Tag Archives: Sun-min Kim

The Divine Fury (2019, Kim Joo-hwan)

The Divine Fury is a very bad film. It’s not poorly made; director Kim is mediocre, Cho Sang-yun’s photography is good, Koo Ja-wan’s score is fine. Yes, the editing is wanting, but often more because Kim’s mediocre than anything else. Like the big fight scene at the end? The big, very bad, not at all worth sitting through the movie about an MMA fighter (Park Seo-joon) taking on a Dark Bishop (Woo Do-Hwan) who’s running a shitty nightclub with low patronage (the film’s limited budget is only obvious because of the lack of background extras and scenery) and bringing demons to Earth. He brings the demons, who then possess Catholics–you know they’re Catholic because of the Catholic art on all their walls–and then priests come in and exorcize, rinsing the soul super clean, so Woo then sends those fresh souls to Hell.

Or the movie’s about a lonely old priest Ahn Sung-Ki who can no longer recruit young priests to accompany him on his exorcisms slash physical and mental abusing of people with mental problems… oh, wait, no, because in Divine Fury all the magic is real. Lead Park is an avowed atheist—not a real thing, as Ahn explains, because hating God means you believe in God—and none of the magic ever sways his opinion on God. He hates God because God killed his dad (Lee Seung-Joon) even though a priest told him if he prayed hard enough God would save him. So Park also hates the Catholic Church, which is the only form of religion shown to exist in Divine Fury’s South Korea.

Where Catholics make up something like seven percent of the population.

You know, it’d make more sense if Divine Fury were secretly funded by the Catholic Church in hopes they get priest recruitment up in South Korea. There’s a scene where Ahn brags about being able to drink and smoke—it’s okay as long as you don’t pray after, which is just weird too. When Park finally becomes a demon-hunting superhero with a motorcycle, his costume is a priest outfit like Park’s got some rabid female fans who want him dressed up as a bad boy priest. It’s really goofy and bad.

If Park gave an enthusiastic performance, Divine Fury might be saved. He’s got stigmata, he’s got a flaming fist, he can kill demons, he’s got that motorcycle, he’s edgy cool but not… he also doesn’t enjoy it at all. Some of it’s the direction. Kim’s not good at directing Ahn and Park with the special effects. Sometimes it looks like the actors decide at separate times when they’re supposed to be seeing the CGI demonic imagery. Even if Park were just an energetic bad, it might be fun. But no, he’s broody and terrible. Ahn’s ostensibly lovable and terrible. Woo’s not convincing as the chief bad guy, which is fine because Park’s not convincing as an MMA fighter and Ahn’s not convincing as an exorcising priest.

The only good performance in the film, which doesn’t give its cast good parts ever—the only good performance is Jung Ji-hoon. He’s this little kid who gets possessed by multiple demons. Jung’s great. Sadly we don’t get to see him kill the good guys and win and then the movie can end. Because then Park wouldn’t get his biker priest martial artist finale. The absurd finale he doesn’t even appear to enjoy doing.

Divine Fury is ostensibly a martial arts horror action Catholic Christian movie. The horror’s never scary, the martial arts are bad, the action’s bad. All it does with enthusiasm is preach, which could conceivably not be terrible if only Kim’s script weren’t terrible and Ahn and Park weren’t bad, particularly during those scenes. If the movie has some actual propaganda behind the scenes thing going on, at least it’d make sense. Otherwise… it just wants to be bad.

And excels at it.

Except Jung; Jung’s amazing.

0/4ⓏⒺⓇⓄ

CREDITS

Written and directed by Kim Joo-hwan; director of photography, Cho Sang-yun; edited by Kim Sun-min; music by Koo Ja-wan; production designer, Han Yoo-jung; produced by Park Sung-hye and Shin Pil-soon; released by Lotte Entertainment.

Starring Park Seo-joon (Yong-hoo), Ahn Sung-ki (Father Ahn), Woo Do-hwan (Ji-sin), Choi Woo-sik (Father Choi), Jung Ji-hoon (Ho-seok), and Lee Seung-joon (Police Sergeant Park).


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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Antarctic Journal (2005, Yim Phil-sung)

I guess this film has gotten some bad reviews. Or just excessively mediocre ones. It’s not quite populist enough–it sets itself up as a supernatural thriller set in Antarctica, but it’s all really about internal human conflicts and some creepiness sure. I’m trying to think of a good way to describe it and I suppose the best way is… imagine one of John Carpenter’s “horror” movies from the 1980s (They Live and Prince of Darkness). Now imagine it’s decent. Antarctic Journal is not bad. At some points, it could have gone either way. Respectably uncanny or human conflict. It didn’t need to have both and using the uncanny to fuel the human conflict, well, it’s cheap. I don’t if that’s why the film wasn’t successful. I doubt it. Emotional cheapness is highly rewarded by film-going audiences.

As a “box office failure,” Antarctic Journal is a bit of filmmaking achievement. It’s beautiful–snowy New Zealand fills in for Antarctica–it’s well-directed, the plotting isn’t bad, but the characters never gel. We don’t care enough about the ones who die first (it’s Korean, so it’s not Ernie Hudson) and we don’t worry enough to fuel that internal human conflict I mentioned early. The characters just aren’t full enough. They serve the filming location. The acting is good, even when you expect them to go overboard, the characters keep it under check.

I was fully expecting to turn Antarctic Journal off. I was going to watch the other night’s episode of “The Office,” maybe “Boston Legal” too, if I had time. I don’t think I’ve ever stopped a Korean movie. (The place isn’t called The Stop Button for nothing). That says a hell of a lot about a film industry….

1.5/4★½

CREDITS

Directed by Yim Phil-sung; written by Yim and Bong Joon-ho; director of photography, Jeong Jeong-hun; edited by Kim Sun-min; music by Kawai Kenji; produced by Lim Heui-cheol; released by Showbox.

Starring Song Kang-ho (Choi Do-hyung), Yu Ji-tae (Kim Min-jae), Kim Kyeong-ik (Yang Geun-chan), Park Hee-soon (Lee Young-min), Yoon Jae-moon (Kim Sung-hoon), Choi Duek-mun (Seo Jae-kyung) and Kang Hye-jeong (Yoo-jin).