate named Young-sil played by the same actress as above.
Sang-won's hesitation to meet up with Young-sil later eventually results in Sang-won ambivalently making a pact with Young-sil that they die together. When the second half emerges from the audience filing out of the short film we just saw along with them, we see the actress of the character in the short film, also named Young-sil, walking out and then we see Tong-su talking on his cell phone. We learn that the director of the short film, a character named Yi Hyong-su with whom Tong-su went to film school, is seriously sick in the hospital.
Hyong-su's former classmates are meeting up for dinner to collect money to cover Hyong-su's hospital costs. On the way to and away from this dinner, Tong-su stalks Young-sil and repetitions of happenings "Like in the film" result.
Although not my favorite Hong film I still go back and forth between The Power of Kangwon Province and Turning Gate , this film will still satisfy any Hong fan and annoy any Hong detractor. His second film in a row to compete in the main competition at Cannes, the French title is Conte de Cinema , much has been said about Hong stepping away from his stationary camera to begin zooming in and out on his characters.
Yet what I found most effective was his panning. In a scene in the first section where we pan towards a theater poster at which Sang-won is gazing, when we pan back, we expect to still see Sang-won staring at the poster. But instead he's gone, highlighting the elusive positions of Hong's characters who never stay grounded but run away from what's in front of them to later stumble upon the very people, situations and emotions they tried to escape.
Outside of the new techniques, ever since Jeff Reichert's essay juxtaposing Turning Gate with Garden State in the Summer issue of the online journal Reverse Shot , I've been paying closer attention to Hong's use of color in the outfits of his characters. 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.
The film score similarly presents contradictions, such as the hopeful melody that highlights the hopeless scene that ends the first half of this film. By the way, the xylophonic score that begins the film is absolutely lovely. Hong's use of vibrant colors and sounds to accompany otherwise discomforting scenes underscores the pleasure in the pain that his characters seem to endlessly repeat.
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? This is not a negative criticism, but part of what keeps bringing me back to Hong. And speaking of criticism, when people ask me about my writing, I tell them although I write reviews and criticism, what I write are more like essays inspired by the film. And I love how Hong's films push me to write like this.
I don't expect everyone to get as much out of Hong as I do. I know that some people find his constant returning to the "same" theme over and over again monotonous and elitist. As if speaking for those critics during the opening scene, after Sang-won exhibits the "dodging the issue" behavior so important to Hong's men, Sang-won's older brother chastises Sang-won saying "That's typical!
Regardless of how "real" events portrayed in Hong's films might seem, I think of his films as not necessarily depicting real life but something deeper than that.
They depict "philosophical life". And such is a life worth living. And one worth dying for as well. Their performances work from dance in how they move their bodies and from music in how they manipulate their boards in ways that arouse percussive slaps, clicks, clacks, grinds, and carves upon the metal and concrete that makes a city. They are athletes in how they exploit, to create a word working off Pierre Bourdieu's use of "social capital", their kinesthetic capital, that is, the physical resources afforded them by their youthful bodies.
From our teenage years to our twenties, our bodies allow for greater physical creativity since we possess greater energy and flexibility. Also, our bodies during this age span are better able to recover from injuries that at times result from such exploits. And skateboarders are guides in how they "read" cities. As Iain Borden illuminates in his wonderful book, a book I'd been wanting someone to write for years, Skateboarding, Space and The City: Architecture and the Body , skateboarders interact with a city and its structures differently than the rest of us.
They reinterpret and reclaim spaces forgotten or ignored, they re-familiarize us with spaces so ubiquitous that we've blocked them out of our minds until skateboarders thrust these spaces back into our consciousness, and they revision what uses spaces encourage. They approach modern architecture ".
They are not interested in the entire structure, but pieces of it. They do not exploit the buildings as they were initially devised, as mazes to direct us through our day. Instead, they exploit the textures of a space. Since skateboarders read a city through their bodies acting upon the city, they can help us read our cities differently if we'd only bother to learn from them like Borden has.
In-line skaters of The Aggressives variety can read cities similarly to skateboarders. And this is what I was hoping for from Jeong Jae-eun 's second feature.
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. Along the way, Jeong provided us with many other fascinating observations, particularly how these young woman utilized technology in their relationships.
Since in-line skating is also a technology, I was expecting a similar narrative use of this mechanical technology as Jeong afforded the computerized technology of cell-phones. Sadly, what I found instead were moments of promise that were never fully mapped out, nor as expertly intersecting, as they were in her debut. This crew includes a stock group of characters, the lothario, the comedian, etc. Mogi Kim Kang-woo - Silmido , Springtime , which is Korean for "mosquito", is the rebel who just wants to skate for fun.
For those who have seen Stacy Peralta's documentary about the second-wave of skateboarding, Dogtown and Z-Boys , and the fiction feature that spawned from it, Lords of Dogtown Catherine Hardwicke, , Mogi would be comparable to the skateboarding legend Jay Adams.
Soyo is positioned in between the father figure and the rebel during a scene where the two other characters have a fight. Soyo will mimic the style and attitude of each of these characters in front of a mirror in the next scene, underscoring the over-arching theme of the film: As there must be a love interest for whom these characters can also fall, but, thankfully, this is not your typical portrayal of a teen movie love interest , we also have Han-joo Jo Yi-jin.
She aspires to direct an in-line skating video, so she follows these boys with camera in hands and skates on feet, just like Spike Jonze did before he got into John Malkovich's head. Although aspects of this subculture are touched on, the artistry and the style which are filmed very well , the skating for fun and identity, the battles with police and the public, etc. Yes, one could argue that, since in-line skaters experience the city through bricolage , what Eithne Quinn explains in her book Nuthin' But a "G" Thing: The Culture and Commerce of Gangsta Rap as when ".
But that, similar to what I wrote about the inferior film Looking for Bruce Lee Kang Lone, , would seem too much like rationalizing a greater significance out of this film than is justified.
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. In the end, like skaters to a city, I can take bits of enjoyment from pieces of this film, but Jeong doesn't seem to have taken care of this film as well as she did her debut.
Still, she's entitled to hundreds more falls since she already found artistic success with her very first effort. Mun-hee is arrested and sentenced to hours of community service for having sex with a minor, but upon her release Hyun meets her in front of the police station and they go to a love hotel for several more days of exhausting sex.
Eventually, doubts begin to creep into Mun-hee's mind, and she declares that their affair is finished. Hyun is persistent, however, and soon their relationship enters a new phase. At first Park Chul-soo 's Green Chair sounds like a fairly straightforward tale of sex and the occasional pang of guilt, but it ends up being much more interesting than that.
The film's first reel is highly explicit, and will turn off a lot of viewers, but later things settle down and we get to examine all the little details of Hyun and Mun-hee's unusual relationship, from Hyun's talent for cooking to Mun-hee's preference in mattresses.
The film presents such details with warmth and humor, resulting in a nuanced, touching, and subversive love story. As in many of his previous features, such as the grisly "cooking" movie , or the ob-gyn extravaganza Push!
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. That was in , and it was a year and a half before interest expressed by festivals such as Sundance and Berlin managed to rescue it from obscurity. Apart from Park's inimitable style of directing, Green Chair draws strength from its great cast. Suh Jung, best known from Kim Ki-duk's The Isle , brings a slightly unhinged vitality to the character of Mun-hee; while newcomer Shim Ji-ho plays Hyun as passionate and self-confident beyond his years.
A special treat is the appearance of ultra-cool actress Oh Yun-hong The Power of Kangwon Province as Mun-hee's friend -- the warmth and camaraderie the three characters share is one of the film's key strengths. Perhaps the most interesting part of Green Chair is its bizarre cocktail party resolution.
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. The scene is also a fitting reflection of how face-saving and self-interest lie just beneath the surface of society's debates over morality.
Despite his status as a veteran director, Park has always shown a youthful glee in poking at society's sore spots. Green Chair represents one of his most successful efforts in doing do. Initially, Hong is polite and demure to the point of idiocy against Yu-rim's lecherous advances, which quickly runs the gamut between workplace sexual harassment to outright date rape.
However, the tables are turned in an unexpected way when Yu-rim accidentally runs into Hong's personal secrets, and when the details of their "love affair" are posted on the school's internet message board.
Rules of Dating was a sleeper hit of the early summer season, raking in more than 1. Both films are sexually frank, morally challenging, quite funny and moving at times and driven by great performances by male and female leads. They are also not nearly as well put together or coherent in design as their defenders make it out to be, and neither is as "progressive" or "honest" as its filmmakers in this case screenwriter Go Yun-hui and director Han Jae-rim probably think it is.
Rules of Dating is an undeniably entertaining and even thoughtful film, but let me be clear about one point: The complacent thoughts that drifted into my brain in first 35 minutes about which direction this movie was likely headed were rudely betrayed to my pleasant surprise, I must say by what happened next. Hong's eventual fate in the story can either be interpreted as the Triumph of Evil Witch or Just Desserts for All Concerned, depending on your own perspective, and not exactly following the battle lines drawn across the gender divide either.
Gang is wonderful as Hong, looking far less like an anime shojo and comfortably inhabiting the body of a harried and stressed working woman, but it is the transformation of Park Hae-il that will draw attention among fans. It is indeed difficult to believe that this is the same actor who played the lead in Jealousy Is Middle Name.
As embodied by Park, Yu-rim ironically named perhaps, since it can also mean "Confucian scholars" is a total, irredeemable slimeball. When he approaches Hong and plays "cute," with Park's patrician voice now stickily rolling off his tongue like golf balls greased in a vat of K-Y Jelly, you will be both laughing until your sides hurt and resisting the urge to throw up. 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.
On the other hand, the movie suffers from a certain narrowness of horizon, both stylistically and content-wise. Director Han does a superb job with the actors but unfortunately abuses that super-trendy, nausea-inducing hand-held style that looks as if "the cameraman is jerking off or something," as Roman Polanski reportedly once said as well as the jump cuts that snip away in the middle of a character's action.
The screenplay cried out for the kind of expressionist cinematic technique counterpointing the absurdity and nastiness of the superficially "funny" exchanges, but as it is presented, the mise en scene becomes repetitive and, eventually, tiring I assume this attention-deficit editing style was not suggested by the veteran editor Pak Kok-ji.
And the movie appears to ultimately hedge its bets regarding the possibility of a real romance brewing out of such politically and emotionally charged set-ups, involving sexual abuse, invasion of privacy and manipulation of ethics codes. When Lee Byung-woo's pleasant score accentuates the romantic mood, we are left unsure whether to take it at face value or in an ironical way, as a snickering commentary on the impossibility of true romance. Rules of Dating is a gutsy film, very funny with nasty undertones in that regard perhaps closer to a Hong Sang-soo film in spirit than the aforementioned Jealousy Is My Middle Name.
It is best appreciated by those not easily offended and getting tired of mock-CF "rom coms" with the disease flavors of the months, and will make good fodder for post-screening discussion among friends and couples. What is the monster that opens its mouth wide and gobbles up your foot every morning? A shoe, of course. Abandoning her affluent suburban life, she moves into a decrepit studio apartment with her six-year daughter Tae-soo Pak Yeon-a.
Her life, however, plunges into an abyss of paranoia and nightmare after she picks up a pair of pink shoes Hans Christian Andersen's cruel fairy tale Red Shoes , on which the film's premise is obliquely based, has mostly been known as Pink Shoes in Korean.
Don't ask me why lying about inside a subway car. Not only have this pair of shoes apparently performed wholly unnecessary amputation surgeries on the select individuals foolish enough to don them, they also become objects of unhealthy obsession for the ballet-dancing tyke Tae-soo.
Unfortunately, this obsession is shared by Sun-jae. Soon mother and daughter are screeching and pulling each other's hair over the possession of the high-heeled monstrosity, which turns out to have an awful backstory reaching back into the colonial period.
To my initial annoyance, it looked as if Red Shoes would follow the tiresome path of a "cursed object" exerting supernatural influence over the characters, substituting a pair of cursed shoes for a cursed cell phone, a cursed webpage, a cursed D-cup brassier and whatnot. However, it soon became clear that the "meat" of the film's horror was to be found in its unflinching exploration of psychology of the central protagonist, Sun-jae, as a divorced single mother full of unacknowledged emotions and desires.
This is not really surprising, given that director Kim Yong-gyun 's debut feature was Wanee and Junah , both disturbing and sweet in its measured engagement with the story of an unmarried couple. Like Kim Hye-su's previous film Hypnotized , Red Shoes is visually arresting, occasionally reaching out to the realm of exquisite and enigmatic beauty.
Some of the ideas, such as the flurry of snowflakes that turns pink and then blood-red, are simple yet effective. The sequences set in the subway station, under the eyes of DP Kim Tae-gyung director of the unfortunate Ryung a. Art direction by Jang Bak-ha and Im Hyun-tae help create the oppressive yet strangely gorgeous Modern Gothic world, with spiral staircases, blinking fluorescent bulbs and blue-green shadows pooling in the corners of a workspace or a child's bedroom, contrasted against the archly theatrical, red-and-khaki-draped colonial decadence in the dialogue-less flashback.
The pro-Japanese Empire "propaganda" dance performance that climaxes the flashback sequence is, perhaps ironically, the movie's most beautiful set piece Lee Byung-woo Tale of Two Sisters , Untold Scandal blends pipe organ, vocal murmurs, buzzing electronic noise and other elements into another of his great film scores.
Nonetheless, the film is ultimately a frustrating experience. As Darcy has pointed out in a recent Cine 21 piece, Korean horror films cannot seem to resist adding last-minute "revelations" that supposedly "explain" the character's weird behavior, Swiss Cheese holes in the plot, and other uncertainties and irrationalities.
The result is usually more confusion, not less, on the part of the viewers. Red Shoes has one of these groan-inducing, utterly redundant Final Twists, revealed a good five minutes after the film's emotional climax has been reached.
And if you could figure out just what in the name of Baby Jesus' diapers has actually happened to Tae-soo at the end, then you are either a telepath attuned to the brainwaves of writers Kim Yong-gyun and Ma Sang-ryul, or endowed with, shall I say, very active imagination. Ironically, it was director Kim's assured command of "routine" horror mechanics, rather than his "arthouse" sensibilities, that really held the film together and kept my interest going, at least until the depressingly familiar denouement.
On the other hand, Kim Hye-su's fans will be pleased, as Sun-jae's character is an excellent showcase for her acting chops, far more so than Hypnotized , where she faced an uphill battle against her electric-storm hairdo.
How we are supposed to respond to Sun-jae herself constitutes a more difficult problem. Caught between the cold bastard of a husband and the cocky and smarmy boyfriend, she could be seen as a portrait of a contemporary Korean woman yearning for self-realization and fulfillment of basic desires, even at the risk of destroying her family and social life. In the end, however, the filmmakers seem to prefer the other interpretation, essentially accusing and sentencing Sun-jae for the sin of being truthful to her desires.
In this sense, too, Red Shoes , despite its artistic gloss and undeniably creative touches, perhaps remains a conventional horror film, ultimately unable to illuminate the hidden recesses of the female mind.
Next morning, she wakes up from a seeming trance. To her shock, Young-uhn learns that she is dead and cannot leave the school grounds. She succeeds in communicating with her best friend Seon-min Seo Ji-hye , a school DJ, who can hear her voice. Aided by the school's resident psychic girl Cho-ah Cha Ye-rin , Seon-min attempts to uncover the mystery behind her friend's death.
The latest installment in the successful "The Girl's High School Horror" Yeogo gwedam series is a refreshing departure from the current flock of East Asian horror films.
Even though some of the film's plot elements --two close friends whose relationship becomes strained, flirtation with lesbianism and so on --are reminiscent of Memento Mori , generally thought of as the best of the lot, Voice is in fact a unique film that stands on its own.
To explain the film's strengths without spoiling its content is difficult. However, I can state right off the bat that the Big Revelation that dutifully turns up near the ending is not one of them. I won't bore you with yet another ranting about how Korean horror film's obsession with the Big Revelation is turning into an Achilles heel The young actresses, while competent and hard-working, are not spectacularly impressive compared to some of the series alumni: The film's pacing is deliberate, with a lot of exposition through dialogue: DP Kim Yong-heung and director Choe Ik-hwan the assistant director for Whispering Corridors confine the action rigorously to a few sets, going for theatrical, medium-distance shots instead of the expressionist style that currently predominates Korean horror cinema.
Lighting and sound design are superbly done, however, working with the muted, toned down palette and showing admirable restraint in illustrating the presence of the supernatural.
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In-line skaters of The Aggressives variety can read cities similarly to skateboarders. She skillfully brings Cho-won's mother, Kyeong-sook, to life as a flawed protector of her son.
Instead, they take on the role of investigators, a kind of paranormal CSI , in their search to attach a name to the phantom visitor and to discover what causes him to haunt the motel. His relationship with his father, younger brother and grandmother is tenuous at best.
He dzting since gone on to become dsting of a celebrity, jogos de love dating joke on talk shows and even having a line of TV commercials with SK Telecom. I knew nobody would believe me. Father of Ellie Butler - who beat his daughter, six, to death and then wih to cover his tracks - threatens Im Sang-soo brings the events of this famous night down to a very human level, through evocative details concerning the many personalities eith, and through his liberal use of black humor a perfect antidote to the chest-thumping heroism we see in other Korean films based on history. As color slowly starts to bleed into the frame, we hear a voiceover by the main character Sun-woo: When I first saw the film, I pegged Kim to be a newcomer with only a theatrical background: The two make their living by hosting fishermen aboard the boat, and also tell fortunes in a dating girl with same last name bizarre and dangerous fashion, by shooting arrows whizzing past the girl's head into a Buddhist painting on the side dating girl with same last name the boat.
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