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Moo-jeok-ja
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A Better Tomorrow (2010) More at IMDbPro »Moo-jeok-ja (original title)

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A Better Tomorrow -- When his long-lost little brother resurfaces, a successful gangster must balance family loyalties with his complicated professional commitments. Hae-sung Song directs this Korean remake of director John Woo's Hong Kong cinema classic.
A Better Tomorrow -- Hyuk and Chul are two brothers who have been separated since childhood. Hyuk, the older one, has now become a weapon smuggling gang boss, while Chul has become a policeman. Their relationship gets tangled with deep misunderstanding and their destiny heads for an unexpected ending.

Overview

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Director:
Writers:
John Woo (original screenplay)
Hyo-seok Kim (adaptation) ...
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Contact:
View company contact information for A Better Tomorrow on IMDbPro.
Release Date:
16 September 2010 (South Korea) See more »
Genre:
Tagline:
Brothers Enemies Killers
Plot:
Arms trafficker Hyuk and Young-chun are practically brothers and nothing can separate them. When the two managed to escape from North Korea... See more » | Add synopsis »
Plot Keywords:
User Reviews:
A Nutshell Review: A Better Tomorrow See more (8 total) »

Cast

  (in credits order)
Jin-mo Ju ... Kim Hyeok
Seung-heon Song ... Yeong-choon

Kang-woo Kim ... Kim Cheol
Han Sun Jo ... Tae Min
Kyeong-yeong Lee ... Lieutenant Park
Ji-yeong Kim ... Aunt
Hae-gon Kim ... President Jeong
Hyeong-jun Lim ... Detective Lee
Tae-hwa Seo ... Prosecutor Jo
Sin-seong Lee ... Gwang-hee
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Directed by
Hae-sung Song 
 
Writing credits
John Woo (original screenplay)

Hyo-seok Kim (adaptation) &
Taek-kyung Lee (adaptation) &
Geun-mo Choi (adaptation) &
Hae-gon Kim (adaptation)

Hing-Ka Chan  original screenplay
Suk-Wah Leung  original screenplay

Produced by
Terence Chang .... executive producer
Daniel Chun-on Cheung .... executive producer
Il-hyung Jo .... associate producer
Josh Kim .... associate producer
Katharine Kim .... associate producer
Byeong-woo Lim .... executive producer (as Brian Lim)
David Matsumoto .... executive producer
Daisuke 'Dais' Miyachi .... producer
Hyung-jun Park .... producer
Peter Poon .... executive producer
John Woo .... executive producer
 
Original Music by
Jae-jin Lee 
 
Cinematography by
Seung-gi Kang 
 
Film Editing by
Gok-ji Park 
 
Casting by
Jong-do Kim 
 
Production Design by
Hong-sam Yang 
 
Costume Design by
Jong-won Kim 
 
Second Unit Director or Assistant Director
Pornmanus Rattanavich .... assistant director: Thailand (as Pornmanus Silpasart)
 
Art Department
Nattavut Buranakij .... property master
 
Sound Department
Romain Bigorgne .... sound effects editor
Tae-young Choi .... sound re-recording mixer
Tae-young Choi .... supervising sound editor
Yong Oh Choi .... foley mixer
Kim Dong-Han .... sound effects editor
Hye Young Kang .... sound designer
Byung In Kim .... dialogue editor
Chung Gyu Lee .... foley artist
Su Hyun Lee .... sound effects editor
Yong Ki Park .... adr mixer
Yong Ki Park .... sound re-recording mixer
 
Visual Effects by
Kiyoung Jung .... pipeline technical director
Sang Hyun Jung .... digital compositor (2010)
Il Hwan Na .... art supervisor
Min Jung Shin .... digital compositor
 
Camera and Electrical Department
Jae-young Lim .... lighting technician
 

Production CompaniesDistributorsSpecial EffectsOther Companies
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Additional Details

Also Known As:
"Moo-jeok-ja" - South Korea (original title)
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MPAA:
Rated R for strong bloody violence throughout and pervasive language
Runtime:
124 min
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
Canada:14A (Manitoba) | Canada:13+ (Quebec) (DVD rating) | France:U | Japan:PG12 | Singapore:NC-16 | South Korea:15 | UK:15 | USA:R

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4 out of 10 people found the following review useful.
A Nutshell Review: A Better Tomorrow, 31 December 2010
Author: DICK STEEL from Singapore

I wonder if filmmakers and their chosen cast suffer the jitters when they attempt to remake a cult classic, trying their best to recreate the formula that worked in another setting and timeline. A Better Tomorrow needs no introduction as it has elements that are deeply entrenched in the minds of any Asian cinephile, where John Woo revived the gangster genre in Hong Kong and created a phenomenon, inspiring copycats both in film and male fashion.

After all, who has the ability to recreate the Chow Yun Fat charisma as Mark Gor, with his long trenchcoat and aviator sunglasses inspiring a legion of followers to the character, so much so that he has to be brought back as twin brother Ken in A Better Tomorrow II? And 70s icon Ti Lung as co-chief protagonist around that brought about bona fide gravitas of a man betrayed, and finding true brotherhood with his best friend? Then there's the late Leslie Cheung, who goes to show that he's not out of place in an actioner, and brings out the role of the cocky young adult unwilling to forgive his brother in most excellent terms. And Waise Lee rounding up the quartet as the villain you'd love to hate especially when gloating with one of his last lines.

The Korean remake was wrong on a number of counts, especially if one were to be a purist and find objectionable character motivations, and scenes rearranged with elements tweaked that's as proportionally controversial as A New Hope's Did Han Shoot First?. The basic structure got retained where it introduced the quartet of characters, with Kim Hyuk (Joo Jin- Mo) and Kim Chul (Kim Kang-Woo) being brothers from North Korea separated when Hyuk abandoned his younger brother to escape to the South, hence setting up resentment which serves the crux of the film. Compensating for this brotherly kinship is his good friend Young- Choon (Son Seung-Heon), who finds himself going from riches to rags, a pale self to his former glory when his revenge didn't go as smooth as he planned it would be.

I don't mind that things got changed slightly, from counterfeiting to arms smuggling. I don't mind that since this is a Korean remake the plot naturally revolved around North and South tensions amongst the characters. I don't mind too that the characters' overseas romp shifted from Taiwan to Thailand. All these, coupled with the updates introduced by director Song Hae-Sung, are pretty minor. The major changes were what irked me, since they don't resemble the cult characters they are based on, especially that of Kim Chul and his estranged relationship with his brother Kim Hyuk, which bordered on thick melodrama that gave an about turn to the latter character when the finale rolled along. There's this obsession with not forgiving his brother yes, but things take an inexplicable turn which transformed him from rugged tough guy, to wimpy, weepy crybaby. What gives?

Song Seung-Heon perhaps drew the shortest end of the stick, because trying to emulate Mark Gor with his Young-Choon was nothing short of a futile attempt unfortunately. Clearly lacking the charisma to pull the role off, he tried his best and came up short, and in an unceremonious exit, I think director Song Hae-Sung has to bear the blame for some shoddy work here, even though we know the original had loopholes in the shoot out department that sort of became terms of endearment with weapons blessed with unlimited supply of bullets that always find their way to embed into bodies of faceless goons, these were opportunities that weren't seized to go one leg up before John Woo went balletic with his gun fights and shoot outs.

What worked though was how sinister Jo Han-Seon played chief villain Jung Tae-Min, whose meek demeanour hides his sinister nature and becomes the villain you'd love to hate. I thought he did well because he wasn't really trying to live up to what had already been done, though perhaps maybe it wasn't as intimidating as trying to fit into the shoes worn by Ti Lung, Leslie Cheung or Chow Yun Fat. There's also a distinct lack of female roles here to trip up this gang of four, eliminating frivolous romantic subplots where females are nothing but flower vases, allowing themes of betrayal, friendship, brotherhood and camaraderie to ring through much louder.

Still, this remake is slow to start, and it took some 30 minutes before the first major action sequence. To fans of A Better Tomorrow there's nothing here that will surprise you anyway, except to raise an eyebrow or two when motivations and subplots deviate. And if there's one more element that this film sorely lacked, it's the very, very iconic theme tune that accompanied the Hong Kong original. This one pales in comparison and somehow turned out dull for the most parts. You have been warned to stick to the definitive John Woo version.

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