It is AD 924, at the end of the United Shilla Dynasty. Continuous riots sweep the land ruled by a corrupted government. Evil forces are rampant and malicious demons roam the land. YI Kwak, ... See full summary »
Based on a Japanese folk legend that echoes the tale of Robin Hood, this ninja thriller follows the exploits of Goemon Ishikawa (Yôsuke Eguchi), who leaves his fighting clan after its chief... See full summary »
In 1937, Japan began their invasion of China by murdering over 300,000 people in the capital of Nanjing. The atrocities committed against women and their daughters are especially barbaric. ... See full summary »
Peng Zhang Li
Jeremy Marr Williams,
Zhang Ming Fang,
Li Zhong He
During a turbulent time when political upheaval, rebellion, and invasion are coming to a head two swordsmen are caught up in a violent and bloody struggle to seize control of the country ... See full summary »
During the reign of King Sejong in the 15th century, the Joseon Dynasty was the embodiment of the perfect state. To the Ming China, the aspiring imperial power, Joseon presented an obstacle to territorial expansion. To protect themselves from war, King Sejong develops a secret weapon to defend their territory and take back their land and supremacy. Written by
DIVINE WEAPON aims to ride the wave of historical epics that have currently been taking Asia by storm over the last decade; you know the ones, invariably involving the likes of Andy Lau and a cast of CGI-augmented thousands battling over the fate of kingdoms. This is the second Korean take on the genre I've seen recently, after the inventive LEGEND OF THE SHADOWLESS SWORD, but it's not as good as that movie. In fact, it's quite boring, an ultra-slow moving tale (glacial would be a better descriptor) of courtly intrigue and rebellion.
The idea of a top-secret and, for the time, futuristic, weapon is a good one, but little is done with the premise. In a bid to whip life into the flagging main body of his picture, director Yoo-jin Kim paces out a series of fight scenes in WELCOME TO DONGMAKGOL's Jae-yeong Jeong battles various opponents with his mighty blade, but the choreography is fumbled and the insistence on filming such sequences in half-light to hide any inconsistencies, either technical or physical, is a poor one.
In fact, action fans are only served by a climactic battle which is good, if cheesy, fun, although it comes too little too late, sadly. Until that point, there's tiresome romance, the usual Korean concerns with 'evil' foreign powers (China bears the brunt of its hatred this time around) and more sitting around and talking than you can shake a stick at. Yeah, it's definitely one to avoid
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