It may not be obvious, but Korean film is more popular than ever.
Spike Lee and Josh Brolin are currently shooting a remake of Park Chan-wook's Oldboy. Charlize Theron is getting in on the action with her own remake, Sympathy for Lady Vengeance. Even Sandra Bullock and and Keanu Reeves tapped the Asian country for inspiration when they remade Il Mare into The Lake House.
While world politics may warp our perception, some of the best dramas of the year continue to be imported from Korea. The latest comes from writer/director Park Hoon Jeong (screenwriter behind the incredible I Saw the Devil), whose latest film New World arrives to the U.S. after doing gangbusters in South Korea.
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Don't believe it? Check out the exclusive poster for the movie below. Even the one-sheets have atmosphere!
New World continues to explore a common theme in Korean film, the ripple effect of acts of crime, all from the perspective of recognizable human characters. Here's what's in store:
The head of the Goldmoon crime syndicate is dead, leaving his top two lieutenants. Seizing the opportunity, the police launch an operation called "New World," with the perfect weapon. The boss' right hand man, Ja-sung (LEE Jung-jae, The Theives), has been a deep-cover operative for 8 years, closely watched by handler Police chief Kang (CHOI Min-sik, Oldboy). With a baby on the way, and living in mortal fear of being exposed as a mole, Ja-sung is torn between his duty and honor as a cop, and the fiercely loyal gang members who will follow him to hell and back.
Using inside information from Ja-sung to damage the relationship between the two feuding contenders, suspicions grow that a traitor lives in their ranks. Ruthless Jung (HWANG Jun-min, Blades of Blood) escalates the game by hiring hackers to search the police database. As Operation New World closes in, and with the stakes climbing higher and a gangland bloodbath guaranteed among those that remain, Ja-sung makes a final, shocking decision no one could have predicted.
New World lands stateside March 22. Check out the other two posters in the triptych at Film School Rejects and Twitch.
Follow Matt Patches on Twitter @misterpatches
[Photo Credit: Next Entertainment World]
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Michelle Williams seems to be getting pretty serious about her new beau Jason Segel. The two were spotted going on another date together — this time in Williams' home front of Brooklyn, N.Y. — on March 24. But, that's not all. Segel finally met Williams' 6-year-old daughter Matilda (with actor Heath Ledger) for what appeared to be the first time.
Williams and Segel grabbed some dinner at Frankies Restaurant. They then took a lovers' stroll back to Williams' place, where Segel reportedly spent the night.
But their fun didn't end there. On March 25, Segel was seen playing with Matilda outside as she rode on her scooter.
Williams must be falling head over heels for this guy — she doesn't introduce Matilda to just anyone. What do you think of Williams and Segel? Don't they seem like the perfect fit? [Jae Donnelly/INFphoto.com] More: Williams And Segels's 4-Hour Flirty Dinner Muppets Sequel in the Works, But Not Written By Segel
Hancock must have sounded great--at least on paper. Hancock (Smith) is the anti-superhero a crime fighter with a bad attitude in contemporary Los Angeles who drinks way too much dresses like skid row and doesn’t give a hoot what anyone thinks about him. Of course since he can fly like Superman stop a speeding train with his fist and take care of just about any badass gang member with his little finger he is invaluable to the police. But the public hates him--so into his life comes PR wizard Ray Embrey (Jason Bateman) who is determined to remake Hancock into the image of a hero the city can embrace including getting a spandex outfit. When Hancock comes over to Embrey’s house his wife Mary (Charlize Theron) gets an immediate bad vibe about the guy. There’s good reason and therein lies the film’s big twist which comes at the half-way point of the very tight 92-minute running time. To say much else about where the plot goes would put us in spoiler hell and for a movie so reliant on the sudden turn it takes you’ll just have to figure it out yourself. They call the 4th of July “Big Willie Weekend” because Smith has been responsible for opening so many blockbusters during this time frame including Independence Day Bad Boys Men In Black among others. The movie-going public obviously loves him (so do we) and he’s coming off two strong recent performances in I Am Legend and The Pursuit of Happyness. On the surface the role of Hancock--a complicated reluctant superhero who is all ’tude-- fits right in with the rest of the resume but despite the star’s best efforts Hancock comes off a little too contrived and affected. Will’s charisma is going to have to work overtime for eager audiences to completely buy this character. An abrupt tonal shift halfway through presents a strong challenge to Theron who suddenly isn’t who she appears to be at first. Credit must go to this fine actress for making the awkward transition Mary Embrey seamless. And thank God for Jason Bateman whose innate charm and ability to play comedy makes Ray a guy in a REAL quandary--the most likeable of all the main stars as he is caught in a Twilight Zone of superhero antics. Actor-turned-director Peter Berg (The Kingdom Friday Night Lights) is all flash and style with Hancock. He moves his shaky camera right up into the stars faces and back again awkwardly shifting the tone from comedy to maudlin drama and trying to ramp up a story that just doesn’t make a whole lot of narrative sense. Films about comic-book superheroes are a dime a dozen in the summer months and audiences have shown they can easily suspend disbelief if they have a protagonist to root for. Berg’s failure here is to present Will Smith in such a way that we don’t care. The movie is full of botched opportunities with the whole arc collapsing as the thin screenplay recklessly takes off in unexpected directions--including a ridiculous scene in which Hancock goes to prison (for no good reason) that gives new meaning to the term “butting heads.” Not only do sequences like this seriously challenge the viability of the film’s PG-13 rating they test our patience for all its worth. Even though there are some nice special effects and its faults do not lie in our stars (we still love you Will) Hancock does not set off the kind of fireworks you may have been expecting this Big Willie Weekend.
After the death of their parents Rashad (Tip "T.I." Harris) and his younger brother Ant (Evan Ross) have to fend for themselves. Trying not to think about his pending high school graduation Rashad works as a janitor for his stingy uncle (Mykelti Williamson) and hangs out with his friends practicing for the Skate Wars competition at their local roller rink. Ant however approaches life differently after he hooks up with Marcus (Big Boi) a big-time drug dealer in the area. Marcus recruits Ant to do his dirty work and the kid gets himself tangled up in the harsh world of drugs money and violence. It’s up to his older brother to get him out of it and finally steer him in the right direction. ATL proves some rapper-turned-actors can indeed be in a movie not based on their real lives. Known as “The King of the South” in the rap world T.I. displays some notable acting skills. Born and raised in the ATL (that’s Atlanta to us lay folk) his southern slang and cool demeanor lend credibility. As well Big Boi (half of the Atlanta-based hip-hop group OutKast) does a nice job giving his drug lord character multi-layers. He plays it smooth recruiting high school kids and promising them more money then they have ever seen. When they don’t pay up he then turns on a dime and becomes quite menacing. And watch out for Evan Ross the youngest son of the legendary Diana Ross. In his debut performance as Ant he tugs at your heart even when you’re hoping Rashad will smack him for the bad choices he makes. Music video director Chris Robinson makes his feature directing debut with ATL a story loosely based on ATL producers Dallas Austin and Tionne “T-Boz” Watkins’ (of TLC fame) experiences growing up in Atlanta. With many of the hottest hip-hop artists coming out of Atlanta Robinson--along with first-time screenwriter Tina Gordon Chism--impressively incorporates the music without focusing on it. Sure the soundtrack crunks it up but this is not a film about a wannabe rapper trying to make it out of the ‘hood and into the spotlight. There aren’t any lengthy shootouts and no one dies. Instead ATL interweaves compelling themes of family dynamics rich vs. poor--and even a roller skating motif which seems to come out of left field but provides some fun moments. ATL is a breath of fresh air for a hip-hop movie that isn't about hip-hop.
P.J. Hogan's Peter Pan follows J.M. Barrie's story almost to the letter. A girl on the brink of womanhood Wendy Darling (newcomer Rachel Hurd-Wood) loves telling her brothers John (Harry Newell) and Michael (Freddie Popplewell) stories of dastardly pirates as they sit in their nursery under the watchful eye of their St. Bernard Nana. Her 19th-century Londoner parents however believe the time has come for the young girl to grow up especially her father. Then a cheeky wild-haired boy named Peter Pan (Jeremy Sumpter) flies through the nursery window one night with his trusted yet jealousy-prone fairy Tinkerbell (Ludivine Sagnier) telling Wendy he can take her to a place full of adventure where no one ever has to grow up. She readily accepts the offer and with a few happy thoughts some fairy dust and her two brothers in tow she flies off to Neverland. (Not the ranch…the real place.) Once there Wendy encounters mermaids Indians and the Lost Boys (who refer to her as "mother") and gets the whole pirate experience in Peter's ongoing feud with arch-nemesis Captain Hook (Jason Isaacs). But Wendy soon becomes conflicted because on the one hand she likes hangin' with hottie Peter but on the other she misses her mother. She decides it's probably best to go back and grow up but in her hurry to leave she ends up in Hook's clutches. A rescue ensues. Swords clash ticking crocodiles are fed and fairies are saved as our clever fly boy zooms Wendy and company back to London on a giant pirate ship. But does he stay and grow up himself? Hell no he's a Toys 'R Us kid forever!
All the kid actors in Peter Pan are highly watchable and appealing with angelic faces peaches-and-cream complexions and pouty cherry lips. This is the first time Peter is being played by a real-life boy a fact much hyped by the filmmakers and 12-year-old Sumpter (Frailty) does his best to live up to the expectations. (He's soon to be swoon-worthy material for sure.) He's got a mischievous gleam in his eye and a great sly smile but he really lights up when he's looking into Wendy's adorable face. Hurd-Wood the first-time actress who plays the spirited girl earned her role after a long and involved casting process it's well deserved; she fits the typical English-girl profile perfectly and gets the hang of her craft quickly infusing the character with a natural cheerful energy. It's also refreshing to see the young actors play up Wendy and Peter's feelings of first love which prior films always hinted at but never fully realized. Isaacs in a dual role as the firm-but-loving Mr. Darling and the frightening comical lonely charming needy reprehensible Captain Hook draws on his experience at playing exquisitely awful baddies (The Patriot Harry Potter and the Chamber of Secrets) and really sinks his claws into Hook. In a stand out supporting role French actress Sagnier (Swimming Pool) is really fantastic as the vivacious non-speaking Tinkerbell portraying the fairy's conflicted emotions with a silent-film over-the-top technique.
Director/writer P.J. Hogan (My Best Friend's Wedding) and his team try to distinguish their film from the other Peter Pans of the world by using all the technical and special effects wizardry at their disposal. Hogan says his Peter Pan is the way its author Barrie intended to be when he wrote it as a play over a 100 years ago--full of fantasy and wonder. In a way he's right and production designer Roger Ford and visual effects supervisor Scott Farrar take his vision and run with it giving audiences a very lush Neverland with waterfalls fluffy pink clouds crystal-blue waters and a gorgeous fairy world. But despite the bells and whistles there really isn't anything original and different in this Pan. Even its look at the dark side of Neverland has been done in Steven Spielberg's 1991 semi-sequel Hook which showed the dangers of Neverland. In this version lives really are at stake and the pirates are not cute and fun. Even the mermaids are mysterious and malevolent with scary faces and murderous intentions a far cry from the beautiful if somewhat mean-spirited creatures of the 1953 classic Disney animated adaptation another inescapable influence on the audience. When the crocodile draws near for example tick-tocking away the croc's signature tune from the Disney film comes immediately to mind. People may love those Disney films for those cutesy catchy songs but Peter Pan really is a good story. Heck it's a great story. But it's just been done.