If anything, I think the film errs in trying to explain too much. From the moment Yeom Jeong-ah H, Tell Me Something playing the wicked stepmother enters the scene, doing that amazing slide-on-your-heels walk and spurting out dialogues in a mock-cheerful, scrumptiously malicious tone, she commands my rapt attention. The film stars top actor Song Kang-ho JSA and Kim Sang-kyung Turning Gate as two investigators, the former a local policeman and the latter a detective who comes from Seoul to assist in the case. The "subliminal mirror effect" generated by this casting really worked on this reviewer: An espionage thriller almost classical in its schemata A movie that it immediately reminded me of was Martin Ritt's adaptation of John Le Carre's The Spy Who Came in From the Cold , the movie was somewhat overshadowed by the publicity surrounding the casting of Han Suk-kyu and Ko So-young , both of whom chose this project for a comeback film after long hiatuses. On the other hand, the movie's technical accomplishments are top-notch. Even the head priest's faith, when it turns disciplinarian and absolutist, may in the end be a form of attachment, blocking the path toward his own enlightenment. Really, let them try.
Time and again my eyes would just tear up from taking in so much visual pleasure: Double Agent is another admirable attempt in this direction. Yu Ji-tae Oldboy, Attack the Gas Station plays U Young-min, a cop-turned-security chief at a department store, investigating a series of inexplicable suicides. True love sells in Korea I heard there was much grumbling in the internet, et cetera, about the plot and "surprise ending" not making sense. It is in essence a commercially calculated fantasy, catering to the "have a cake and eat it too" espresso-dreams of the working women. When they are not choking and beating the stuffing out of each other, they scream, jerk around and make faces like wind-up toys with broken springs with the "sound effects" that go "Boing! Jin-sung and Hye-ju have their wishes granted. The production team seems to have suffered every imaginable form of financial difficulties that one can encounter in the course of low-budget, non-commercial moviemaking. Kilson communicates with the motherly portrait of the Avalokite Boddhisatva, and his pure heart moves Heaven, resulting in the divine manifestation of the Boddhisatva. The movie's biggest problem, however, is that Han Suk-kyu and Ko So-young have little chemistry together. As befitting a dystopian setting, the landscape is constantly drenched in rain, and colors are more often than not different shades of brown and blue-gray, but they are never dull or lifeless: In a very funny scene, Na Nan, only minutes after making a right decision not to push the relationship to the third base with Su-heon just yet, finds herself entangled with him in bed a la Body Heat. Kim Myeong-min plays a straight cop, but with his peculiar, almost reptilian intensity intact. By the way, the film, like so many other "romantic comedies" among Korean TV dramas and cinema, is pretty hypocritical. Personally, I agree that The Uninvited is a striking film driven by a strong vision, but in places it still feels like a flawed work. Poor Do-nyeom's plight does tug at our heartstrings, but director and scenarist Joo who adapted the movie from a play by Han Se-deok, reportedly much more religious in overtones refuses to opt for an easy emotional catharsis. Lured by a brash, clever trailer and perhaps a whiff of scandal, audiences bought tickets in droves, pushing the film to 1 at the box-office. I remember the day I put to my father the question of why his younger brother's accent is so thick it takes me a few hours to adjust to it, whereas I don't hear the faintest hint of 'yinz' and 'jaggin' in his voice. It is an "entertainment machine" designed to show off Jang Na-ra in all her face-contorting glory, and you should have known that when you paid your seven bucks. Because of this, he made the conscious "unconscious" decision to stricken his accent and the vocabulary that came with it from his voice. She pursues him relentlessly, sabotaging his resort development project, blackmailing him to a dinner in a posh restaurant, etc. In particular, Hye-ju's character and Jo An's sensitive performance ends up sacrificed in behalf of that most irritating cliche of all, possession by an evil spirit. The images of Gah-in swimming, Do-hee's trip to the zoo, and Do-hee's closing climax still resonate with me long after. Kim's film can be considered part of what Mark Peranson calls "The Cinema of Orgasm," films in which nothing much happens but when a climax is finally reached, we are struck with visceral feelings of shock, horror, sadness, or simple release that stay with us well after we've left the theatre or turned off the TV. My heart just aches watching Mun's emotionally battered, retreating looks. While these similarities do exist, in tone and in characterization Jealousy is as different from Hong's films as John Cassavettes is from Ingmar Bergman.
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