Tag Archives: Shin Goo

Bluebeard (2017, Lee Soo-youn)

Bluebeard runs just under two hours. The last forty-five minutes of it basically undo–or seem to undo–everything in the first seventy-five minutes. Writer and director Lee doesn’t want to answer the questions the film’s mysteries raise, but reveal entirely new mysteries with entirely new answers. With some exception.

It’s a shame, because until that point–and there’s a very definite point when Bluebeard jumps off the track–it’s a rather outstanding thriller.

Down on his luck, recently divorced doctor Jo Jin-woong moves into a crummy little apartment and discovers his landlords might be infamous serial killers. He’s not entirely sure about it, but more and more evidence comes to light, whether he pokes around or not.

Lee composes these wide shots, with fantastic photography by Uhm Hye-jung, where Jo finds himself reluctantly finding out more and more. Especially when one of the landlords, Kim Dae-myung, starts buddying up with him. There’s this palable danger, which Kim Sun-min’s editing helps with immensely.

It’s just a shame Lee’s script is, after that seventy-five minute mark, nothing but a combination of trite, predictable, and manipulative. Not even Kim Sun-min’s editing withstands the film’s plummet in quality. Uhm’s photography weathers it, though Lee’s composition quickly fails. There’s the first directing approach, the second directing approach, then an even more narratively ill-advised third approach. Stylistically, the second approach is bad. The composition, even Lee’s direction of the actors, which had previously been fine, everything goes. All of the newly introduced script elements, which simultaneously try to surprise and reveal, are a mess. Had Lee paced out reveals better, it might have helped. Probably not, just because all the reveals are inane, but at least Bluebeard wouldn’t immediately lose it’s momentum.

The script failures even drag down Jo, who’s excellent when Bluebeard is actually suspenseful and not a trite thriller. Similarly, the narrative eventually trashes everyone else’s performance, though Kim Dae-myung’s okay enough throughout. Lee Chung-ah suffers the most (besides Jo, of course).

It’s a shame Bluebeard doesn’t deliver on any of its many promises, though it could be a lot worse. Lee has many worse instincts and impulses, she forecasts them throughout the picture. After almost forty minutes of the film hemorrhaging goodwill and good ideas, Lee throws on an epilogue sequence in way of a bandage. It does slow the bleeding, but it can’t stop it, much less seal any of Lee’s later incisions.

Bluebeard shouldn’t just be better, it should be good. For more than half its runtime, it’s good; then Lee decides to flush it all for some manipulative, ostentatious reveals. She can’t direct them or write them, the actors can’t act her script, and Kim Sun-min can’t cut them into good scenes.

The film ends up a race to end before completely imploding.

1.5/4★½

CREDITS

Written and directed by Lee Soo-yeon; director of photography, Uhm Hye-jung; edited by Kim Sun-min; music by Jeong Yong-jin; production designer, Lee Soon-sung; produced by Cho Jeong-jun; released by Lotte Entertainment.

Starring Jo Jin-woong (Seung-hoon), Kim Dae-Myung (Sung-geun), Lee Chung-ah (Mi-yeon), Yoon Se-ah (Soo-jung), Shin Goo (Sung-geun’s Father), and Song Young-chang (Jo Kyung-hwan).


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Murder, Take One (2005, Jang Jin)

Usually when I say Korean films effortlessly mix genre, I mean it in a good way. It’s still impressive in Murder, Take One; director Jang definitely makes the final ingredient a surprise, but it’s a questionable choice….

The majority of the film—albeit on a reduced budget—is successful. It’s a police procedural with one caveat, the entire investigation is being broadcast live. It’s unclear why the police department is teaming with the TV producers, but it isn’t particularly important. The case is interesting enough (turning out to be Agatha Christie influenced) and the acting is good. Jang is able to make Murder, Take One feel absurdist, while still reasonably grounded.

Until the end, when he doesn’t just take away from the absurdist nature of the television show, he brings in a whole new element. It doesn’t destroy the film—it just pushes it below the fail line.

The acting is, as I said before, all good. Lead Cha Seung-won takes a while to get going—his first scene is opposite Shin Ha-kyun, who’s a far more nuanced actor—but he eventually turns in a solid performance. Ryu Seong-ryong is good as Cha’s colleague and initial competitor (they’re both racing to solve the case before the TV producers muddle it too much) and Jang gives them a nice arc.

Murder, Take One moves well—the first hour flies past; Jang knows how to plot a procedural. His composition’s decent, though he cuts too fast.

It’s generally okay.

1.5/4★½

CREDITS

Written and directed by Jang Jin; directors of photography, Choi Yun-man and Kim Joon-young; edited by Kim Sang-beom and Kim Jae-beom; music by Han Jae-kwon; produced by Lee Taek-dong; released by Cinema Service.

Starring Cha Seung-won (Choi Yeon-gi), Shin Ha-kyun (Kim Young-hun), Shin Goo (Yun), Park Jung-ah (Han Mu-suk), Jeong Jae-yeong (Bully), Kim Ji-su (Jung Yun-jung), Kim Jin-tae (Oh) and Kong Ho-su (Dr. Han).


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The Foul King (2000, Kim Ji-woon)

The Foul King is supposed to be a comedy, but I only laughed once, about an hour in. It’s not about South Korea’s leading stand-up comedian (which I thought it was). It’s about a wrestler who cheats (and gets fouls for that cheating). The film’s structured not around a traditional sports movie, instead it’s about a bank teller who finds himself in the wrestling ring. Except we don’t really know he finds himself, because the film’s storytelling is so distant, it’s hard to care about him.

The first hour of the film is spent abusing the narrator–he’s got a boss who beats him, he gets beat up by thugs, his father can’t stand him, his only friend avoids him, he’s no good at his job–all the time building toward his wrestling success. The wrestling success may or may not get there in the end, it’s not clear. From what I can tell, the audience is supposed to be laughing, not particularly caring about the characters or the film’s content. Song Kang-ho is a big Korean star, but his performance is adequate at best. There are no good or bad performances in Foul King, actually. The film doesn’t care about having good or bad performances, it cares about surveying its “story.” If it weren’t for the measured film editing–shots last twenty seconds or so–Foul King would run about thirty-five minutes. There’s an entire subplot involving the boss trying to corrupt the friend, which may or may not be an attempt at juxtaposition, but it’s so poorly handled–it’s a strain to figure out what’s going on–it fails miserably.

I just realized I’ve never seen Song in a good film, in fact, he’s in about thirty percent of the bad Korean films I’ve seen. I wonder if there’s a connection. At least the final wrestling match moves, as the rest of the film doesn’t.

1/4

CREDITS

Written and directed by Kim Ji-woon; director of photography, Hong Kyung-pyo; edited by Goh Im-pyo; music by UhUhBoo Project; produced by Oh Jung-wan and Lee Mi-yeon; released by bom Film.

Starring Song Kang-ho (Dae-ho), Jang Jin-young (Jang Min-young), Kim Su-ro (Yu Bee-ho) and Shin Goo (Dae-ho’s father).


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