Today’s Deal on Fire is the Blu-ray for David Leitch’s Atomic Blonde(read our review). The movie was previously known as The Coldest City, the title of Antony Johnston’s 2012 graphic novel, from which the film was based.
In Atomic Blonde, Charlize Theron (Mad Max: Fury Road) plays Lorraine Broughton, an undercover MI6 agent who is sent to Berlin during the Cold War to investigate the murder of a fellow agent and recover a missing list of double agents.
Atomic Blondealso stars James McAvoy (Split), John Goodman (The Big Lebowski), Til Schweiger (Inglourious Basterds), Eddie Marsan (The World’s End), Sofia Boutella (Kingsman: The Secret Service), Toby Jones (Captain America: The First Avenger) and Daniel Bernhardt (Logan).
Director: Lee Hae-Young Cast: Cho Jin-Woong, Ryoo Joon-Yeol, Cha Seung-Won, Kim Ju-Hyeok, Jin Seo-Yeon, Park Hae-Joon, Kim Sung-Ryoung, Kim Dong-Young, Lee Joo-Young Running Time: 123 min.
By Paul Bramhall
Five years after Cold Eyes, a Korean remake of the Milkyway Image thriller Eye in the Sky, another of the Hong Kong production company’s titles receives the same treatment, this time in the form of Believer. The source material is Johnnie To’s 2013 crime flick Drug War, which was notable for also being his first foray into Mainland movie making. The choice to remake this title in-particular is both an easy and challenging one at the same time. While Drug War delivers a suitably gritty slice of cops vs drug dealers, propped up by To’s trademark stylish shootouts, it’s also just as well regarded for the skill in which it circumnavigated the Chinese censors. Incorporating a number of subtle narrative choices, and even some selective casting, despite its themes To’s skilful handling of the material allowed it to be shown in the Mainland.
With no such restrictions to worry about for the remake, Believer essentially had 2 paths to go down. Either go for a straight up remake, or use To’s original as a foundation to create something more. Thankfully director Lee Hae-yeong has decided to go with the latter, and for the most part, it’s a decision that reaps considerable rewards, both for those familiar with Drug War (such as myself), and those that’ll be watching it with no prior knowledge of its origins. Believer marks Hae-yeong’s fourth time in the director’s chair, after helming the comedies Like A Virgin and Foxy Festival, and most recently the period horror thriller The Silenced. His first time working with a full-blooded action thriller, Believer is easily destined to be the movie that puts him on the map, as he displays a skilled hand at maintaining a consistently tense pace throughout.
Behind the scenes, Hae-yeong has an ace up his sleeve in the form of his co-writer Jeong Seo-kyeong. A frequent collaborator with Park Chan-wook, and one of the scribes behind The Truth Beneath (for me the best Korean movie of 2016), Seo-kyeong’s dialogue elevates the quality of any director she works with, and here is no different. Together the pairs script takes Believer into places that To’s version wouldn’t be allowed to touch with a barge pole, incorporating several shades of grey into the characters motivations and choices. The same applies to the direction itself, with no government restrictions to be concerned about over the amount of violence onscreen, Believer cranks up the gore in a handful of brief but memorable scenes.
Stepping into the roles of Sun Hong-Lei and Louis Koo, as cop and drug dealer respectively, are Cho Jin-woong and Ryu Jun-yeol. Jin-woong is an actor who’s been around for as long as the Korean wave, however has recently come into his own in recent years. From a stellar turn as the lead in the psycho-mystery Bluebeard, to his roles as the villain in the likes of The Handmaiden and A Hard Day. Here he’s visibly slimmed down, and makes for an excellent choice as the detective who’s been on the trail of the mysterious “Mr. Lee”, the head of Korea’s largest drug syndicate that no one has ever met or seen. In comparison Jun-yeol is more of a newcomer on the block, however is already cementing a reputation as being a considerable talent onscreen, thanks to recent roles in the likes of The King, A Taxi Driver, and Heart Blackened (another Chinese movie remake).
While Jin-woong retains the determined cop characteristics that Hong-Lei embodies in Drug War, Jun-yeol is given a character with significantly more depth than Koo’s sweaty take in the original. Again the only survivor of a drug factory explosion, one which also claims the life of his mother, in Believer this plot device gives Jun-yeol the motivation to join forces with Jin-woong and catch Mr. Lee, believed to be responsible for the blast. In that regard it’s possible to draw comparison to Drug War, in that the villains remain more interesting than the heroes, which is no more so on display than with the introduction of a Korean Chinese gangster, played with relish by the late Kim Joo-hyuk.
A largely perfunctory role in Drug War, here Joo-hyuk makes the character a standout of the entire movie. Much like Jin-woong, Joo-hyuk is another actor whose been around for a while, but only recently made an impact with a string of stand-out performances in the likes of The Truth Beneath, Yourself and Yours and Confidential Assignment. Sadly his role in Believer was to be his last, as shortly after filming wrapped he was involved in a car accident in October 2017, which ultimately claimed his life. His final role is a career high point, as an LED light averse, eye ball chewing psychopath. Joo-hyuk is the centre piece of the double-deception hotel meeting sequence, that Hae-yeong seems to acknowledge was done so well in To’s original, it doesn’t need too much tweaking. The scenes crank up the tension considerably, and sets in motion a series of escalating action scenes and blindsides.
Much like Cold Eyes did for Eye in the Sky, so Believer adds an additional 15 minutes to the duration of Drug War, but unlike Cold Eyes, here the extra runtime feels justified. This mostly comes from the addition of a character that’s introduced mid-way though, played by Cha Seung-won, of Man in High Heels fame. As heir to a shipping company that studied to be a pastor overseas, his character is a colorful one, but his addition to the mix does make things feel a little overcrowded. This is especially true with the inclusion of the mute drug manufacturers, also carried over from Drug War, but here cast as brother and sister. The relationship dynamics the pair have with Jun-yeol are interestingly tweaked from their original incarnation, and are effectively played by Kim Dong-young (also in A Hard Day) and Lee Joo-young.
Thankfully though Hae-yeong doesn’t allow the additional characters to slow the pacing, and the simmering tensions that are kept on the boil from almost the opening scene, eventually culminate in a full-blown shootout at the 75 minute mark. It’s an impressively staged action sequence, with suitably thunderous sound design from the machine gun fire, and feels like a rewarding payoff to everything which has come before. The finale also decides to take a completely different approach to Drug War, which is too its credit, as the change in direction also makes it difficult to compare the two. Rather than being a black and white case of a cops vs drug dealers shootout, the room to add complexity allows for some interesting twists and character choices to play out. Admittedly viewers accustomed to this type of genre may see some of the plot turns coming before they’re signposted, but they’re still effectively executed.
It’s during the finale that it’s possible to sense just how much enjoyment Hae-yeong is having with the material, with the gratuitous but enjoyable decision to also include a pair of one-on-one fight scenes that run in parallel, finally allowing for some female fisticuffs amongst a largely male dominated picture. The closing moments of Believer make for an interesting choice, eschewing the big bang ending and closure that Drug War delivers, instead we’re presented with a scene which leaves things open to audience interpretation. It’s a bold move, and likely those that were infuriated with the ending of Inception may well have the same feeling here, but personally I believe the scene achieves what it sets out to do, which is to make us think.
Remaking a well-regarded movie is always going to be a difficult task, even more so when that movie has been made by an auteur like Johnny To. However with Believer, Hae-yeong and his cast haven’t just re-interpreted the original for a Korean audience, there are occasions when it’s possible to argue they’ve surpassed it. For those that feel remakes aren’t worth your time, then this may just be the movie to change your mind, and who knows, it may even make a Believer out of you.
Park Hoon-Jung (director behind New World, writer of I Saw the Devil) returns to dark territory with The Witch, an upcoming action-thriller that releases domestically later this month.
According to TFS, Witch tells the story of a girl who, after premature memory loss and a violent upbringing, finds herself in a situation where she must fight against dark and unknown assailants.
The Witch stars Kim Da-Mi (Marionette), Choi Woo-Sik (Okja), Jo Min-Soo (Pieta) and Park Hee-Soon (Age of Shadows).
AKA: Night of the Vampire Director: Michio Yamamoto Writer: Ei Ogawa, Hiroshi Nagano Cast: Yukiko Kobayashi, Yoko Minazake, Atsuo Nakamura, Kayo Matsuo, Akira Nakao, Jun Usami Running Time: 71 min.
By Kyle Warner
Vampires don’t have a long history in Japanese cinema. Though Japan does import Dracula and vampire tales from overseas, the ol’ bloodsuckers just don’t have much of a connection to Japanese culture and have never secured that much of a foothold in theatres there. Supernatural horror in Japan is usually of the ghost and evil curse variety, often dealing directly with old folklore. One of the most adapted stories in Japanese horror cinema is 1825’s play Ghost of Yotsuya and you can trace a pretty direct line between it and modern Japanese horror like Ringu and Ju-On. This is at least part of the reason why Toho’s vampire trilogy from the 70s, known as The Bloodthirsty Trilogy, stands out in such a way, because you can’t track that line of influence between it and any other Japanese film that came before or after it.
The 70s Bloodthirsty Trilogy was not the first example of the vampire movie in Japan – 1959’s The Lady Vampire is recognized as the first, but that came out more than a decade before The Bloodthirsty Trilogy and any link is likely a tenuous one. And though the Bloodthirsty Trilogy was popular enough to see three films get made (they were not originally intended as a trilogy, it seems), they didn’t leave a lasting impact by setting a trend of similar vampire horror tales in the country. The Bloodthirsty Trilogy exists as a curiosity, this strange slice of horror that came at the start of Toho’s downward slope in the 70s as they struggled to keep up with TV and international competition. And, speaking personally, it’s a trilogy of films that I have always wanted to see but never expected would get an official release in the US. Opening the set, excitedly watching the first weirdo film of the trilogy, it’s a moment that reminded me of what a huge film nerd I really am.
The first film of the trilogy, The Vampire Doll (aka Legacy of Dracula and The Night of the Vampire but more accurately translated from its original Japanese title as Haunted House of Terror: Bloodsucking Doll), plays like a vampire movie made by people who’d never seen a vampire movie before – but in a good way. Vampire stories cover so much of the same ground that it’s refreshing to see something with its own ideas and set of rules. The film begins with Kazuhiko (Kwaidan’s Atsuo Nakamura) taking a taxi cab through a thunderstorm to reunite with his beloved fiancé Yuko Nonomura (Destroy All Monsters’ Yukiko Kobayashi) at her family’s woodland mansion. Upon Kazuhiko’s arrival, he is met by Yuko’s mother, Mrs. Nonomura (A Man Called Tiger’s Yoko Minakaze), who tells him that her poor beloved daughter recently died in an automobile accident. Depressed and disbelieving, Kazuhiko goes to sleep in the stately western style manor, only to be drawn from his bed soon after by a peculiar sound. He follows the sound to Yuko’s room, where a rocking chair seems to be moving by itself. He checks around the room and—gasps!—Yuko is hiding in the closet, apparently very much alive. Kazuhiko blacks out and when he awakens he is unable to convince anyone of what he sees. Soon after, he sees his departed love again and embraces her. But we see what he cannot; the glowing eyes, the bloody mangled arm, and the cruel intent on her face.
And just like that it’s no longer Kazuhiko’s movie anymore. If Vampire Doll takes notes from any horror movie, it’s not Dracula but maybe Psycho. From here, our main character is now Kazuhiko’s sister, Keiko (Teenage Yakuza’s Kayo Matsuo). Her brother has not been heard from since he left to visit Yuko and it’s been almost a week. Worried, Keiko and her boyfriend Hiroshi (Beyond Outrage’s Akira Nakao) set off to the Nonomura mansion in the countryside, looking for answers. Mrs. Nonomura says that Kazuhiko left soon after he arrived and retells the tragedy of Yuko’s unfortunate death. Sensing more to the story, Keiko and Hiroshi seek to unravel the mystery, and in doing so draw the ire of a creepy house full of secrets and tempt fate with the beautiful undead Yuko who still haunts the grounds.
It’s a pretty short film but it’s one that’s full of story. It’s not a complex story – characters that are hiding something are easy to spot and others are startlingly forthcoming with their strange obsessions. At one point, Keiko and Hiroshi go to meet the doctor who announced Yuko dead, only for him to confess his interest in the occult and tell his story about witnessing a ghost during WWII. I didn’t find the film particularly scary but that does not figure into whether or not I like a horror film. I liked The Vampire Doll quite a lot. It has a strange dreamlike quality that I really dig.
Despite the title, no dolls actually suck anybody’s blood in any literal sense. There are two dolls in the film which are important to the story, however I won’t go into explaining why and how. But for those concerned about, I don’t know, vampire Chucky? Yeah, that’s not what’s going on here. Yuko is only a vampire in a very loose sense, but this too is all right by me. She’s undead and leaves some bloody gashes on the necks of her victims, but she does so mostly via the use of a knife. Again, vampires have little history in Japan, so I’m not surprised that garlic, sunlight, crosses, and all the other old rules didn’t really come up in this interpretation.
The Bloodthirsty Trilogy is often cited as being influenced by Hammer horror films, particularly the Dracula films starring Christopher Lee. Perhaps this is more apparent in the sequels, Lake of Dracula and Evil of Dracula, but in Vampire Doll that influence is mostly just in set design and mood. The story feels unique to itself in vampire lore. I detect more Poe in the story than Stoker. One of the most western horror ideas to creep into the story is the role of the ‘harbinger’ gas station attendant who comes this close to telling Keiko and Hiroshi, “You don’t wanna go down that road.”
Every entry of The Bloodthirsty Trilogy was directed by Michio Yamamoto. If the name doesn’t sound familiar to you, don’t feel bad. He directed all of six features and otherwise mostly worked in TV. The Vampire Doll was only his second directorial effort and the third film of the Bloodthirsty Trilogy would be his last, so it was a curiously short filmmaking career. Before becoming a director, he learned from some of the best working as an AD under the likes of Akira Kurosawa (Throne of Blood) and Kihachi Okamoto (Samurai Assassin). Yamamoto’s direction of Vampire Doll is confident, moody, and strange. And though it appears as though the film was not blessed with one of Toho’s bigger budgets, it still manages to look quite good, with nice cinematography by Kazutami Hara (The Return of Godzilla) and some stylish editing from Koichi Iwashita (Ikiru).
The cast is pretty good, too. I think Yoko Minakaze is laying it on a little thick as the creepy Mrs. Nonomura but then I guess you could say the same for Bela Lugosi. I enjoyed the mostly silent performance of Yukiko Kobayashi as the beautiful monster. And Matsuo and Nakao make for likable heroes.
The ending doesn’t make the most sense to me, though the horror effects are satisfying. It’s one of those endings where it leaves the audience to fill in the blanks, which may be intentional but perhaps not. There is also a quick shot of animal cruelty that I simply cannot abide and feel compelled to knock off at least half a point. But mostly I thoroughly enjoyed my time watching The Vampire Doll and look forward to finally seeing the other two films. The Vampire Doll’s mystery is routine but the genre rulebook doesn’t apply like it does with most vampire movies, making the film unpredictable and surreal.
Charlize Theron’s Atomic Blonde better brace herself, because there’s another unstoppable killer on the way. Pierre Morel, the director of 2008’s Taken, is prepping Peppermint, an upcoming female-centric actioner starring Jennifer Garner (Elektra).
According to Deadline, Peppermint is a high-action revenge thriller, with a premise likened to John Wick and John Wick 2, only with a female protagonist. When her husband and daughter are gunned down in a drive-by, the heroine wakes up from a coma and spends years learning to become a lethal killing machine. On the 10th anniversary of her family’s death, she targets everyone she holds responsible, the gang that committed the act, the lawyers that got them off, and the corrupt cops that enabled the murderous incidents.
Director: Chapman To Cast: Chapman To, Stephy Tang, Yasuaki Kurata, Stephen Au, Dada Chan, Ryan Lau, Michelle Loo, Juju Chan, Roy Szeto, Tanya Chan, Wiyona Yeung Running Time: 87 min.
By Paul Bramhall
While many may claim that Hong Kong cinema is dead, a case that’s hard to argue when compared to its unmatchable heyday of the 80’s, it’s unfair to completely write off the territory as being a lifeless corpse. Movies like The Midnight After, The Brink, and Chasing the Dragon have all proved that there’s life in the old dog yet, and I for one say long may the trend continue. Perhaps one of the most unexpected voices to champion Hong Kong cinema though, is that of Chapman To. Known for his raucous roles in the likes of Vulgaria and SDU: Sex Duties Unit in recent years, it’s important to remember he also has another side, one which has seen him strongly advocating the need for Hong Kong to remain a democracy.
His pro-democracy stance hasn’t sat well with the Mainland, and after he found himself arguing with Mainland netizens during 2014’s Occupy Central Movement, he soon found himself unofficially blacklisted from the Mainland film industry. Movies scheduled to be released in which he had a role were cancelled from being screened, and his scenes from the 2015 fantasy flick Impossible were completely removed, with the director re-filming them with Mainland actor Da Peng (Jian Bing Man). As a result, when To turned his focus to directing for his 2016 debut Let’s Eat, it took the form of a Singapore-Malaysian co-production. While the culinary themed comedy was met with a lacklustre reception, in 2017 To returned with his sophomore feature The Empty Hands, this time on his familiar home soil of Hong Kong.
While To’s debut in the director’s chair was indicative that he planned to stay within the comfort zone of the genre he’d become associated with, his follow-up couldn’t be more different. Eschewing the frivolous antics one has come to expect, instead it arrives as a quietly contemplative love letter to karate, one that, perhaps even more surprisingly, is effectively anchored by Canto-pop star Stephy Tang. Like many Canto-pop stars, Tang has also had a successful film career, becoming hugely popular for her roles in romantic comedies (although to be fair, she was last seen in the ultra-dark Paradox). Her slender frame, not to mention image, may not make her the most likely choice to be the lead in a karate drama, so her performance in The Empty Hands will most likely come as a revelation to those both familiar and unfamiliar with her work.
Tang plays a half Chinese half Japanese 30-something Hong Konger. Growing up under the tutelage of her karate sensei father, played by Yasuaki Kurata, she had a natural talent for it, however after losing in a competition she felt forced to take part in, never practiced again. Several years later, after her father’s passing she almost feels a sense of relief, knowing she can finally convert the dojo into multiple living spaces to rent out. A spanner is thrown in the works though when it’s revealed she’s only been left 49% of the ownership, with the other 51% going to To, who plays a former student and low level triad member just released from prison.
To, along with another long-time student, played as a mute by Stephen Au Kam-Tong (Vampire Cleanup Department), intend to return the dojo to its former glory, derailing Tang’s plans and adding to her already numerous woes. Sensing that Tang has been coasting through life in neutral for who knows how long, To puts forward a proposition which would see him handover his share of the dojo. The challenge is for her to resume the karate training she’s cast out of her life, and enter into an upcoming amateur competition. If she’s still on her feet after one round, regardless of the overall outcome, she’ll be given the full ownership she’d taken for granted.
The charm of The Empty Hands lays in its subtleties. While the plot description may sound straight forward, it plays out as more of a framework, one in which we witness Tang come to minor but meaningful realizations about her life. In many ways the tone and feel of To’s sophomore feature reminded me of a strange hybrid of Throw Down and Full Strike. All three movies deal with a character that used to be a master of whatever martial art or sports it is they used to practice, only to have reached a point in their life when those former glories feel like they no longer matter. The Empty Hands isn’t as in-your-face as Full Strike, nor as visceral as Throw Down, but the message of acknowledging the past in order to move on to the future remains the same.
Tang’s character may not be the most likeable protagonist, but she’s frequently relatable. Even when her decisions are frustrating ones, there’s a sense of understanding behind why she chooses the paths that she does. This is likely down to the dialogue by frequent Herman Yau collaborator, Erica Li Man, who co-wrote the script with To. Just like her work on fellow female-centric productions such as The Woman Knight of Mirror Lake and Sara (which To also produced), here the female touch helps to add a level of realism to proceedings, and it’s all the more affecting for it.
Of course any movie about karate should, at some point, show some of it. Tang trained in the art for several months prior to filming, and To himself has been practicing for several years now, earning a black belt along the way. Both get to show their stuff, although those coming in expecting a fight fest will be left sourly disappointed. More so than the physical confrontations, The Empty Hands is more about the rituals of karate – its katas, the training, and the philosophies that underpin it all. There are a handful of fight scenes, in particular To’s throw down against his associates, which includes the movie debut of Charlene Houghton, daughter of legendary gweilo Mark Houghton, and Tang’s eventual match against real life fighter Michelle Lo. The latter is refreshingly realistic in its approach, with none of the style or grandeur usually associated with a Hong Kong movie fight scene.
The realism of the fights is likely down to the whopping six credited action directors, of which To is listed as one of them. Of the other five, it’s Jack Wong Wai-Leung (Wolf Warrior 2) who has the most experience, with Leung Bok-Yan, Bill Lui Tak-Wai, Ryouichi Ishijima, and Stephan Au Kam-Tong (who plays the mute student) also contributing their ideas and expertise. It’s a bold move by To to frame the action the way he has, in a story which essentially sets itself up to be sold on the promise of some. On paper many may be expecting a build up to a finale that resembles something like Best of the Best, or even (dare I say it) The Next Karate Kid, but The Empty Hands instead feels like something different all together. The composition of many of the shots, including the action, have an ethereal, almost surreal like feel to them, indicating the arrival of a voice in Hong Kong cinema that’s very much worth paying attention to.
It would be a crime not to mention the presence of Yasuaki Kurata as Tang’s father. Clocking in his fourth appearance of 2017, after supporting turns in God of War, Manhunt, and The Brink, there’s no doubt that The Empty Hands gives him his most poignant and meaningful role. Be it watching him perform a kata in an open field in black and white, set to a classical overture, to silently eating a bowl of ramen by himself in the dojo, his role carries with it a weight of respect that few have granted him. Despite his presence flitting in and out, even when he’s off-screen his character can be felt, the burden of being the daughter of a Japanese karate master flowing down to the next generation. Put simply, having Kurata in the role adds a level of nuance, one that wouldn’t have been there had it gone to anyone else.
With its fractured time structure, down to earth storytelling, and Japanese filmmaking influence, The Empty Hands can be a hard movie to define. It would be easy to argue that it’s not really about karate, but then again, it would be just as easy to argue that it’s a story that wouldn’t exist without it. It could well be that both points of view are just as valid as the other. Despite the cultural ties to Japan that any movie featuring karate will have, the feeling that most resonated with me as the end credits began to roll, was that I’d just watched the most authentic piece of Hong Kong cinema I’d seen for a long time. For that, both Chapman To and Stephy Tang are to be applauded, or in this case, perhaps an “OSU!” would be more appropriate.
On August 7th, Arrow Video will be releasing the Blu-ray for Kinji Fukasaku’s Street Mobster, a 1972 actioner starring Bunta Sugawara (Battles Without Honor and Humanity). Check out the official details below:
A pivotal work in the yakuza movie genre and in the career of director Kinji Fukasaku (Battle Royale, Doberman Cop), Street Mobster presents an abrasive portrait of the rise and fall of a reckless street punk caught in the crossfire of a bloody turf war raging in the mean streets of Kawazaki.
When Okita Isamu (Bunta Sugawara, Cops vs. Thugs) re-emerges onto the mean streets of Kawazaki after five years in prison for a string of brutal crimes, he comes face to face with prostitute Kinuyo, who immediately pinpoints him as one of the participants in her brutal sexual assault years earlier that left her shell-shocked and consigned to the life of a sex worker. While the two outcasts form an unlikely bond, Okita returns to his criminal ways. He is approached by veteran gangster Kizaki (Noboru Ando, New Battles Without Honor and Humanity), who encourages him to round up a group of local chinpira street punks to shake up the uneasy agreement between the two rival yakuza groups, who between them control the city’s bars, gambling dens and entertainment areas. However, when the new outfit goes too far into the turf of the big boys, they find themselves caught in the midst of a violent reprisal, before an offer of patronage appears from an unlikely source.
Street Mobster is the first film in which Fukasaku’s vital and exhilarating approach to the contemporary-set gangster picture was paired with the untamed, raw charisma of Japan’s top screen mobster Sugawara Bunta. The film would change the life of both, paving the way for their subsequent collaborations on the landmark Battles Without Honour and Humanity series that began the following year.
Special Edition Contents:
High Definition (1080p) Blu-ray presentation
Original uncompressed PCM mono audio
Optional English subtitles
Audio commentary by Japanese cinema expert Tom Mes
Theatrical trailer
Reversible sleeve featuring original and newly commissioned artwork by Chris Malbon
First Pressing Only: Illustrated collector’s booklet featuring new writting on the film by Jasper Sharp
“Fury of the Fist and the Golden Fleece” Teaser Poster
The nostalgia factor runs deep in the star-studded Fury of the Fist and the Golden Fleece (previously known as Enter the Fist and the Golden Fleecing), an upcoming martial arts/comedy directed by and starring Alexander Wraith (No Tears for the Dead) and Sean Stone (Savages).
The biggest porn star (Stone) of the 1970s must reclaim his mojo in the ’80s by saving all male kind, fighting his way to the heart of a conspiracy to sell meat pumped full of estrogen to emasculate men.
Wraith and Stone are joined by a gang of martial arts film stars, both old and new, including Ernie Reyes Jr. (Red Sonja), Michael Dudikoff (American Ninja), Taimak (The Last Dragon), Don ‘The Dragon’ Wilson (The Martial Arts Kid), Benny “The Jet” Urquidez (Wheels on Meals) and Simon Rhee (Furious, Best of the Best).
Also in the mix are Bill Goldberg (Universal Soldier: The Return), Jena Sims (3 Headed Shark Attack), Tommy ‘Tiny’ Lister (Jackie Brown), Danny Trejo (Machete), Ron Jeremy (let’s just say Killing Zoe), Jason London (Dazed and Confused), Jeremy London (Mall Rats), Richard Grieco (If Looks Could Kill), Sam J. Jones (Flash Gordon), Victor Ortiz (The Expendables 3), Bianca Brigitte Van Damme (6 Bullets) and many more.
Director: Arizal Cast: Peter O’Brian, Craig Gavin, Gillie Beanz, Dana Christina, Harry Capry, Kaharudin Syah, Mark Sungkar, Yenny Farida, Linda Husein, Herman Pero Running Time: 93 min.
By Paul Bramhall
Indonesian action maestro Arizal had a busy year in 1986. Not only did he set Chris Mitchum loose on the streets of Jakarta to raise hell in Final Score, but he also launched the career of walking growth hormone Peter O’Brian. Legend has it that the innocent New Zealander arrived in Indonesia on vacation, as many New Zealanders do, and it just so happened that producing partners the Punjabi Brothers where in the airport at the same time. Captivated by how his tightly curled perm and bulking frame gave him the appearance of Rambo (well, at least in their eyes), sensing an opportunity to seize the moment, they approached him to appear in a movie. The rest, as they say, is history.
Well, minor history at least. I’m sure most reading this will have no idea who Peter O’Brian is, and that’s probably a good thing. He stayed working exclusively in Indonesia, and his filmography of 8 titles peaked with his second leading role in The Intruder (made the same year), which fully took advantage of his apparent Rambo resemblance by casting him as – wait for it – Rambu. For those wondering, yes, it’s also a remake of Stallone’s iconic killing machine. For his debut role though, he takes on the title character of The Stabilizer, a no nonsense American cop who travels to Indonesia on the trail of a criminal kingpin that killed his fiancé.
As it turns out, the kingpin (Craig Gavin, The Intruder) is also behind the kidnapping of a local scientist, who’s created something called a Narcotics Detector. What exactly this detector does is never really explained, but all the bad guys seem pretty panic stricken about its existence, and threaten things like electrocution if the scientist doesn’t spill the beans. Thankfully the scientists daughter (Dana Christina, The Warrior) is an avid reader of Silat instructional manuals (and also kind of resembles a sexy female version of Sammo Hung), so has been blazing her own trail of chaos against the bad guys. Without going into too much further detail, basically O’Brian, his partner (Gillie Beanz), the scientists daughter, and a local Indonesian cop (Harry Capry, Daredevil Commandos) team up to take down Gavin and his crew of drug pushers.
As with any Arizal flick, what ensues is plenty of fighting, machine gun fire, explosions, and more vehicle stunts than you can shake a stick at. The Stabilizer is the kind of movie which opens with a motorbike crashing through the window of a laboratory, for little other reason that it looks pretty damn cool. It’s a kind of logic that’s difficult to argue with. O’Brian is fantastic, although not for any reason that could be classed as intentional. His awesome Brian May style perm takes on a life of its own during the fight scenes, bouncing around like a lump of Jello on a plate, and he’s dubbed by a deep voiced American that makes every line he speaks sound like he’s narrating a trailer.
His vocabulary ranges from hilariously spiteful – if there’s a sentence which involves mentioning Gavin’s name, it’s always preceded with a “that son of a bitch…”, “that bastard…”, or “that motherf*cker…” – to just plain monosyllabic. At one point he’s surrounded by armed gunmen, to which he yells completely poker faced, “Bullshit!” Kudos has to go to his fiancé as well, who has a framed picture of him on her bedroom wall, taking aim with a gun adorned in black sunglasses and a fishnet t-shirt. If I ever decide to get a self-portrait, I’ll be taking a screenshot of this scene for reference. On the plus side though, it has to be mentioned that he appears to do most of the action and stuntwork himself, from hanging off a helicopter, to one laugh-out-loud shot that cuts to a close-up of him being hit in the face with a projectile piece of cardboard tubing.
Gavin himself also makes for a worthy villain, burdened with a limp from when he was shot by O’Brian in a previous encounter, his weapon of choice is a pair of spiked cleats on his shoes, marking him as someone you wouldn’t want to have accidentally stand on your foot. His villain’s mansion comes complete with a dwarf butler, and his own personal floozy, who appears to be aroused by having beer poured onto her torso. I’ve made notes to try this later. The Golden Triangle gang he presides over may consist of a rotatable bunch of Indonesian stuntmen, but a guy decked out like Mr. T particularly stands out, and the fact that some of them wear (literal) Golden Triangle earrings is both as stupid and hilarious as it sounds. Some gangs have secret tattoos, other secret greetings, these guys have to have their ears pierced and wear not-so-secret jangly triangular earrings.
While the action in The Stabilizer doesn’t reach the insane levels of Final Score, it’s debatable if anything could. To that end, the number of warehouse scuffles and car chases easily meet the expectations one goes into an 80’s Indonesian action movie with. Stuntmen get thrown around and through tables/walls/shelving units (and anything else breakable in sight), plus at one point both O’Brian and a poor lackey go crashing through a floor together, more than 15 years before Ong Bak! Dirt bikes are also featured heavily (as with any Arizal flick), with O’Brian proving that it’s possible to jump a dirt bikes front wheel into someone’s face, bounce off it, and carry on riding. Was Rambo ever that bad ass? What I enjoyed most about The Stabilizer though, was the level of equality shown in the punishment dished out between the heroes and the villains.
At one point, Gavin and a lackey are both on dirt bikes with a rope tied around O’Brian, resulting in him being dragged along the ground in a painful looking stunt. While most movies would frame such cruelty as something only the villains would contemplate inflicting on someone, a few minutes later when Gavin is attempting to get away, O’Brian and the daughter both get on dirt bikes, pick up the rope and proceed to do the same thing to him! Other painful highlights include death by a grass strimmer (forget about Tiger on the Beat’s chainsaw fight, what other movie has a fight with a grass strimmer!?), and a scene in which the Indonesian cop brandishes a flame thrower, ruthlessly toasting every bad guy in sight. It begs the question of what came first, The Stabilizer or Aliens?
The finale goes for a mass vehicular mayhem approach, with speedboats, jeeps, dirt bikes, and even a helicopter being thrown into the mix. For those that have seen Final Score and thought the scene with the helicopter was ridiculous (it is), The Stabilizer gives it a run for its money, challenging all that we know about gravity while also bringing a big smile to my face. It even incorporates a scene that has O’Brian fist pump the air by himself, because if no one is around to celebrate your victory, it doesn’t mean you still shouldn’t right? Kudos to Arizal for also giving the ladies just as much to do as the men, as the bad guys have to contend with both O’Brian’s partner, the scientist’s daughter, and the jaded floozy. Maybe I’ll hold off on that beer pouring technique for now.
Amongst the madness there’s a shot of a man’s arm crease, filmed in such a way to make us believe it’s a butt crack, and not one but two scenes of guys eating lizards alive (animal lovers are best to look away during these parts). Throw in an awesome theme song (“Staaa-biliiii-zerrrrr”), endlessly quotable dialogue (“The shoes Peter, watch out for the shoes!”), and a speedboat which comes fitted with torpedoes, for an action movie fan it’s almost impossible not to enjoy The Stabilizer. While movies like The Raid, Headshot, and Buffalo Boys are giving Indonesian action cinema a new lease of life in recent times, it’s important to remember that before any of the current batch of talent came along, there was the man known as Arizal. For a taste of his explosive style and tough talking heroes, The Stabilizer is definitely as good a place to start as any.
The gritty new Trailer for Jiang Kaiyang’s thriller, The Blizzard, has been released. This upcoming actioner stars Nie Yuan (Brotherhood of the Blades), Tan Kai (Drug War) and Yu Mingjia (The First Half of My Life).
Plot: Liu Haiyang and Song Chao were best friends at the Police Academy. After witnessing his trusted friend escape after the murder of his father, Liu Haiyang embarks on a quest for bitter revenge that takes him from Harbin to Hainan, only to uncover an illicit relationship between his wife – Chu Jie and his best friend. But neither of them realize they are mere cogs inside a deeper, more sinister conspiracy.
The Blizzard gets a domestic release this year. Don’t miss its Trailer below:
Assassination Classroom: The Movies | Blu-ray & DVD (Funimation)
RELEASE DATE: August 7, 2018
On August 7, 2018, Funimation will be releasing the Blu-ray & DVD for Eiichiro Hasumi’s Assassination Classroom: The Movies (read our review), which includes Parts I & II of the Live Action films
The killer manga comes to life in this two-part movie series. Join the students of Class 3-E as they learn to become proper assassins and try to kill their teacher. But he’s no ordinary instructor—he’s a tentacled creature with a thirst for destruction! And while they train to take him out they quickly learn there’s more to Koro Sensei than a will to kill which could put a damper on their mission.
AKA: The Pay Up Director: Jesse V. Johnson Cast: Scott Adkins, Louis Mandylor, Vladimir Kulich, Tony Todd, Michael Paré, Rachel Brann, Selina Lo, Sean Crampton, Rachel Brann, Alexa Bondar Running Time: 96 min.
By Paul Bramhall
There’s something undeniably satisfying about watching the collaborations of a director and star who you know work well together, and now 3 titles in (in less than 2 years), this seems to very much be the case for Jesse V. Johnson and Scott Adkins. After a rough (but redeemably entertaining) start with 2017’s Savage Dog, the pair hit their stride with the follow-up, a comic book adaptation which was a passion project for Adkins, in the form of 2018’s Accident Man. Adkins co-wrote the script for Accident Man along with Stu Small, and Small is also the co-writer for The Debt Collector, this time sharing a co-credit with Johnson himself. Could this trio be the modern-day incarnation of the Iron Triangle?
When I interviewed Adkins in January of the same year The Debt Collector was released, he explained that the script for it had been around since 2001 (under its original working title The Pay Up), but Johnson had felt it was never the right time to make it until now. This is the audiences good fortune, as Johnson’s output during the 00’s was fairly abominable, a celluloid wasteland filled with such curiosities as Mark Dacascos playing a secret alien agent, and Don ‘The Dragon’ Wilson as an electronically enhanced soldier. Indeed, sometimes it’s best not to look back. As a director, the British stuntman began to find his footing in more recent years, helming the likes of the Dolph Lundgren and Steve Austin actioner The Package, and the tragically mistreated gangster flick The Beautiful Ones.
While fans of Adkins have long held his collaborations with director Isaac Florentine on a pedestal, I daresay that if his work with Johnson continues to be of the quality reflected in both Accident Man and The Debt Collector, that pedestal may have some strong competition. In their latest collaboration Adkins plays the master of an MMA dojo in L.A., a school that’s lack of students has left him financially hard up, and facing the constant threat of a rival school pressuring him to sell up. The opening almost feels like a modern remake of a similar sequence in No Retreat, No Surrender, only instead of Jean Claude Van Damme appearing on the scene, we get Korean Australian martial artist David William No (Blindsided: The Game) and two of his lackeys. Like in Accident Man, Adkins is able to utilize his British accent, and offers to sort them out just “like a kung fu movie”, and we’re treated to fantastic 3 vs 1 brawl straight off the bat.
His money troubles lead to him being reluctantly recommended to become a debt collector for an agency run by the morally ambiguous Vladimir Kulich (Savage Dog), and he soon finds himself paired with a grizzled and world-weary alcoholic, played by Louis Mandylor (The Quest). That’s the last we hear about Adkins’ dojo, so despite The Debt Collector setting itself up as a tale of a martial arts school being saved from the clutches of the bad guys, proceedings head in a distinctively different direction. I’d speculate that the opening could well have been a modification to the original script once Adkins and his considerable martial arts talent came onboard, but whatever the reason, thankfully the dojo’s disappearing act doesn’t serve as a detriment to the plot.
Instead, we get what could best be called a 2018 version of the 90’s buddy movie, set on the sun-drenched streets of Los Angeles. This is the first time for Adkins to share equal billing with a co-star (at least, one who’s on the same side as he is), and Mandylor’s grizzled veteran collector is the perfect foil to the fresh-faced Brit. It could well be argued that the large bulk of the movie is basically a series of vignettes, with Mandylor showing Adkins the ropes as they cruise around L.A. suburbia in a gas guzzling Coupe de Ville, armed with a piece of paper listing the names and debts of those they need to visit. One of the biggest strengths of Johnson’s latest is the chemistry shared between his leads, with Adkins’ eagerness to earn some quick cash and Mandylor’s devil may care attitude providing the perfect balance.
It feels strange to dedicate part of a review for a Scott Adkins movie to his acting, but it’s worthy of mentioning that his acting in both Accident Man and here is a world apart from many of his more recent efforts. Visibly more comfortable speaking in his own distinctly British accent, his banter and delivery are enough to make you wish he’d go back and remake some of his lesser efforts as a British character, rather than an American one. However the other main character in The Debt Collector is L.A. itself, with its sticky climate, sun soaked suburban streets, and shady bars all adding a certain feel to the picture that, had it been shot anywhere else, simply wouldn’t be the same. It’s fair to say that L.A. is just as important to the final product as Adkins’ and Mandylor’s presence.
The most fun is had from watching the pairs visits to the various debtors. Armed with a scale of 1-10 to anticipate the level of violence they can expect from each visit, with 10 being the most moderate and 1 being psychotic, Mandylor views his pairing with Adkins as a chance to let someone else do the heavy lifting for a while, leaving him to tangle with various angry customers. Needless to say within the first 30 minutes, Adkins is already limping around with a bloodied face and tattered suit, having been shot at, dragged along by a moving car, and thrown through a wall. His exasperation at exactly what the job entails is palpable, and never anything less than hilarious, as it quickly becomes apparent almost everyone in L.A. has a bodyguard (who acts as a prerequisite to get through), and nobody is going to cough up without putting up a fight first.
For those clocking in for the presence of the British star, which I imagine would be many, it’s these fights with provide Adkins with his action quota for the lean 95 minute runtime. Frequent Johnson collaborator Luke LaFontaine is on fight choreography duties once more, having last worked with the pair on Savage Dog, and delivers a series of satisfyingly scrappy encounters. From a run-in with 2 burly bruisers within the confines of a small office (which includes a subtle nod to Game of Death), to a throwdown against a raging kitchenhand, the impact of every hit and blow is captured with a skilled lens. LaFontaine has done a great job at adapting Adkins style to the nature of the story, and while he comes across just as versatile and hard hitting as in his most well-known ventures, it’s a relief to see the gratuitous flying kicks have been dialled back. The fights here are brutal and effective, and it suits the tone of The Debt Collector perfectly.
Outside of the action Johnson demonstrates a keen sense of wit. Mandylor’s character, apart from being revealed to be a former amateur boxer, is also explained to be a washed-up action B-movie star. In one of the funniest scenes, he visits a store that has a poster of one of his old movies where he played a ninja, which leads to plenty of ribbing from Adkins over his role in such a production. The joke of course being, that 2 of Adkins most popular titles are Ninja and its (vastly superior) sequel. For those paying close attention, the store also has a poster of Johnson’s own 2009 movie, Charlie Valentine, displayed in the window. It’s a nice touch. Johnson also plays with some interesting imagery, with intermittent shots of cows gradually being led to the slaughter scattered throughout the runtime, serving as a metaphor for the predicament Mandylor and Adkins eventually find themselves in.
The predicament at hand doesn’t reveal itself until 50 minutes in, and is one which could be said to represent the main plot, when a morally dubious client, played by the “Candyman” himself Tony Todd, enlists the agencies services for a questionable collection. Events unfold to what many will consider a surprisingly unexpected finale, as Mandylor and Adkins do their best Butch Cassidy and the Sundance Kid, in a sequence which shows Johnson’s commitment to his vision. Perhaps the biggest strength of the collaborations between the director and star is that, as a stuntman himself Johnson knows exactly how to use Adkins, but he also isn’t afraid to cast him on the basis that he’s an actor that fits the role. But hey, this is the opinion of someone who puts On the Run in their top 3 Yuen Biao movies.
Filled with gravelly voiced tough guys, conversation on the importance of moderating a headbutt, and toothpicks to the face, The Debt Collector feels like a throwback to the unapologetic macho flicks of yesteryear, and that’s a compliment. Needless to say, Johnson’s latest may be indebted to the slices of cinema that influenced it, but it pays it back in spades, interest included.
Sometimes it’s easy to forget, what with all the superheroes flying about, that kaiju are having a moment of resurgence right now, with Godzilla in particular enjoying a new period of fan appreciation. 2014’s Hollywood Godzilla was a box office smash and helped convince Toho to revive the monster in its native Japan, resulting in the highly successful Shin Godzilla in 2016. Since then we’ve had the 2014 Godzilla enter into Legendary’s new connected film universe with Kong, dubbed MonsterVerse, and Toho has launched a Godzilla anime trilogy.
While kaiju fans await the return of Legendary’s Godzilla in next year’s Godzilla: King of the Monsters and work our way through the anime trilogy, there has been little word about how or when Toho would bring Goji back to the screen following Hideaki Anno’s Shin Godzilla. Well, we have our first official word on that today, as Gormaru Island has translated Toho’s Godzilla chief executive Keiji Ota’s remarks about the future of Godzilla for the studio.
Godzilla will now have two connected film universes, one in America and one in Japan. Ota compared his plans for Godzilla to what Marvel is doing with its movies: “The future of the series and its forwarding developments are very conscious of the method of “shared universe”. Godzilla, Mothra, King Ghidorah, etc. could all share a single world view much like a Marvel movie where Ironman and The Hulk can crossover with each other. It is said that each movie can be a possible film production where any one of them could lead a film of their own as the titular character.” One could make the point that Toho’s kaiju roster was one of the first connected film universes back in the 60s, as Godzilla, Mothra, Rodan, and Varan all appeared in their own movies before crossing over into monster bouts with other kaiju.
Now, some disappointing news for fans of Shin Godzilla: the Toho Godzilla connected universe series is a new jumping-off point, and will no relation to Shin Godzilla. The lingering final shot of that 2016 film will seemingly go unanswered and forever haunt the dreams of kaiju fans everywhere who wonder about the possibilities of what writer/director Hideaki Anno had at the store. However, fans should not be totally surprised by this development, as co-director Shinji Higuchi expressed some reservations about where and how the series could continue with an indestructible Shin Godzilla as its star, and Anno’s involvement in a sequel was never certain. Says Keiji Ota: “”Shin Godzilla” was a huge hit, but instead of thinking of doing the obvious idea of making a “Shin Godzilla 2“, instead think about a world that can be used for a long time, I’d rather make a World of Godzilla. For example, in the year when Mothra was featured, commercialization centered around Mothra. Commercialization is not limited to just figures, but also from daily necessities to apparel, games and so on. There are various things, so I would like to use Godzilla steadily.”
Toho and Legendary have a deal in place that basically says that both studios cannot have a live-action Godzilla appear on screen within the same year. Because Legendary’s Godzilla: King of the Monsters and Godzilla vs. Kong are slated for 2019 and 2020, the earliest a Toho Godzilla could ever appear was 2021. Though no plans are currently announced for future MonsterVerse films beyond Godzilla vs. Kong, additional sequels seem likely. Provided Legendary’s MonsterVerse and Toho’s new universe both continue pulling in large audiences, it’s possible that the two studios could trade off back-and-forth custody for Godzilla for many years to come.
On August 28, 2018, MVD Marquee Collection will be releasing the Blu-ray for 1997’s Blast(read our review), a Die Hard meets Under Siege knock-off. In this one, the hero taking on terrorists isn’t a cop or a cook… he’s a janitor!
Just before the Olympics competition begins, a deadly team of terrorists mounts a precision attack on the swimming complex, holds the womens’ swimming team hostage and unknowingly traps a janitor (Linden Ashby, who portrayed Johnny Cage in 1995’s Mortal Kombat), within the sprawling compound. The terrorists wire each competition venue with deadly fission explosives and the uplink to a global satellite to announce their plans to a stunned international audience.
From Executive Producer Tom Karnowski (Star Wars: The Last Jedi) and cult movie writer/director Albert Pyun (Cyborg), Blast features an all-star cast that also includes Andrew Divoff (Wishmaster), Rutger Hauer (Blind Fury), Yuji Okumoto (The Karate Kid II), Vincent Klyn (Cyborg), Tim Thomerson (Near Dark) and Shannon Elizabeth (American Pie).
Korea is obsessed with suffering. That is a strong statement but one that is justifiable if you are a fan of South Korean cinema. North Korean cinema could indeed be the subject of its own article with both Kim Jong-un and his father being huge cinephiles, but the films are hard to find and my knowledge of its intricacies is lacking, so I will just stick to the cinema of the South. Of course like any film producing nation South Korea releases a wide range of genres from romantic comedies to historical fiction, however what they have become famous for are hard hitting dramas, revenge pictures and horror. I would argue that horror elements run through the majority of their most famous films and it is what has made them popular with western audiences ever since Oldboy (2003) made everybody take notice of this weird, wonderful and powerful film industry. But what is it about the culture of South Korea that causes them to produce films that regularly contain suffering, revenge and torture and why do so many people enjoy these themes when the majority would agree they are abhorrent.
Come with me on a journey through the history of Korea and the human psyche!
Choi Min-sik and Kang Hye-jung in Oldboy.
Like China, Korea had its own Three Kingdoms period starting in 37 BC with the Goguryeo Kingdom, eventually uniting and becoming the Korean Empire in 1897; however this was short lived as the Japanese took over in 1910. This is a major event in defining Korean culture, it was a suppressive and brutal occupation, which forced Koreans to speak Japanese and denied their culture just as it was becoming strong. This lasted until the end of World War Two, but stability was then dislodged again as the country split into the north and south in 1948. Only two years later the Soviet backed North invaded the South and a pointless war ensured which nobody won but over a million people died and many cities were destroyed.
Japanese anime often depicts dystopian futures, largely influenced by the fact they are the only country to have experienced an atomic bomb, whereas South Korea experienced a long period of upheaval and suffering throughout the 20th century, that undoubtedly flavours their own entertainment. This is the beauty of film, it has to be influenced by something so another countries history and culture oozes out of the screen for all to see. National pride is a large part of Korean culture, after being badly damaged by the aforementioned events, it has been slowly restored as South Korea has become rich and prosperous, up there with Japan in producing state of the art electronics.Yet that pain and suffering is still there, bubbling beneath the surface.
These themes erupted from beneath the surface in 2003’s Old Boy which sees a man locked in a cell by an unknown entity for 15 years and then suddenly released. He then sets out on a path of vengeance to find out why he was imprisoned in the first place. The film quickly gained cult status for a brutally realistic hammer fight in a hall way, our main character eating a live Octopus and its shocking ending. Western audiences were captivated by the intricacies of the revenge plot against our main character Dae-su who discovers that he went to the same school as his captor and had told classmates of the incest happening between him and his sister, resulting in her suicide. Not only was Dae-su imprisoned for 15 years but it is revealed (***spoilers ahead***) that he has been tricked into having a sexual relationship with his own daughter. Such revenge is brutal, meticulous and shows a culture obsessed with honour and an imagination for darkness.
Song Kang-ho in Sympathy for Mr. Vengeance.
Western audiences certainly had a taste for it too as it gained cult status on DVD, this is also due to the fact that Old Boy is an extremely well made and affecting drama; director Park Chan-wook (now the most famous of the South Korean auteurs) teases superb performances from all the actors, the fact they were unknown to audiences outside of Korea certainly helped the authentic nature of it all. The film is also incredibly tense and has great brooding and dark cinematography, which matches the tone. The Korean language also plays its part, it booms out the characters mouths with a harsh quality making you take notice, and like Japanese it can also sound poetic and alluring.
Old Boy was also released at time in America where subtitles had become the preferred option as people sought an authentic foreign film experience moving on from the hilariously dubbed classic Kung Fu films of the 70’s. Before audiences could recover it was announced that Park Chan-wook was working on a Vengeance Trilogy with Sympathy for Mr. Vengeance 2002 actually released a year earlier but only catching audience’s attention after the emotional hit of Old Boy. With an increasing amount of predictable Hollywood blockbusters the question was: what would he come up with next?
The Vengeance Trilogy is not a conventional trilogy as they are three different films with their own story lines but share a revenge template. Sympathy for Mr. Vengeance is actually more comedic in tone and I would describe it as a serious of silly mishaps, which result in horrible consequences. The story of a deaf mute man who kidnaps a young girl to pay for his sister’s kidney transplant, starts off charming and even ‘cute’ in places but gets increasingly disturbing as accidents and missteps cause a spiral of death and revenge. While not as popular with audiences in the UK and US and a failure at the South Korean box office, it still enjoyed cult status as part of a disjointed trilogy.
“Sympathy for Lady Vengeance” Korean Theatrical Poster
Lady Vengeance (2005) was more popular domestically and is darker than the other two (if that is possible!) as it is entirely focused on the revenge plot of Lee Geum-ja who has been wrongly imprisoned for a child murder and when released on good behaviour vows vengeance on the real killer, an eerily nasty school teacher played by Choi Min-sik who was the star of Old Boy, yet his familiarity doesn’t detract from his performance. South Korean cinema was now officially on the map.
Apart from the skilled craftsmanship of these films why was the darkness so alluring to people? Human nature is a funny thing and we are often most fascinated by what scares us. It is why there are so many documentaries, TV programmes and films concerning serial killers, Nazis and homicide detectives. Very few people would want to experience the actual horrors of these subjects but the ideas contained within them are fascinating. What drives people to commit horrific acts and more importantly can a ‘normal person’ be driven into vengeance or murder?
These questions have been explored by all sorts of media since it began, as it is a part of all our nature. There are also no solid answers that have been found by Science or Religion; does evil exist, are some people born more susceptible or is violence and destruction in us all? Big questions I know! South Korean cinema does not necessarily try to answer them but it does discuss them in a unique and intelligent way presenting the audience with a well thought out scenario that crucially: is hard to predict.
Lee Byung-hun in A Bittersweet Life.
Well, you could gesticulate; of course the Vengeance Trilogy would contain suffering and torture this doesn’t make South Korean cinema full of it! All countries explore dark themes of course; the French gave us a nine minute rape scene in Irreversible (2002), Britain produced the horribly realistic Scum (1979) and Australia gave us a general sick feeling from, scarily based on a true story Snowtown (2011), yet when myself and many others started to explore South Korean films in other genres the same themes kept appearing, as portrayed in the following movies, that are all recommended of course. Starting with tense detective thriller The Chaser (2008) (suffering, torture, unhappy ending) martial arts bloodbath City of Violence (2006) (Suffering, childhood trauma and as the title suggests bloody violence) monster flick The Host (2006) (family suffering, elements of torture and an unhappy ending) and gangster poem A Bittersweet life(2005) (torture, violence and an unhappy ending).
Then of course there is the ode to suffering I Saw the Devil (2010) directed by Kim Jee-woon,which incorporates all these elements for an epic and brutal ride that you will need to watch the entire Disney back catalogue to recover from. The story of an elite police officer whose pregnant wife is murdered by a serial killer again played by Choi Min-sik takes you on his journey of despair and revenge as he decides to hunt and abuse the serial killer, setting him up for a final nasty and humiliating death instead of simply arresting him. It contains all of the above elements but adds cannibals, sexual assault and importantly the concept of honour. As discussed this is a key aspect of Korean culture, which is reflected in their filmmaking.
For a country denied its honour for so long, preserving it is paramount. So why would anyone want to watch this unfurl? Again it’s a brilliantly acted and produced movie but more importantly it makes you confront aspects of life that are inescapable. Tragedy can happen to anyone and when it does, who knows how you would react. The world also contains elements just as dark as those seen in I Saw the Devil (2010) and it is important to remember that and try to make sure you never become part of it, but understand why it happens. Even more significant than that, it makes you appreciate your own life so much more!
Of course as mentioned we all share a fascination with such topics but the South Koreans have had a unique history that was made them free and willing to explore these themes more deeply than other countries. If you’re new to these movies I have either appalled or intrigued you, perhaps both, which I think is the strategy of directors like Park Chan-wook who made his English language debut with the vampire themed Stoker (2013) or Kim Jee-woon who did the same with bloodier than usual Arnie actioner The Last Stand (2013). This shows the crossover appeal of these directors and their movies, proving that we are all deviants, willing to indulge in a slice of violence, suffering and the dark side of humanity; but when it comes to realising it on screen the South Korean’s are the experts.
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Korea is obsessed with suffering. That is a strong statement but one that is justifiable if you are a fan of South Korean cinema. North Korean cinema could indeed be the subject of its own article with both Kim Jong-un and his father being huge cinephiles, but the films are hard to find and my knowledge of its intricacies is lacking, so I will just stick to the cinema of the South. Of course like any film producing nation South Korea releases a wide range of genres from romantic comedies to historical fiction, however what they have become famous for are hard hitting dramas, revenge pictures and horror. I would argue that horror elements run through the majority of their most famous films and it is what has made them popular with western audiences ever since 
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