》Aquatic crime-action epic《

This year’s festival provided a refreshing plethora of non-English language films for TIFF-goers to flock to. Another big film for South Korea this year’s fest premiered at TIFF 2023 to an ecstatic and enthusiastic crowd, all gathered to see the red carpet talent and experience the North American premiere of “Smugglers,” a film by director Ryoo Seung-wan. Written by the director and co-writers Kim Jung-youn and Choi Cha-won, they construct a twisty heist tale brimming with action and women empowerment that is more than a joy to witness. The film has been marketed as an “aquatic crime-action epic,” and that description just about sums up this delightful surprise the best anyone could.

Ryoo Seung-wan is masterful in his direction at balancing comedic moments with an overarching theme of women empowerment in this exciting, tense, triumphant adventure flick. His characters have impeccable comedic timing with quick quips or long-winded jokes. Still, he’s able to flip the switch and bring back the heart-pounding intricate action scenes or intense interrogation moments. The underwater antics are more than impressive, with much of the film involving his characters holding their breaths and swimming, fighting, or working underwater. Despite this added element of difficulty, both Ryoo Seung-wan and the teamwork with his noble cast make them able to pull these stunts off effortlessly. His “Smugglers” is a refreshing new addition to the action-crime-drama genre, and with his focus on female leads, female empowerment, and female ‘badassery,’ he knocks it out of the park.

The performances by the entire ensemble are a joy to witness, from depictions of the ultra-talented haenyeo women and powerful teahouse ladies to cartoonish crime-lord villains with impeccable fighting techniques. Kim Hye-soo and Yum Jung-ah have a phenomenal and believable on-screen relationship as former best friends, both before and after the fallout their characters go through. They depict stubborn yet clever individuals who will each do anything to get ahead of the opponent, and watching their antics play out is extremely enjoyable. Go Min-si portrays a seemingly mousey and quiet teahouse girl, Go ok-bun, who we witness go through a satisfying character arc from beginning to end. There’s also the three men — head honcho Kwon, the hoodlum Do-ri (Park Jeong-min), and the officer Jang-chun (Kim Jong-soo), who all give entertaining, intentionally cartoonish performances in which they fully commit to their roles. So when the women decide to turn all three men against each other for their own benefit, well, it’s as hilarious as it is satisfying.

“Smugglers,” being set in the 1970s, is also an absolute treat to the senses. From colorful costumes, immersive set pieces, and a funky score, the audience is plunged just as much into the depths of the Kunchon region’s sea as they are into the aesthetic of the time period. There are Farah Fawcett wigs galore, groovy pucci print clothes with more than enough bellbottoms, polyester pantsuits, and wide-collared blouses to go around. Ryoo Seung-wan even edits a fun, celebratory post-heist shopping spree segment with the ladies in split screens, loud colors, and complete with the music of the era, and it’s more than enjoyable to witness. Composer Chang Ki-ha’s immersive score fits in well to compliment the flashiness and fun on-screen, aiding in the delight and antics. This juxtaposition of the 1970s era with its very modern theme and message of women empowerment and leadership is a satisfying mix, lending to the level of gratification one may feel at the end of experiencing this film.

“Smugglers” is a refreshing combination of classic crime, heist, and adventure film tropes with a mix of 1970s influences and modern themes. His characters are intriguing and easy to root for or against, as they are portrayed fabulously by the attractive and personable cast. The writing is fun and funky, even involving double and quintuple crossing that occurs, causing the director to take us back in time to relive scenes from new perspectives, challenging the audience on what they thought they knew. The groovy aesthetic is addictive as it is immersive, and both the above surface and underwater action sequences are a high-energy delight. It’s nearly impossible not to have an enjoyable time with “Smugglers,” so it’s fair to say Ryoo Seung-wan hit the nail on the head with this one.

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Jackie Chan’s Sentimental Stuntman Comedy Is a One-Trick but Fun-Trick Pony

Jackie Chan’s recent output has been somewhat hit or miss and I still consider The Foreigner the best film he has done in years; the trailers made Ride On look like it was going to be more of the same and although there is still plenty of classic Chan humour I wasn’t expecting to get as emotionally involved in the story with Jackie giving one of his best performances in years.

I’ll admit I was nearly sobbing by the end as I’m a softy for anything involving animals and Ride On’s greatest find is the horse Red Hair. It must have taken an age to train the horse to do all the tricks he does in the film but it could be argued that he actually gives a performance; I know that sounds crazy but if you see the film you’ll understand.

Ride On is a love letter to the stunt industry with Jackie playing aging stuntman Luo whose career has seen better days but when he reunites with his estranged daughter his fortunes change and his life takes a dramatic turnaround.

It must be the hardest thing for someone who has relied on their body be it in stunts or action movies to make a living but when age catches up to them they have to face the harsh reality that they can’t really do it anymore. Jackie uses footage from his classic films throughout so this feels like it’s a biography of his life disguised as a movie giving it extra emotional heft.

Although this is more of a drama there are still plenty of fight scenes with Jackie proving that even despite his advancing years he still has what it takes in the action department; his dedication to the craft is unmatched which is why he is one of the greats.

Despite having several fight scenes Ride On is a little slow at times and may put some viewers off who are just looking for a straightforward fight film. I found my patience rewarded as I was fully engaged with the story and couldn’t wait to see how it would all work out in the end.

Wu Jing shows up in an extended cameo but he has no fight scenes so if you’re expecting that you’ll be disappointed.

Overall, Ride On is a heartfelt love letter to stunts and the action industry with Jackie Chan at his best and an almost scene stealing turn from a horse (never thought I’d write that). There are a few fight scenes to keep viewers interested but this is more character based than action driven.

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A film that lances the rage and exasperation that can mark a family relationship

At the centre of this very touching social study are a mother and her daughter. They share the apartment mentioned in the title of the film. Besides that, their bond is rather loose. Indeed they could be as well some random flatmates – some that don't get along well. The more Yi-jung (Im Jee-ho) tries to win her mother's affection, the more fiercely Su-kung (Yang Mal-bok), the latter, rejects her.

It's nearly embellishing saying that the relationship between the two is tense. They can't communicate without being passive aggressive or snappish. Yi-jung clearly gets on her mother's nerves, but there doesn't seem to be a particular reason for it. Her mere existence seems to provoke Su-kung. Their mutual frustration unloads itself from scene to scene. One of the first confrontations escalates when the two argue, Yi-jung leaves the car and Su-kung in anger steps on the accelerator and hits her daughter from behind.

As a spectator we could have been prepared for this. The camera sits in the car, we have the same perspective as Su-kung watching out of the front window. We feel the tension, we see the contracted muscles of the protagonist. Still her reaction comes unexpected. Why doesn't she come down as most other persons in her situation would have? But no, she really does it. And this is a feeling that stays with the audience during the whole film.
Su-kung doesn't match our expectations. She does not act like we would like a mother to behave. She contradicts the, in most societies nearly holy, ideal of a mother. There is no trace of tenderness towards her daughter. At one point, Yi-jung says to her colleagues from work that she believes her mother would be capable of killing her one day. That evokes an embarrassed silence among the present ones. And they are heavily relieved when they suppose it was only a joke. But in reality it's not that easy.

Yi-jung's situation is desperate. It is difficult for outsiders to relate to her. The love of a mother is considered by most as one of the few things in life on which we can count unconditionally. It is sure a taboo to scratch this certitude. We feel pity for Yi-jung. She has nobody to whom she can turn to. No father, no friends. She longs for affection. In the relationship with her new colleague at work, it appears clear that she doesn't know how to cope with closeness. At the slightest sign of friendship, she tries to hold on to it with all her might. With the result that she scares away the person in front of her.

Director Kim creates with Su-kung a very complex character. She is not only selfish and childish, it is also clear that life wasn't easy on her and that, as a single mother, she faced a lot of criticism from society. She built a cold façade to protect herself. For her friends, she is an entertaining bird of paradise. They envy her supposed freedom. But at the same time, they can't hide the fact that they look down on her. For them not having an intact family life is like failing life's purpose.

Being the portrait of these two women, the cast is of essential importance. Yi-jung is played by Im Jee-ho with a lot of sensitivity. She shows the fragility of the character and the scars that leave its unanswered needs. Still Yi-jung is not a victim, she knows she has to part ways with her mother and finally finds the courage to do so. Even though at some points we would like Yi-jung to react a bit more, to be more combative, we can relate to her at all moments. And this is exactly due to the capability of the actress. It was indeed not easy to stand up to her counterpart. Yang Mal-bok as Su-kung is namely a force of nature. She has recently played in the series “Squid Game”. She manages to evoke contradictory emotions in the spectator. Her character has something despicable, but also touching. Yang whirls through the film like her character through her life. In the moment of calm, we see in her eyes the deep sadness that lies in Su-kung.
Even though the “The Apartment with Two Women” lasts for 140 minutes, it doesn't feel particularly long. This is thanks the precise script containing a density of narrative motifs. The pace of the film is basically calm and not excited, but still each scene has its statement. The framing is well balanced, the camera under the responsibility of cinematographer Moon Myoung-hwan follows the protagonists closely. But it still keeps a certain distance that is necessary to reflect on your own life experience and the evoked emotions.

There are several apartments that are of importance in the film. The first one is the one shared by mother and daughter. Private space is difficult to obtain there for them. The rooms are very close to each other, there is a lot of personal stuff piling up and giving the impression of suffocation. Little light comes in, and the dark furniture supports a gloomy atmosphere. In contrast to the women's apartment, the flat where Su-kung wants to move to with her new boyfriend is brighter and bigger. Also the home of Yi-jung's colleague, even though small, is much more friendly than Yi-jung's and Su-kung's.

Concerning the décor and the setting, director Kim shows the same sensitivity as for the development of her characters. She creates a particularly intimate movie, which is at the same time uncomfortable and often besetting, but also immensely touching. “The Apartment with Two Women” is bewitching. A fantastic first feature from a talented young director, that hopefully will produce more.

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Unfortunately, it was not up to expectations... boring

This South-Korean supernatural thriller is a surprising addition to the Tallinn Black Nights First Feature Competition. Directed by novelist and screenwriter Kim Jin-young as her feature debut, the film plays out like a formulaic thriller borrowing tropes from East Asian cinema as well as from Hollywood. Fast-paced to the point of being unable to deliver any character depth, it twists and turns with energy, but loses control under the weight of its own relentless movement. It presents us with the muddied narrative of a mother’s guilt over the loss of her paraplegic son, Han-byul. The father, a Reverend in an unspecified Christian church, blames the mother for having fallen asleep while her four children (including Han-byul) were playing near a lake after a picnic. When she awoke, Han-byul’s wheel-chair was empty and his body was floating in the water. Was she fully asleep? Could it be that she willfully turned a deaf ear to her own child’s cries before death? After the child is buried, the Reverend is convinced that the mother’s sins will be pardoned if they adopt an orphan, as a good deed to repent. They soon start taking the steps necessary to adopt the visually-impaired Isaac, but, once formalities are over, the young child finds it difficult to settle in the Reverend’s house, finding the behaviour of the three other children especially inauspicious.
The Other Child plays with an intriguing array of themes – the Christian faith in South-Korea, the guilt-complex of a mother after the loss of a paraplegic son, the ways in which religious texts can be interpreted by indoctrinated children. But the narrative never takes the leap necessary to explore any of these themes to any satisfactory level. It briskly glides over the surface of its best ideas, resulting in a film only interested in existing as a pure exercise in terror. It is regrettable, then, that the film should also fail from a purely stylistic standpoint. Indeed, its technical qualities are extremely shaky: the cinematography is glossed over with a lush filter which exaggerates all colours, removing all actions from reality. The visual effects sporadically appearing in the horror sequences are also of very poor quality. The story-telling is convoluted and unfocused, with characters appearing out of the blue to reveal vital plot elements, while our protagonists act in ways that seem to defy all existing motivations. The viewer struggles to navigate a world where all that is set up in the beginning turns into something else entirely.

The director Kim Jin-young should be praised for her work with the young child actors who all deliver very accomplished performances, especially given the faults of the screenplay. While the cinematography suffers in general from looking too inauthentic, the scenes at the lake are especially well-photographed, giving the film its only memorable images. These scenes also present us with a gorgeous selection of costumes worn by the three children, who look particularly eerie when singing near the blue backdrop of the lake. These shots will stay firmly fixed onto the viewers’ retina. It is unfortunate that the quality shown during these scenes is not sustained throughout the rest of the film, for, overall, The Other Child is a very disappointing genre film, which brings together themes, characters and events that seem to constantly elude its grasp.

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Just a nice movie

Directed by comedian Park Sung-kwang, this is played for laughs, but as such all ideas feel half-baked, with no one really putting in the effort. It feels a throwback to 90s US comedies, where all characters are caricatures, rather than rounded individuals. As such, you struggle to really feel much for any of them. The plot is rushed and glosses over details, and you spend the whole film knowing which way this will go.

There isn't much here that hasn't been done before, with the main focus being on how its lead is a bit slow. Park is suitably gormless as Woong-nam, but doesn't offer a huge amount as Yung-hak, with the supporting cast hamming it up a little too much in parts. Woong-nam's mannerisms feel straight out of the Stephen Chow school of “Kung-fu Hustle”, which isn't necessarily a bad thing, but is unoriginal a couple of decades along; as is the “Drunken Master” parody.

And this is “Bear Man's” problem. The comedy, story and special effects largely belong back in the 90s, and feel very outdated in this day and age. They do produce some laughs, but they're hidden in some very simplistic comedy; and Yung-hak's take down does have some good fight choreography, while also providing some of the film's stronger comedy moments.
If there is anything new on offer here, it is the comment of how Mal-bong's social media is a greater news source than mainstream media, with the police reliant on it. But this fails to place itself as a central theme, and so is perhaps incidental rather than social commentary.

You can grow into this as it progresses, and it's entertaining enough, but is very limited by its own lack of effort. It puts in little, so asks little of you in return. Popcorn fodder? Yes. But you can find much better options out there.

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Boring and incoherent story with bland acting

I watched the movie and expected that I would enjoy a beautiful dramatic masterpiece...but I was really shocked by the story...as for the acting, I really liked the cast and their feelings...as for the events, I felt very bored in the first hour of the movie, and some of the events were illogical, especially the topic that It is related to Algeria, even if it is not a true story, but as long as you are talking about another country, you must study the politics, heritage, and life of that country. The story was incoherent, unfortunately. I was disappointed and felt that I wasted my time watching it. Maybe I enjoyed it. The last minutes of the movie because it gave the meaning of family.. Unfortunately, the acting is great, but the writing of the movie is very bad and the events are not connected well.. If you want to watch a movie just to waste time, watch this movie, but if you have limited time, stay away from it because you will feel... Bored..

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A movie full of suspense and excitement.. you should not miss watching it (^-^)/

Starting from buying second-hand items on an online shopping platform, Soo-Hyun (Shin Hae-Sun) fell victim to a scam and intended to report the fraudster. Instead of getting her money back, she found herself subjected to a series of relentless terrors.

Korea has never run out of storytelling ideas, and in this film, Korean cinema explores the issue of online shopping scams that have victimized many.

The story is meticulously crafted, and its mystery leaves the audience questioning who the real culprit is. Terror after terror is delivered gradually with various ‘crazy’ methods that keep the viewers on the edge of their seats.

Shin Hae-Sun delivers an outstanding performance, and the villain’s presence is filled with malevolence that makes the audience feel afraid whenever they appear.

The various terrors depicted, coupled with the investigative elements from the police, left me intrigued by the story until the end.

The climax is brilliantly executed, with an escalating intensity of terror. Many viewers applauded when the film concluded.

For fans of the thriller genre, TARGET is guaranteed to keep you on the edge of your seat!

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A movie that makes you feel like you're in danger

Directed by Kim Tae-joon, Unlocked is a South Korean thriller starring Chun Woo-hee , Park Ho-San, and Yim Si-wan. The movie is new to Netflix from today, and is a decent little techno thriller which looks at stalking in the modern age.

The film sets up the idea that anyone can become a victim of digital surveillance, it is merely a case of momentarily dropping your guard. And then once someone gets inside your phone, they can get inside your life, and use your information however they see fit.

There is a little more to the film than just a bit of online stalking, as Unlocked also includes a police investigation, which plays in the background of the film. The two plot threads are of course connected, demonstrating just how deep and frightening this type of situation can be.

Director Kim Tae-joon has good grip on the material in this picture, and taps into the reality of the world we are currently living in. We have all become too reliant on technology, with most of us guilty of handing over a bit too much information online, and his film demonstrates the worrying side of all this.

He then backs this all up with a great cast, some strong shots, a fairly even tone, and a good soundtrack. Unlocked isn’t amazing, but it is pretty solid, and finds way to inject some thrills, a touch of paranoia, and plenty of drama into the story.

Unlocked may not rock everyone’s world, but it makes for a fine watch. There are some interesting ideas in here about hacking, spyware, and cyber-stalking, and it offers just enough story to make it all work.

You probably won’t come away thinking this is the best thriller you have ever seen, but you may have second thoughts about uploading so much information online. You may also consider super-gluing your phone to your hand, to deter anyone from trying to access it.

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Enjoy your day as if it were your last day

I am a fan of categorizing dramas, but I have been searching for a movie to watch for a while, and I found this movie.. ＼(^-^)／
I liked the story of the movie, so I decided to watch it... After watching it, I can say that I really enjoyed watching it.. The comedy in the movie is neither vulgar nor boring.. I laughed a lot.. I was longing to watch an interesting movie..
If you read the story, you will think that the movie will be sad and just a movie about a deadly disease and sad feelings...
I can say that the movie is very interesting and comedic, and goes beyond limits, and it is a symbol of friendship and brotherhood.. The film conveyed several messages about friendship, life, family, and all of this in a comical manner, and this is what distinguishes the film... If you want to get away from action, mystery, and all complex classifications, I recommend this film because you will really enjoy it..(^∇^)

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Life is really beautiful.. let us live it as we want

Life is Beautiful (2022) is a musical romance film that stars Yum Jung-ah, Ryu Seung-ryong, Park Se-wan, and Ong Seong Wu. The film depicts the journey of a woman who discovers she has cancer and takes a road trip to meet her first love from high school.

Despite wrapping filming in 2020, the film experienced long premiere delays due to the COVID-19 pandemic, reported Korea Times. After a nearly two-year-long wait, the film premiered at the 36th Fribourg International Film Festival in Switzerland, and is now ready to take us on a beautiful adventure.

The film takes its audience on a wonderful rollercoaster of emotions, with seamless mood shifts. From the sadness of a terminal illness to the hilarity of the main couple’s endless bickering, you can’t help but be immersed in the drama and empathise with every character. By the end, there wasn’t a single dry eye in the house.

Of course, with a star-studded main cast, hopes were high, but the actors’ performances exceeded expectations. Yum Jung-ah and Ryu Seung-ryong’s chemistry as a married couple was especially fun to watch.

This musical extravaganza will not only bring you on an emotional roller-coaster, but also take you on a tour around Korea through the ages.

Needless to say, audiences can be sure to walk out of the cinema with that nostalgic feeling of first love, knowing that life truly is beautiful.

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Great movie..it didn't disappoint me ♡

, or just “Confidential Assignment 2” for short from hereon out, is the sequel to the 2017 K-movie, , and picks right back up from where it left off. The film was directed by Lee Seok Hoon, who also did , , and , and saw the two main leads, Hyun Bin and Yoo Hae Jin, return for the sequel, as well as Yoona, and two new faces of Daniel Henney and Jin Seon Kyu. And I must say, excellent performances by all of them – I’ll get more into this later.

|>>The Good<<|
starts off with full out action, and then turns into a comedy once Yoo Hae Jin comes on screen. And man oh man did this movie do both genres so well. There were numerous humorous scenes, ranging from chuckle-worthy to laugh-out-loud funny throughout the film, and also executed the action sequences superbly as well. Yoo Hae Jin and Yoona were mainly in charge of the laugh department, and Hyun Bin and Daniel Henney commanded the action division – but that’s not to say that there wasn’t a blend of the two. All actors had some degree of both genres mixed into their roles, and I must say, they gave good individual performances, but all together, they shined and were amazing.

And that goes to show that the film had great casting. Each and every one of the actors fit perfectly with their roles, and there was amazing chemistry between the cast members. You can tell they had a good time filming this, as that translates to the audience when watching, and the members seem like actual good friends in real life.

The returning members Hyun Bin and Yoo Hae Jin were as great as they were in the prequel, and with the addition of Daniel Henney, the greatness doubled. But what made the film even more better, were the comedic tone of Yoona as well as the new face of Jin Seon Kyu. Yoona has really made a name for herself as an actress, and she’s so good in that comedic genre – I first noticed this with her performance in . Moreover, Jin Seon Kyu returned to the villain role following his breakout performance in , and my oh my was he just as good in this.

As mentioned, the chemistry between the actors translates and is reflected to the audience, and to expand a bit further on this, knows how to communicate and play with the audience. The screen-to-audience relation was wondrous, and is enjoyable by all people of all age. It’s, dare I say, one of the best comedic action flicks out of Korean cinema recently. I say it’s up there with another relatively recently released film, . It’s hard to live up to the original with sequels, but ironically enough, the two best Korean movies thus far this year were sequels; this and .

|>>The Bad<<|
As with majority of films of this genre, the story isn’t a very solid one. That’s not to say that it was bad, necessarily, but nor is it out of this world. There were some cliche and predictable parts, but then again, that’s kind of expected from a light comedy such as this.

Furthermore, there were some clashes of tones here and there. As mentioned, the movie starts off with full-out action and then also introduces full-on comedy as well. Sure, the film did both very well. However, I did notice that there were moments where the tone of one overrode, or moreso clashed with, the other. Again, not saying that the film didn’t execute the genre of action or comedy well. No no, it did both very well – but there were some conflicting tone overlaps at moments.
And lastly, another nitpick, but the film didn’t have the best CGI in certain parts.

|>>Verdict<<|

was a great comedic action flick that’s highly recommended if you’re looking for something to have a good, light time with. I’m sure you’ll find yourself smiling and laughing, while also enjoying the high action parts as well.

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Ancient Swords Meet Time Travel In This Fun Epic

Writer-director Choi Dong-hoon (Assassination) reaches into every corner of the film landscape to concoct Alienoid. Like many films of its ilk, Alienoid is action-packed, full of laughs, and capable of a major twist, but what sets it apart from other films is the right dose of time travel. Juggling several storylines at once, Alienoid is not perfect, but it is always working toward its goal. Except for some out-of-place robots, the CGI in Alienoid is more than serviceable. The story is very high concept and the tone is completely aware of itself, leading to a truly enjoyable experience.

Alienoid is, in many ways, the best parts of the greatest genre films. Combining the wire work of Crouching Tiger, Hidden Dragon with the action and CGI of a Marvel movie is certainly a recipe for success. The performances and directing all seem to be on the same page tone-wise, seamlessly shifting from epic to absurd on a whim. There is also the combination of present and future technology, like guns being used in 4th century Korea, that feels more natural than it should. The ambitious swings taken by Choi often hit, and the misses come in different parts of the film. There is something oh so sweet about a historical warrior going toe-to-toe with a man in a Tom Ford suit.

The CGI in Alienoid is mostly great, making the lesser scenes stand out. The Guard is an alien in human form, but he is the fighting model of his kind. This prompts an all-black metal suit when he is in battle, which has a great design and looks even better in action. The alien bad guys also have inventive designs. Though they resemble the average interpretation of an alien, two things set them apart from the norm. They are several feet taller and more muscular than the average human and when they are in alien form their human hosts float above them like creepy balloons. However, these aspects all fit neatly into the aesthetic of the film. Other choices, however, do not fare as well. There is a massive outbreak of poisonous red bubbles that look very cool and super stylized, but seem out of place. Even worse, when the Guard fights his counterpart, a red robot with plans to release the prisoners, the contrast could not be greater. If this was a level in Portal, the red robot would look perfect, but set against a world of fully fleshed-out motion graphics, the execution comes off as unfinished.

Alienoid bends genre, tone, and story to create a fascinating new world. Though some of the CGI is choppy, most of the sci-fi elements of the story look quite good. The dialogue never really needs to sing because the plot is the engine of the film and Choi is having a great time in front of and behind the camera. Alienoid has grand ambitions and meets almost all of them....
Alienoid is action-packed, full of laughs, and capable of a major twist, but what sets it apart from other films is the right dose of time travel.

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One of the best comedy movies

The plot is simple, a lottery ticket scramble between South Korea and North Korea. But the story was successfully developed and presented with a very fresh comedy from the beginning to the end of the film! Let it be a comedy film, but it really feels and looks that this film is not a cheap film!

The comedic duo Go Kyung-pyo and Lee Yi-kyung as the main characters have no cure. Seeing them silent, I couldn't help but laugh. Moreover, all the character designs and supporting characters are really strong and the chemistry is really felt. Laugh until you cry.

The storytelling is also neat! This film takes 3 perspectives: South Korea, North Korea, and the perspective of the prize money taker. EVERYTHING is FUNNY until the details of the story are made hilarious.

Comedy is the main point of this film. Every moment of comedy that is shown is really strong and never fails to make the audience laugh.

In conclusion, 6/45 is a MUST watch movie with friends and family who enjoy comedy films. Those who are tired and need to laugh also have to watch this, alone it's also not a problem because it is guaranteed that you will be entertained.

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'My Perfect Roommate' shows how family transcends blood ties

The elderly have been an interesting talking point for Asian cinema this year. Chie Hayakawa’s “Plan 75” surprised Cannes Film Festival with a bleak and shocking vision to solve the problem of Japan’s rapidly ageing population. Director Lee Soon-sung takes a much brighter and cheerful approach to the subject in “My Perfect Roommate”, his debut feature.

Having started in the industry as a boom operator years ago and proceeding to make a career as a real-time recordist, Lee Soon-sung makes a move behind the camera with “My Perfect Roommate”, working off his own script, which tackles a number of themes in its brisk 91 minutes runtime. Foremost, it’s an ode to the elderly and their plight, having to live alone and without much support from their busy and self-occupied families. Their friends, who find themselves in similar plights, are the closest they get to a family, probably precisely because they are in the same boat. Loneliness is a constant topic of the narrative, not limiting itself to just the elderly, with the young Ji-woong too feeling alone. Despite having friends and a healthy social life, he feels unable to open himself up to his friends, finding solace only with the people who grew up in the same circumstances as him. As a result, seeing both Geum-boon and Ji-woong warm up to each other is pleasing and almost heart-warming.

The script also touches upon the subject of the upbringing of an individual. In a filial society such as South Korea’s, where a lot of emphasis is placed on the way parents raise their children, orphans are often treated with disdain and a certain prejudice. Lee argues that it is not just to the parents’ credit how a child turns out to be as an adult. Using Ji-woong and the subplot of his friends, he shows how orphans grow up by themselves and make their own destiny, showing both sides of that coin and determines that it depends very much on the individual as well to be a better person in society. Briefly he also talks about mortality and the need to live on, alone if necessary but better if with someone, a topic that could have been done with more exposition, and on the importance of family.

This would have been a much lesser feature had it not been for the presence of loveable veteran actress Na Moon-hee, who practically carries the film on her two aged but nonetheless strong shoulders. In her capable hands, the grumpy grandma too proves to be very likeable and motherly, as Ji-woong soon finds out. Oozing pure grandma energy, you just want her to give you a hug, so when she finally does give Ji-woong one, you can’t help but feel a pang of jealousy towards Choi Woo-sung’s character. Making his first big screen appearance after taking part in a few tv dramas, Choi is adequate as the college boy, but feels a bit wet behind the ears, something that he might be able to rectify with more feature film appearances. He does play well alongside Na Moon-hee though, who takes good care of her young co-star. She has played this role of a grumpy ajhumma a few times now, but just like Ma Dong-seok’s hardman act, it is one that you cannot tire of seeing.

Keeping an equally bright and cheerful look with Choi Min-hwan’s cinematography, “My Perfect Roommate” isn’t necessarily ground-breaking cinema, but it has a clear story to tell which it manages to put across effectively, and, bolstered by a fine performance from its lead actress, ends up being a cute feature that is a pleasant watch.

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Enjoyable movie

Dead Man’s Prey is actually an expanded universe of the hit 2020 series The Curse, written by Train to Busan director Yeon Sang-Ho. The universe is based on ancient dark magic where dead bodies are reanimated by shamans to seek revenge. While you don’t need to have watched the series, it does give you a better explanation of how Im Jin-Hee (Uhm Ji-Won), the gung ho reporter (and the lead) in the film, is related to the teen shaman named So-Jin (Jung Ji-So).

The movie begins with a supernatural premise: someone is murdered by a corpse that has been dead for three months. This is where Jin-Hee comes in – the culprit reveals to her that there will be three more murders to come, and they will also be carried out by reanimated corpses (who’re called ‘jaechaui‘). The film ticks all the boxes of كhorror, mystery, and action.

The horror – or supernatural element – involves hooded corpses that seem to appear everywhere you don’t expect. While they seem to be human, what they do with their bodies is eerie. The only minor complaint is in the CG department when the jaechaui ‘die’.

The mystery portion explains the origin of the jaechaui – there are plenty of clues involving strange occult markings and… an Indonesian connection. The culprit is either very obvious or very obscure, depending on how you view the film.

The action is what makes the film most entertaining. There are several scenes worthy of mention, including the tunnel car chase and a hilarious scene involving taxis. There’s also an interesting dilemma posed by the undead: in the huge battle between the police and jaechaui, someone has to solve the ‘we can’t shoot them because they don’t have guns’ problem.

As the film progresses and the mystery deepens, the plot suddenly becomes a story of revenge using the dark arts against a company that abuses the marginalised. And stopping the onslaught of this jaechaui apocalypse lies in the hands of one unexpected person.

If it’s one thing to take away from this film, it’s that the women play a more prominent part in making decisions and solving problems.

All in all, the film brings together all the expected elements of horror, occult mystery, and action in an entertaining way. (One also can’t help but wonder if part of this plot was inspired by the ‘nut rage’ incident in Korea.) Just don’t expect it all to make sense in the real world.

Oh, and stay until the very end of the movie, as there are extra scenes.

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