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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The credits for Stoker, the new Chan-Wook Park movie that debuted at Sundance Sunday night, run backwards. Yes, instead of blooming up from the bottom of the screen and traveling up, they pour down from the top in a slow cascade. You'd think this wouldn't make that much of a difference, but it is extremely unsettling, seeing something you're so used to seeing but going in the opposite direction.
Likewise, in this world where spoiling the ending of a movie for someone is tantamount to cutting off one of their digits, I shouldn't be starting a review of a movie with the end, but I think that Stoker deserves it. When Park, who directed the brutal Oldboy, was introducing the movie, he said it is meant to be a dream or a fairy tale, but it is more like a waking nightmare. Everything is slightly off in the movie. Everything is either too large, too small, too modern, too old fashioned, too fast, too slow, too dirty, or too cleanly. It is our world, but tremendously askew, kiltering in one direction and then another, like trying to walk in a straight line after rolling down a hill.
The style only serves the story of India (Mia Wasikowska) who tells us at the beginning of the film that she has super powers: she can see far-away things clearly and hear sounds that no one else can hear. The morose teen gets even sadder when her beloved father dies in an accident and she is left in the care of her cold mother (Nicole Kidman) and her father's brother (Matthew Goode), who appears mysteriously after being absent for decades. The story unspools in unexpected ways as India starts to get interested in boys and discovers her sexuality thanks to the proximity of her handsome uncle. There are also several mysteries to unravel, each one leading to a new one with unexpected, horrible violence leading to even more violence until a shocking conclusion.
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The performances are all stellar with Wasikowska telegraphing ever-shifiting emotion without barely saying a word. Kidman, who speaks much more, is at her finest as a disinterested mother. She shows fear and disdain in the most subtle ways, never overplaying a character that could turn into a campy arch villain with just the tiniest bit of scene-chewing. And Goode is the most menacing of all, the malevolent force that hides behind the facade not only of normalcy but of something attractive that you know is incredibly dangerous.
As for the meaning, I'm not sure what screenwriter Wentworth Miller (yes, the same guy who wore all those tattoos for seasons on Prison Break) is going for. Can this fairy tale teach us anything about humanity or sexuality? The ending leads it in a direction that would take some of the more outrageous elements and turn them into a farce. It also makes the story more central to Wasikowska's character when the thing up until that point had been an exercise in showing us all how messed up our teen years can be.
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But this isn't a farce, it is a fairy tale, complete with a girl in peril who has to fight to save herself. There's running through the woods, magical intervention, and everything we've come to expect for the 13 Snow White movies that came out last year. Still this is like a more chilling version of Beetlejuice, except this gothic fun house has none of the whimsy of Tim Burton. Here every strange perspective is meant to make you uncomfortable. Some of the elements of the story are so outrageous to be unbelievable and many will probably find this film to be groanworthy and insane in a bad way. Still it is unlike anything you've ever seen and will stick in your mind like a spider crawling across your skull. Love it or hate it, you'll be transfixed from beginning to end – when the credits start to roll backwards, making even your final moments with this film particularly off-putting.
Follow Brian Moylan on Twitter @BrianJMoylan
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
A loosely based remake of the 1963 Stanley Donen classic Charade? Sure The Truth About Charlie sounds good on paper. In the updated version Regina Lambert (Thandie Newton) is a sweet unassuming woman who decides to end her 3-month whirlwind marriage to playboy Charles Lambert (Stephen Dillane). Returning to Paris from vacation she gets to their apartment and finds it empty--except for Paris Police Commandant Dominique (Christine Boisson) whose been waiting for Reggie to inform her Charlie has been murdered and question her. Suddenly Reggie's world comes to a screeching halt. First there's American embassy official Mr. Bartholomew (Tim Robbins) who warns her about the danger she is in. Then she's followed by three oddballs-: Il-sang Lee (Joong-Hoon Park) Emil Zadapec (Ted Levine) and Lola Jansco (Lisa Gay Hamilton) who claim Charlie stole about $6 million from them. Her only ally seems to be Joshua Peters (Mark Wahlberg) a seemingly innocent guy she meets on vacation and then in Paris always happens to be there at the right time. Thrust into the middle of the puzzle Reggie has to piece together exactly what happened to her husband where the money is and more importantly who the heck she can trust. The story seems to flow nicely but you simply get bored midway through the film. There's just not enough intrigue to carry it out to fruition.
The 1963 Charade wasn't the best script out there either. It tended to drag but what made the film become an enduring classic was the on-screen pairing of Audrey Hepburn and Cary Grant. Together they had enough style and class to enlighten any mediocre script. Unfortunately Newton and Wahlberg pale in comparison--Hepburn and Grant they are not. Without a doubt the camera loves Newton and she's very appealing as the lost Regina trying to get a semblance of her life back. She has a fluidity which keeps your attention. And she could have easily had sparks with any another actor but with Wahlberg it's a complete wash. Writer/director Jonathan Demme makes the character Peters more of a Boy Scout rather than a suave sophisticate. Yes Wahlberg can do a role like this with his eyes closed but the part also requires that certain je ne sais quoi--and he just doesn't have it. The actor actually weighs the film down whenever he is on the screen. The supporting cast almost makes up for it especially Levine (The Silence of the Lambs) Joong-Hoon and Hamilton (Beloved) as the strange trio after the pot of gold. Robbins has a fairly nondescript part throughout most of the film but manages to make it solid when it counts.
Jonathan Demme definitely has a quirky sensibility that makes his films very entertaining to watch. He has been out of the limelight since his 1998 Beloved which was a much more classically structured film as was his Academy Award-winning Silence of the Lambs. But I remember his off-the-wall beginnings with Something Wild and Married to the Mob and am very happy to see Demme's unique style return in Charlie. To be honest it's what the saves the film from being a total yawner. He simply adores his surroundings shooting Paris much like New Wave directors of the '60s and '70s such as Francois Truffaut and Jean-Luc Godard and you can tell Demme is inspired by them. There are strange ethereal characters popping up in Reggie's view--a widow dressed in black by a bridge a saggy-faced woman at the market--which keeps the action off-kilter. Unlike the romantic Paris of Charade Demme goes into the seedier side of the city while still capturing its charm. The director also incorporates some of France's cinematic and cultural royalty including actress Anna Karina who made several films with Godard and Charles Aznavour a international singer/composer. The quirks definitely work.