The story of a cab driver in Yanji City, a region between North Korea, China and Russia. His wife goes to Korea to earn money, but he doesn't hear from her since in 6 months. He plays ... See full summary »
Mei, a young girl whose memory holds a priceless numerical code, finds herself pursued by the Triads, the Russian mob, and corrupt NYC cops. Coming to her aid is an ex-cage fighter whose life was destroyed by the gangsters on Mei's trail.
Robert John Burke
The psychopath Arano arrives in Tokyo with a bag full of knives with the intention of killing Yakuza. He gets close to the smalltime gangster Kamijo, who was assigned by the old Yakuza Boss... See full summary »
Both detectives on a sickening murder case struggle with being alone and childless in their 40s. As they investigate the young man found beaten and strangled to death, platonic friends ... See full summary »
Sung-Bum (Uhm Tae-Woong) is a hot-tempered detective who relies on his intuition to crack cases. He rarely comes across a case that he cannot solve. The body of a police officer is then ... See full summary »
The story of a cab driver in Yanji City, a region between North Korea, China and Russia. His wife goes to Korea to earn money, but he doesn't hear from her since in 6 months. He plays mah-jong to make some extra cash, but this only makes his life worse; but then he meets a hitman who proposes to turn his life around by repaying his debt and reuniting with his wife, just for one hit. Written by
I can't remember the last time Hollywood offered me anything mind-blowing. An industry now controlled by bankers for shareholders, even filmmaking geniuses like Martin Scorsese have been reduced to making pointless kids movies. Not even the so-called independent cinema in the US has been spared Hollywood's fixation with the bottom line, where the few table scraps left are thrown to a dwindling numbers of original voices still relevant. If ever we needed another Easy Rider inspired industry revolt, then now is the time.
With American cinema (not unlike the country itself) irrelevant and hopelessly behind the times, the only option North American cinephiles have, is to go abroad. One of the countries that's long since surpassed American cinema for shock and originality is South Korea. And it's not like Hollywood is oblivious, they're actually cannibalizing SK cinema by remaking Korean gems into pointless American knockoffs. The latest SK gem ripe for reproduction is Hong-jin Na's The Yellow Sea (Hwanghae).
Like Ravel's Bolero, The Yellow Sea understands the patient reward of crescendo: starting slow and building to a fevered climax. By the end of this, we're left with what seems impossible for an epic 156 minute film: wanting more. With the exception of one car chase marred by phony green screen cutaways (see the video below), the breakneck action, extreme violence and hyper-realistic gore is virtuosic. Guns noticeably absent, whooshing knives, devastating hatchets and the blunt trauma of gnawed animal bones provide The Yellow Sea with brutal, bloody and refreshingly lo-tech weapons of choice, a grim example of how Hollywood and it's obsession with appeasing demographics can't compete.
But The Yellow Sea is much more than just a knife brandishing ballet that hearkens back to early 90s HK bullet ballets, it's exceptionally well written and acted with none of HK cinema's clichéd melodrama. The characters here are many shades of grey, avoiding archetypal absolutes, allowing us to identify with and like even the worst of the worst. All of the action is beautifully composed with kinetic, hand-held photography that compliments the bleak color palette, which results in a gritty and ultra-realistic film, not unlike so many American masterworks from the 1970s.
1 of 1 people found this review helpful.
Was this review helpful to you?