Archive for the ‘TITLE P’ Category

SIN SISTERS 2 [POO YING HAA BAAP 2 | ผู้หญิง 5 บาป 2]


THAILAND 2010  Directed by: Sukij Narin  Cast: Rungrawee Barijindakul, Saruta Reungwiriya, Patchuda Panpipat, Tchichacha Jareonpongpreecha, Kanoklada Wichakon, Pornthip Pulsawat

Sleaze is the name of the game, but I guess that’s not really surprising after seeing the first installment: on the surface SIN SISTERS 2 is a moral tale about sex and how baaaaad it is, while in fact the story is just an excuse to show as much sex as possible (that being said, don’t expect what you would consider “a lot of sex”, as we’re talking about a commercial sex movie made in Thailand).

The story that’s hardly a story deals with five women who for whatever reasons are together in one room, chained to a platform, while what’s probably meant to be the devil forces them to confess their worst sins. The one who has committed the worst sin will die, according to the voice from, ahm, hell. And so the romp begins, showing the five in delicate situations, interspersed with some random T&A scenes that will even make a kindergarten yawn.

If I could take SIN SISTERS 2 seriously I’d say it condemns the entertainment business, the decline of moral standards in Thailand (especially in Bangkok) and the decreasing appreciation of religion and its norms and values. But SIN SISTERS 2 hardly features what commonly constitutes a “movie”, and might very well just be a test for the local authorities and the new rating system, toying with the governing body to get some good PR. Who knows. Who wants to know.

But we could also simply say it’s the wrong movie at the wrong time, using a concept that’s been introduced as early as the 1960’s, showing as much nudity as mainstream movies more than 40 years ago while having less substance than any episode of any Thai soap opera airing on any channel in the Kingdom. SIN SISTERS 2 ain’t cinematic material, but since the good old video rental is dead they must have figured there’s no other place to dump their trash than the multiplex.

Avid fans of part one will be delighted to see the sequel, everyone else will most likely not be able to finish the movie, but instead leave the cinema untimely, repeatedly hit the fast-forward button or simply stop the show after not more than 15 minutes into the film. SIN SISTERS 2 is miserable all around, so you might want to take my advice and avoid the movie at all costs.






KOREA 2010  Directed by: Woo Min-Ho  Written by: Woo Min-Ho Produced by: Jeong Hoon-Tak Editing by: Kim Sun-Min Music by: Lee Jae-Jin Cast: Kim Myeong-Min, Eom Ki-Jun, Kim So-Hyun, Park Joo-Mi, Lee Byeong-Jun, Oh Kwang-Rok, Kim Eung-Su, Min Bok-Gi, Lee Ho-Jae, Lee Jang-Won

A priest’s young daughter is getting kidnapped, and in the wake of her disappearance the man of god turns against his creator and abandons his profession, losing his faith in justice and the hope that everything will be fine in the future. He takes on an ordinary job, but his wife doesn’t give up searching for Hye Lin, until one day she believes she saw her with a man, presumably her kidnapper, and follows them, but tragically gets hit by a car before she can close in on them.

In the hospital she is fighting for her life, lying in a coma, while her husband is devastated but doesn’t know what to do – until he runs into a guy in the parking lot, an incident that sets off a series of mysterious events. Before Joo Young Soo knows, he finds out that his daughter is still alive, but that doesn’t help him much as the whereabouts is unknown. But nothing can stop a loving father, and when a game of life and death begins the outcome is unpredictable.

South Korean filmmakers have perfected the crime thriller to a degree that is good and bad at the same time, but remarkable nevertheless. On a positive note, there is currently no other country constantly releasing equally solid genre movies, flicks that impress through strong scripts, detailed characterization, precise timing, the right dosage of action and violence, high quality direction and cinematography, and a good sense for balancing reason and emotion all along the way. MAN OF VENDETTA is exactly that sort of movie, with a tendency towards calculated exploitation thanks to its religious subtext and the fact that the victim is an underage girl.

On the other hand, once you are familiar with the likes of MAN OF VENDETTA, you can’t help but feel that it all tends to be a bit formulaic, that you have seen many equally good movies recently, that none of them really stands out and that there is very little surprise in the viewing experience. Despite many of these films being really good, they just don’t vow you, and it seems as if the industry is gearing towards a turning point, the moment when the trademark recipe of how to approach the crime film genre turns into the opposite of innovation. What comes out is a sea of sameness, albeit on a considerably high level.

I find it very hard to nominate any of the recent thrillers as truly genuine or remarkable; some may stand out for the wrong reasons, but you wouldn’t want to count that, would you? It’s up to the audience to pick a favorite. MAN OF VENDETTA is on par with most of the above-average peers, missing nothing except a reason to say it’s great.


71: INTO THE FIRE [POHWASOGEURO | 포화속으로 | 포화 속으로]


KOREA 2010  Directed by: Lee Jae-Han (John H. Lee) Written by: Jeong Tae-Won Produced by: Jeong Tae-Won Editing by: Steve M. Choe, Changju Kim Cast: Kwon Sang-Woo, T.O.P., Cha Seung-Won, Kim Seung-Woo, Park Jin-Hie, Kim Hye-Seong, Moon Jae-Won, Shin hyeon-Tak, Yun Seung-Hun, Tak Teu-In, Ki Se-Hyung, Shin Kyung-Sun, Kim Sung-Ryeong, David McInnis

It is interesting to see how a few outstanding movies influence so many of their epigones. Without going too much into the long history of war movies, it must be noted that there are probably only two major, contemporary works from the last two decades that until today define the way war looks and feels like on the big screen: FULL METAL JACKET and SAVING PRIVATE RYAN.

71: INTO THE FIRE is an aesthetically accomplished film, it has everything you can ask for: breathtaking battles scenes, beautiful moments of contemplation, intensive emotions conveyed in a way only film can; yet, it appears to me that it fails to create what I’d call a trademark image of war. Visually speaking, the Korean War looks exactly the way WWII looks like in SAVING PRIVATE RYAN. That’s not such a bad thing as John H. Lee successfully creates a carbon copy of Spielberg’s aesthetics (as have many other movies before), but once the dust settles the film and its makers nevertheless battle against drowning in a sea of sameness, although the casual viewer most probably wouldn’t notice, or mind.

What we all should mind however is that 71: INTO THE FIRE does also copy most of SAVING PRIVATE RYAN’s opening sequence (and a few moments of FULL METAL JACKET), with our hero stumbling through the war zone, bullets and debris flying all around him, until, surprise, a big detonation cripples his sense of hearing and he loses orientation (only we don’t, we know exactly what Mr. Lee’s inspiration was). What looks like a fast-paced, gripping beginning at first glance is, if we are honest, not more than a very good remix of SAVING PRIVATE RYAN’s legendary first 30 minutes.

It is almost like Mr. Lee didn’t have an idea as how to draw the audience into his story in the first place and decided to do so through a purely effect-driven approach (further proof would be that nothing of what happens in the beginning is of any relevance for the film later, except for the main character gaining some credibility as “war veteran”). From then onwards, and that’s the good news, 71: INTO THE FIRE concentrates on its own subject, finds its own rhythm and with more time into the movie also finds its own identity. The (supposedly true) story revolves around 71 student soldiers who are left behind to protect an outpost against the approaching North Korean army, while the high command and remaining battalions have to defend the last beachhead against the enemy somewhere else.

With little supplies and largely alone, the group of students is having difficulties to work together, as leadership is questioned frequently, some never follow orders and, mostly for dramaturgic reasons, things go wrong that simply shouldn’t go wrong (just like in horror movies when we think who on god’s earth would be so stupid to do that). 71: INTO THE FIRE manages to create a great deal of internal and external conflict that mostly feels natural though, like a result of the circumstances the group is in. Very importantly, Mr. Lee keeps the momentum up until the end and shows great talent in pushing the limits, inevitably steering towards a grand finale that won’t let the audience down.

What I found most remarkable is that casting a well-known Korean pop singer for the lead role (a move that is clearly a marketing strategy, but should fail in terms of adding any quality to the film) actually pays off as T.O.P. (or Choi Seung-Hyun) does fit the role of Oh Jung-Bum very well and delivers a solid performance as introverted leader-by-chance, someone who’s fate is largely determined by circumstance, but who finally picks up the ball and plays it back hard.

Mr. Lee refrains from indulging in a conventional zero-to-hero scenario, creating an ambivalent character who hasn’t asked to lead, and struggles against opposing forcing within his own ranks (sometimes, 71: INTO THE FIRE gears a bit too much towards youth gang motifs for my taste), never being or becoming the untouchable idol or skilled fighter others admire, but instead an ordinary student living through the horrors of war like anyone else.

Most of the time Oh Jung-Bum’s character doesn’t have lengthy dialogue scenes, obviously to make T.O.P. look as good as possible on-screen, but it also, accidentally or not, shapes Oh’s character in a way that is very befitting and distances the movie from Hollywood’s methods of creating fan appeal and heroic glamour. Throughout the movie Oh remains one of them, but is gaining profile gradually making him a believable leader who is anything but superman, but that necessary bit better and more disciplined than the others to stand tall against the enemy.

The way 71: INTO THE FIRE depicts the war is not a plain glorification of the South, neither is it just eye-candy aiming at action movie fans: the conflict always has a face, and it is not easy to simply like or dislike the opponents, despite lack of insight into their motivations and reasons. 71: INTO THE FIRE barely scratches the surface of the historic events as the film is mostly driven by the here and now; I would argue that this increases the intensity of the conflict on the individual level, while the big picture (political, social or global implications) is largely left out. Watching 71: INTO THE FIRE with the expectation to learn something about the Korean War (or any war for that matter) would be a mistake, and will leave you disappointed no matter what, but the film is not as shallow as often stated if we take it for what it is: a good story about a group of people set during the last days of the Korean War.

While 71: INTO THE FIRE is not providing any insights into the actual conflict, it’s a fine drama and war movie with a lot of memorable moments, good acting and fierce action. 71: INTO THE FIRE is Mr. Lee’s best work to date and one of the better movies coming out of Korea this year, and arguably can claim a spot on any “best war movies” list out there, if just defined broad enough.