1. I don't understand how anyone sees any meaning here. Everything here is so superficial that you do not know what was filmed for it. It's not a big movie, it's too boring for a blockbuster. All the people in this movie act like they're dumber than the main character. Everyone has seen the monster, but nobody even tries to figure it out. Where is the army, where is the police?
2. If it's not a blockbuster, why is everything so stupid, shooting at a monster, and at least he doesn't care? Then it knows how to grab people with its tail, or suddenly, when the archer was lying in the crevice, it can no longer reach her. Etc.
3. And most importantly. I have never seen a more incompetent acting game. Everyone is crooked like they are retarded. The behavior of almost any character in this film is a constant curve. And not even moderate, but hyperbolically stupidly unnatural.
When I was a kid, there was a Japanese movie called The Legend of the Dinosaur. My parents really wanted to go to it, but there was no one to leave me with, so they took me with them. I sat through almost the entire session with my eyes closed because I was truly horrified. As a very impressionable child, I had only one shot of a picture of two people sticking out in the mouth of a dinosaur with an inflatable boat. Everything was very naturalistic. So my brain didn’t understand the difference between a real event and a picture (this effect, called the “traumatic brain,” was described by American psychologist Russell Harris).
This time for viewing I had the Korean “Dinosaur Invasion”, which was another tandem of a numerous Academy Award winner, the famous South Korean director Bong Jun Ho, who shot such iconic films as “Memories of a Murder”, “Through the Snow”, “Diary of a Polar Expedition” and “Parasites”, and the incomparable actor Son Kang Ho, whose presence in the frame is always a sign of the quality of the film.
When I watched The Dinosaur Invasion, I felt a bit of childhood deja vu. To some, the river mutant might not seem scary at all, but the suspense creators of the saga about the Korean dinosaur were bent what you need.
I’ve noticed for a long time that there’s no limit to Korean imagination (so I love Korean cinema). So was it actually a dinosaur? Rather, some creepy creature, a product of pollution, to which the film makes a thick hint. But whoever it was, it was a friendship. Another message of the film is to rally in the face of danger. One by one, a monster can eat a lot of people. But together, and even with brains, people are able to resist the ugly generation of a poisoned river. We see that the Korean family is a fairly close-knit group of people who will never leave each other in trouble. So, one Korean cell of society, consisting of rather colorful personalities, declares war on the lizard and goes to the end until the long-awaited difficult victory is won. And without any brussoville attempts. In the fight against the dinosaur, family members show remarkable endurance and ingenuity. True, along the way they find out the relationship, but this is the beauty of the Korean film genre. From tragic to funny and set in the film one step. And so we see the crowd rushing mad with fear, trying to escape from danger, which immediately inspired me to remember another Korean film “Train to Busan”, when the audience at the station and on the train trying to escape from the invasion of zombies. At such moments, I want to shout: “Come on, come on, come on, come on, come on, hurry, don’t let yourself be eaten!”
But like Train to Busan, I would call Dinosaur Invasion a blockbuster with a human face. It's not just chases and breathtaking suspense.
It's a lie, it's a hint. The main character of the film Gantu performed by Son Kang Ho is the same Ivanushka-fool in the Korean way. But it was this fool, lying on the stove a la the counter of the beach stall, and set the heat of the vile creature that terrorized Seoul for a long period of time. Getting into an incredible number of troubles (which should not even be mentioned, so as not to spoil), Gantu shows amazing resistance and follows the trail of the monster, like a bloodhound. Until he catches up and deals with it.
However, if you look closely, the film is not just about a dinosaur. There is also a parallel storyline about some strange and supposedly very contagious virus (not, as we all know it!). Everything related to the virus is surrounded by a veil of secrecy. It seems like it exists, but not everyone believes in it for some reason. Hence, demonstrations of protest against restrictive measures such as quarantine, masks, disinfection and forced isolation of citizens. And then a certain plot bomb is dropped, the details of which again should not be mentioned. I will only say that I do not rule out a similar development in the situation with a modern virus, and many already claim that this will be the case.
It is worth noting the soundtrack to the film, masterfully emphasizing the tragic moments of “Dinosaur Invasion”.
Well, in the end, another “crust” from Korean filmmakers, which is relevant now. As they say, the baby speaks the truth. So the little boy says to his father, "Let's turn off the TV and concentrate on the food."
Let's turn off the TV, shall we?
9 out of 10
(approximately 29th minute of the film)
Dinosaur invasion
God loves the trinity. This is the third feature film by South Korean director Bong Joon-ho. I'll tell you in advance - I'm in awe of the pig. An amazing picture that causes a lot of emotions. Plot. A military scientist pours formaldehyde into a drain. A few years have passed.
A giant creature emerges from the river. Screaming, running. The host devours screaming people (like cakes, a-hee-hee). The main character of the film is the fool Park Gang-du (by the way, you will forgive me for the mistakes in the names, not on purpose). The man goes out to look at the Master, curiously, as a result, the Master winds his daughter on the tail, runs away with her to his lair.
One. I found myself thinking I had a hell of a sympathy for actor Son Kang-ho (since Memories of Murder). Permanent actor Bong Jun-ho. And in "Parasites" he burned. And then there's Bae Doo-na. In short, the caste of the "Dinosaur" is excellent.
Two. The Master himself. I agree that now his graphics are a little outdated, but for 2006, hand on heart, quite adequate spectacle. Again, don't forget. The producer country is South Korea. They’re not Americans or even Japanese (with their Godzilla), so let’s give Jun-ho a discount.
Three. Directed by Bong Joon-ho. Dinosaur is a multi-layered film. You can laugh (at least check out the time you left the hospital). You can be sad. The ending is rather unconventional. Pay attention to the details. For example, a sister shoots a bow. Just like that? No, each cog complements the movie, affects the plot.
Yes, somewhere in the middle, the Dinosaur is noticeably slowing down. It’s 2 hours, but it’s still interesting to watch. He doesn't just roll into the usual bloodthirsty monster pop. One hundred percent author's film. It's full of stuff. The family should hold on to each other (remember the phrase of the father – do not say that about him, he is your brother). You can’t give up if the life of a loved one is at stake. A separate point is what the government is doing in "Dinosaur" and who is really at war with him. I'm not talking about this virus scare. Symbolism is everywhere. Click West's nose.
Very deep film. Is he the best in Jun-ho's filmography? Uh, no, guys. But I haven’t seen anything like that. Excellent work of the operator.
This movie has two big problems. The first is the name. How the hell does it translate? The English version of the name is The Host, which in my version was translated as “Host”. Although the plot would be more suited to "Carrier" - in the film there was misinformation that the monster is a carrier of a deadly disease. The official translation is "Dinosaur Invasion", although the monster is a mutated fish. There is an opinion that Gwimool is the name of the monster and should not be translated (we do not say "God Zilla" and "King Kong".
The second problem is Korean humor. The writer seemed to be ashamed to escalate the drama, and the strongest moments were diluted with idiotic inserts. The Park family loudly mourns the loss, and in the background there is an announcement “Who parked in the wrong place!” Get the car out of here! A scientist in a chemical protection suit slipped and fell before making the announcement. The father of the protagonist explains to his younger children what it was like to raise a mentally retarded son. In his story, he inserts the phrase “I can tell his mood by the way he farts.” That's what it is, eh?!
Now for the story. The US military stationed near Seoul poured huge amounts of formaldehyde into the river. As a result, one of the fish turned into a 15-meter critter with a tenacious tail and paws that allow you to climb ashore. Once a mutated creature attacked people resting on the bank of the river. And dragged into his lair Heng-soo Park, the daughter of the protagonist.
I want to celebrate the wonderful acting work. Everybody played great. Since I am not a fan of Asian cinema, I only recognize an actress named Bae Doo-na (she played Sun Mi in Cloud Atlas). I recommend the movie to watch. The main thing is to remember that we are not a monster-movie, but a family drama.
8 out of 10
It is pointless to discuss whether the incomprehensible cuttlefish was painted well here, because it is not about her. And the monster here is not the cuttlefish. The monster in this film is a deceitful state machine serving the interests of its Western masters. It is with this monster that a simple family fights. You can’t even say that the film is fantastic – it’s more realistic. Because if you remove the ugly cuttlefish, then the film will remain quite real problems – human, environmental, and political. Can ordinary people help solve these problems? The movie says yes. But some Asian playfulness and naivety do not spoil it.
Those who claim that Japanese Godzilla films are boring and uninteresting are too obsessed with American films and have no idea that other countries have something to please viewers. It is not a problem if the first acquaintance with East Asian cinema was disappointing. However, in the case of South Korea, this is a real problem, as their films are very specific. For a long time, their products made me wander through the dark forests of misunderstanding, near the heart of which was the film known to us as “Dinosaur Invasion”.
I will deny myself the pleasure of once again scolding those who distributed a film with the presence of an extinct animal in the title, although there is no question of any prehistoric life here. The point is that the director clearly has very strange views about what kind of education works with the audience. Gwimool is not a horror or black comedy, but it tries to combine both. And combines extremely unsuccessfully, which eventually becomes a third-rate film. Scenes with the attack of a monster and subtext with the condemnation of the mistreatment of mother nature recede into the background, pushing forward the bewilderment caused by the main events and behavior of the characters.
The wake scene looks like some kind of awkward theatrical performance, and the characters clearly understand this. We are supposed to cry, so let's cry! The same goes for further developments. The monster stole a little girl, so let's save her! Just because it's necessary, not because she's really sorry. The plot also features a strange woman who dares to go against a creature the size of a bus with a bow in her hands. Who does she think she is, the wife of a mythical fearless warrior? This is aggravated by a faded color scheme consisting of tones close to black and white.
Many films of this category are judged by the quality of special effects. Well, the creature itself looks quite reliable, although computer graphics were inserted into the film in a very primitive way - literally pasted on the frame, where all the necessary objects were shaken, turned over and destroyed by any possible options. The budget of the film is very solid for South Korea, but the fees are extremely low.
As for acting, it is very weak here. I do not see any point in listing those who starred here, as one of the other stands – no one portrays credible emotions, and this is quite depressing. But I want to note the camera work, which is forced to primitive due to the need to carefully insert a computer monster into the frame.
It is strange that for all its primitiveness, this East Asian film manages to cause a lot of positive reviews. I can only say that a year later, South Korea released a really high-quality film with the participation of huge monsters – The War of the Dinosaurs. This fantasy action movie can be revised with much more pleasure than the strange and in all respects weak "Gwimul".
1 out of 10
About all kinds of monsters made countless films, good and not so. Most of these creations are so monotonous that I subsequently developed a persistent dislike for carnivorous monster horror films. However, my love of Asian cinema made me overcome my skepticism and start watching. In addition, the names of such stars of South Korean cinema as Son Kang Ho and Pae Du Na have already spoken about a lot.
And indeed, thanks to this film, a specific, but worn-out genre has gained a second wind. And this happened, of course, thanks to the skill of the director Bong Joon Ho, the creators of the monster image, as well as actors who behaved as if they were not actors.
The main characters of the picture are a family of four people - an elderly father of the family, his three children, and a teenage granddaughter. Family from the category of those that often appear on the air of the program 'Let them talk'. There is no cohesion between family members, they accuse each other of all mortal sins, spending precious time on quarrels. In my opinion, the main intrigue of the film is to answer the question: will these people, at first glance strangers to each other, be able to unite in a difficult moment?
From the acting work I would like to highlight Sung Kang Ho. No wonder he is the most sought-after actor in his country. The image he created of a man with the body of an adult, but the mind of a child is striking in its persuasiveness. The image of Quasimodo instantly pops up in memory, with which the feeble-minded hero Son Kang Ho has much in common - he is rejected and humiliated by everyone, even brother and sister. And only the old father pity him, realizing that he is guilty of the deplorable state of his son. The old man's phrase is significant: 'You don't understand what happens to the heart of a person whose child has died'. And indeed, the hero Son Kang Ho at first glance seems indifferent to the tragedy. But behind the external calm lies inhuman pain, which at the end of the film spills out.
The only drawback, which in my opinion spoiled the impression of what I saw, is the mixing of genres. Only you have time to tune in to the dramatic moment, when suddenly a flurry of gags falls on you, after which the events immediately turn into a horror movie. For this reason alone, I would say:
The film is very extraordinary. When I started watching, I didn’t expect to see anything new. But no, here you will not see the Dinosaur & #39 and another Godzilla destroying everything in its path. You'll rate this movie or say ' it's just ridiculous' turn it off and forget it.. .
In this film, the characters are not perfect, there are no cliche ' handsome', ' blonde', heroes and antiheroes, and so on. But it’s wonderful that the unpredictability of the characters’ behavior and their thoughts is the right thing to do. The monster is disgusting and unimpressive with power, lots of muscles and sharp teeth. But all the better, it is still a mutation, really correctly presented as ugliness.
This film in many ways mocks the typical cinema of horror films, offering its own version. (Horror?) getting rid of all the clichés we're used to seeing. At the same time, it is not so vividly served, and it cannot be said that it is thrash. You can't say, ' Here's a parody of that, here's a parody of that' And here is this whole not too large share ' not thrash' intertwined with drama and immerses in his special mood.
Sometimes you may not take what’s going on in the movie seriously, but on the other hand, why should it be simple and obvious (if you take what’s happening in the movie as reality). Of course, there are moments that will make you smile, but what happens in the film is much more realistic (about the characters themselves) than in other horror films with a bunch of rattling pots and sudden screamers ... which for me, for example, is also funny.
The film is definitely worthy of the attention of those who want a slightly different look at this genre of cinema. It may not seem too serious, but it has its own spirit and its own zest. Don't get too excited. . .
Inspired by the worldwide success of his non-trivial thriller “Memories of Murder”, director Bong Joon-ho in 2006 released the next blockbuster “Gwoemul”, which received many festival awards and became the highest grossing film in the history of South Korean cinema. The originality of the picture, first of all, lies in the fact that it does not lend itself to a single genre definition, combining seemingly completely incompatible elements of drama, social satire and horror. And surprisingly, this unusual alliance looks very harmonious, one does not interfere with the other here at all, but it causes such different emotions in the viewer - from bitter grin to nervous laughter, from psychologically unbearable empathy to horror, anxiety and tears of admiration. And if you watch this film, fully perceiving all its genre components, the climax scene will certainly touch you with a living.
It should be noted that there are no dinosaurs in Gwoemul, and why the Russian translators decided to adapt the quite objective name “Monster” (or “Host” in the English version), one can only guess. The host is a disgusting, slippery, multi-toothed marine inhabitant, a giant mutated amphibian with a long tail, powerful paws and an eerie huge head. A monster moves that in the water, that on land quite rapidly, and very quickly climbs the tops, which makes it look even worse. The authors give us the opportunity to consider a well-tailored monster from all sides and angles, to admire it in all, as they say, “beauty”. And although his dimensions are significantly inferior to the same Godzilla, he looks and wears in front of the camera he is so realistic and intimidating that faint-hearted it is better to move away from the screens. And this despite the fact that the budget of the film was significantly limited in terms of creating special effects.
In the center of the plot is a family of losers: retired father Hipon, containing a small diner on the banks of the Han River; his eldest son Gantu, an idiot, raising a smart daughter Hento alone; the youngest son of Hipon is a idle slacker, a former alcoholic with no purpose in life; the daughter of Hipon is a silver medalist of the national archery championship, who lacks the determination to release an arrow in time, and therefore “gold” all the time escapes from her hands. As a result of the circumstances that developed through the fault of an American employee who several years ago ordered the discharge of formaldehyde waste into the Hangan River, a terrible sea monster-mutant drags Hipon’s granddaughter into the depths of the sewer. But the passive South Korean authorities, bending under the US military, instead of announcing a hunt for a monster, begin to hunt ... people who fell into the “risk zone”, and especially the family who escaped from the cordon, who are trying to save Hento on their own against the background of inhuman measures of the government, outright lies, intimidation and intimidation of the population. It is this component of the film that carries the main ideological load and gives food for thought. It is impossible to expect adequate measures from those in power, the family is the only reliable and strong cell of society, as if the director tells us. Only the power of invisible kinship, the power of unselfish love, can be enlisted to save a person, and sometimes a city. It does not matter that all members of this family are chronic losers.
The socio-political bias of the picture is quite obvious – it is dictated by the authors’ desire to draw public attention to the criminally anti-people policy of the government of the country, to the arbitrariness and permissiveness of the American armed forces located in South Korea. Simple and easily understandable morality; caustic social satire and colorful South Korean humor; unusually deep drama; well-written characters, each of which made a serious contribution to both the plot and the overall atmosphere of the film. By the way, the actors in this ensemble look just great – as a single organism, as a real family. Special attention should be paid to Pae Du Na (“Sympathy for Mr. Revenge”), who created an unforgettable image of a gloomy, eccentric archer who just needed a serious incentive for a successful shot. A vivid image of the “evolved” in the course of events freak Gantu, the father of the missing girl, is on the account of the famous South Korean film actor Song Kang Ho (“Memories of the murder”). As for the girl herself! Young actress Koh A Son, who played the role of the brave Hento, who was in the den of the monster with a little boy, amazes with her truthfulness - believe her every look, gesture and movement. And you hear the loud beat of your own heart, while the girl carefully climbs the ridge of the sleeping monster in another attempt to escape.
“Gwoemul” is a highly social legend about how a family of typical ordinary people, drawn by the power of love alone, went through unimaginable trials to do what the South Korean government and the heavily armed American army were afraid to do. Obviously, the real monster in this story is hidden not in the river, but in the “mutated” minds and souls of those in power.
As the Korean proverb goes, “Do you have to drink the entire Han River to find out if the water is salty?” . . ?
Thanks to our distributors, the film got a completely ridiculous title - Dinosaur Invasion. This name does not harmonize with the essence and content of the tape. However, this is not the first and not the last case. The English name is interpreted as Master (The Host), thanks to which I met him a few years ago. The Koreans are simple: Monster, Beast.
Dog with names, a few words about this movie. To begin with, I can say that being a film lover with experience, I saw everything. At the same time, I have a special love for non-standard cinema, where the director tries to break the limits of standards and remove his vision of history, with a minimal presence of producers, which often ruin good ideas. So, if you omit all the banal words and delights, I can say that the Master is one of the favorite paintings of Asian cinema. I saw the movie for the first time 4 years ago and it still looks like magic and a lot of sympathy.
First of all, it's a family movie. Of course, there is a horror in it, which is completely immature children's heads are contraindicated, but in my opinion, the R rating is not quite appropriate here. PG13 is different. The creators clearly prescribe two main lines: family values, family and its #39; cockroaches & #39; parents and children. ... as well as global: government and citizens, ecology, interstate relations. Hence it is very interesting 'cocktail' genres, subgenres, themes, etc.
The movie is alive. First of all, their characters, or rather family: father, children, granddaughter. The characters are colorful, very well thought out, each has its own destiny, reminiscent of any of us. Everyone has their own oddities and values. Fate unites them when trouble comes. Further adventures of the heroes cause a lot of emotions: from laughter to sympathy. And this Master is different from different Godzillas, here the monster is only the background.
A simple plus here is the musical accompaniment. Hello to Emir Kusturica from Asian fans It’s a beautiful and beautiful place to remember!
Special effects due to too limited budget ($11 million) entrusted to the professionals of the studio of P. Jackson – WETA. Drawing a monster and action scenes for modest money again cannot but cause admiration.
In conclusion, we sum up: we have the most that neither is ARTBASTER. That is, the kind where art and commerce are appropriate. Folk cinema, as evidenced by the fact of the coss champion of the Korean box office in 2006! A mix of very different genres. I advise: fans of Asian, just great and non-standard cinema, fans of fiction, and somewhere art house.
I recently learned about such a wonderful director, June Ho Bong. After watching 3 films, he made a lasting impression on me. 'Mother', 'Memories of a Murder' probably just brilliant movies in recent years. Well, for me, I just haven't seen a good painting in a long time. And finally I get to the movie 'The Dinosaur Invasion'. The title does not fit, but it is worth blaming the Russian translators. Naturally, most people see the same thing before their eyes 'Gojila'. But after watching the movie, I was surprised. Yes, I've noticed that Jun Ho Bong's movies have humor, black humor. The dialogue is also unusual.
Same dialogue pro 'dirty formaldehyde'.
At the beginning of the film, everything indicates that he is a dinosaur and it seems that everyone will fight him, but the idea of the film is much deeper. Who would have thought?
With this epidemic, which in principle should not be. A strange but loving family that reunites to save a little girl and what an injustice it is when no one believes. I don't even have words.
This film is a kind of banter, all monsters - gozil and epidemics. And you laugh most of the time, but the ending always makes you think. The film also deals with the topic of ecology. It's our own fault. We are not aware of what it is.
In the course of the film, you realize that it’s not a monster at all, it’s a relationship between people. Which is more important.
Seoul. Our days. The Khangan River is unremarkable, except that for the last ten years something strange has been regularly observed in it. But something strange is not in a hurry to show up, fed formaldehyde, splashed into the river by diligent but careless American scientists, it accumulates strength and waits. And so, fattened on the fish, a sexless something with a spit and roar falls on the shore and shows an imperishable speed, grabbing every onlooker with his teeth. . .
Frozen at the screen waiting for the new Godzilla? Then it is better to forget for a while that there is such a tape “Gwoemul”, and return to it with a completely different mood. Because this film is not about how an angry biak challenged humanity, but about how one simple Korean family is very unlucky to be... a family. After all, they are such stereotypical losers that they deserve a French comedy, but their life failures are quite real. After all, his father had three offspring: an insecure champion, an alcoholic intellectual and a completely stupid Gantu, vegetating in his father's shop all day long. And this cell of society, depicted excessively exaggerated, throughout the tape shows a pattern of sanity amid madness, order between chaos.
What exactly Pon Junho wanted to do is as difficult to understand as it is to immediately catch the transition between spectacular foreplay and grotesque action. Because where the action ends, and the monster drags the little daughter Ganta into the river, the favorite of the whole bad family, the very triumph of the absurd begins, which serves as a magnifying prism of reality. The army, instead of just taking and shooting the monster, is taken to catch all people in contact with him, allegedly infected with an allegedly fatal disease. Everyone does not care about the girl who got into “captivity” except for her relatives, but they are trying in every possible way to lock them up for no known reason. Absolutely ordinary at first glance, the life of the city after the phenomenon of a monster turns into a wild show, a representation on the verge of the unreal and hyperbolized, a hybrid of everything that can only be stuffed into one bottle. A sad scene of mourning for a missing girl, filmed in a comedic way, scientists, idiots, people ready for a reward to rush to catch a complete stranger, after all, the ubiquitous political context, with a reference to the eternal “newest viruses” in the Far East. At the same time, all this kinokasha drags to the very titles, captivating even when awareness is banally lacking to understand certain scenes.
And of course, an allegory, in such a hurricane could not do without it. The monsters inside us? Or maybe even more global, and the monster devouring all life and is society? A society whose reputation is more important than people’s lives. Crowds of protesters for slogans and ideas in which they themselves do not fully believe, but run away at the sight of a monster. And like the apogee – homeless, decided to help the unhappy family quite simply, out of nobility. The battle with the owner of the river, for each hero of this traghifars - it is a battle with their own inner fear and a challenge to rejecting society, eating and not sparing even childhood. Jungho even decided on a very touching and life-affirming finale, or even the afterword, which clearly reads the same Mopasan phrase that the happy maid said to the depths of her soul to the unfortunate aristocrat – “Life is not so good, but not so bad as it seems.”
Conclusion: Cinematic experiment on the splicing of the alien. Horror, comedy, fiction, drama, and in the center of the drama, among the crazy, simple and unhappy people. An unusual film that attracts entertainment and original presentation, and is remembered later mainly due to implicit satire and subtle allegory.
9 out of 10
PS. Again, domestic distributors contrived and misled hundreds of innocents, for which they, of course, shame and shame.
I think it’s no secret that cinema is no longer an art and has become a very profitable business. Where each country is trying to make the most high-quality, beloved and commercially successful film. Some people manage to make gum films for once. Others are potentially doing something great. One example of this is the evolution of Korean cinema at the beginning of this century. In this regard, it is not surprising that it is now perceived as a swallow of ordinary art and the demand for Korean directors is still growing. This example is especially relevant in the work of the director of this film Bo Jun Ho, who over his entire career managed to shoot a decent number of really decent tapes. Which makes him a favorite of festival critics. Especially if you rely on this film, which captured not only deafening box office, but was warmly received by various festival critics.
With such a high bar, I definitely tuned in to something insanely great and was a little disappointed to see a non-genre movie. Which in principle can be attributed to the main advantage of the picture. Because, instead of the next “Godzilla”, the director of the film “Bo Jun Ho” shot a real assortment of various genres, which is strictly stylized as a real work of art. Where the detailed processing of each frame and its luxurious composition can not but please the eyes. As well as the luxurious visual effects of such famous studios as "The Orphanage" and "Weta Workshop Ltd" (not without the famous studio of Peter Jackson himself), which managed to easily make believe what is happening on the screen.
Of course, there are no fountains of blood and a visual demonstration of bitten limbs in the picture. But still, the creature's design and its realistic physics are really impressive. Actually, as well as the emphasis on the diversity of the tape in terms of genres. After all, if the first half of the tape is held by an element of comedy. Where the maximum emphasis is placed on elements of parody of Korean life, satire of the US government and much more, in the second half of the film gives exactly the shake-up that was so lacking. Hence, of course, we can say that the narrative and dynamics of the picture are quite uneven. Which sometimes makes the movie a bit long. That’s only in the end, the film pleases with its aesthetic prism of the commercial genre of a film of this format.
The Achilles heel of most monster-movies is that the maximum emphasis is placed there on the methods and systematic implementation of the bacchanalia of the screen monster. That sometimes destroys all possible drama of the tape and its similar potential. In this case, I was most pleased that the monster and all his bacchanalia were reduced to secondary action. When how, the film developed actively in the family's desire to find their little girl and in the hidden allegories that the film is stuffed to the dump. Almost from the very first shots, the film clearly demonstrates its position on various chemical experiments and the destruction of nature. What developed beyond allegory and clearly answered by the fact that if it continues like this, then such on-screen mutants will occur in real life.
In addition, the film sharply beat about the total desire of the US government to be a plug in every barrel. Which also became the source of how gracefully the writers of the tape laughed at the lifestyle of themselves. Just like the current problems of South Korea. This alone distinguishes the plot of the picture with something more than a banal gum for a purely commercial project. After all, even by genre standards, the plot of the picture is quite rich. Despite the banality of the plot regarding the fact that family members are trying to find and save their little relative, the plot wins thanks to the heterogeneity of the genre.
After all, throughout the film, we have the opportunity to look at history both through the prism of the genre of comedy, and through the prism of other genres, which willingly alternated throughout the film. Hence, to suspect how the film will end was quite difficult. After all, it is necessary to tune in to a serious way, then the plot of the picture develops at best a farce and vice versa. The film raises a lot of questions about the realism of what is happening. Including the strangeness of the ending of the tape, which is not attributed to either a happy ending or a positive one. Especially when you focus on how many really cruel and harsh moments the film is full of. This is reflected not only in the usual scenes of actions, but also in the fate of the main characters. In fact, the fate of the young heroine of the tape, which becomes frankly sorry.
The main role worthy pulled perhaps one of the most popular South Korean actors in the world Sung Kang Ho. The character may be a little “wrong,” but it’s just great. On the face of a complete transformation into his character. Where the element of posturing and play is completely absent. Impressed and performers of other roles in the person Byung Hae Bong, Park Hae Il and Bae Du Na. Especially remembered the latter and then due to its frankly attractive appearance. Brighter still, definitely shone Ko A Son, which got one of the significant and respectable roles, which the actress deservedly pulled out despite her small age. So, you’re excited about the whole movie.
The music of the composer of the film Lee Byung Woo turned out to be very atmospheric. It is a very rare case when music and film merged into something homogeneous. Lee Byung Woo's work adequately complemented each scene of the tape and made it more sharp, shocking, tense and even touching. What was gracefully done due to the richness of the work in terms of different sounds. Both in terms of the choice of musical instruments, and in terms of genre characteristics of this musical work.
9 out of 10
A rather tense, dynamic, spectacular and shocking work of art, which is full of both aesthetic beauty and satire on very important moments of our lives. It's not a commercial or genre product that I really liked. I would highly recommend it to you as well.
The mistake of domestic distributors when translating the name, as well as the trailer, beckoning a strange monster, gave rise to the deceived expectations of a large part of the audience, set to see the next blockbuster about Godzilla. 'Host' June-ho Bon turned out to be a much more multifaceted, deep and complex film, in which the monster plays a more background role. For the young Seoul director, this film was the third full-length work. And, if his debut ' Barking Dogs Never Bite' failed at the box office, remaining unnoticed, the second opus ' Memories of Murder' firmly took a place in the niche of the best thrillers, this creation, shown at many European festivals, including Cannes, allowed us to talk about him as one of the most interesting and clever South Korean masters of recent years. Kim Ki-duk, Park Chan-wook, Kang Jae-gyu, Kim Sung-soo, Kim Ji-un and other notable Asian creators have a serious competitor, and the cinema of South Korea seven-mile steps rise to a new level.
The declared genres do not fully reflect the essence of cinema, its inner nerve. Yes, we have a fantasy with an unusual, sometimes frightening as in horror monster. Yes, its entertainment and dynamics will give a head start to many strong thrillers. Yes, the film shows the drama and struggle of both a single family and the entire Korean people as a whole, and in some places in a comedic way. But first of all it is a parable, highly veiled, but nevertheless. Caustic, frightening, metaphorically reflecting the relationship between society and the individual, the person and the system against the background of environmental threat, it shows laughter and tears, despair and fear, entangled in a tangle of other emotions, a lump stuck in the throats of the characters and the viewer. . .
The plot takes us to the center of Seoul, where a strange monster has started in the Han River, mutated due to the release of formaldehyde into the water. The family of the owner of a coastal shop becomes witnesses to the defeat perpetrated by a monster that came ashore, which takes his granddaughter Heng So with him. Believing in the death of the baby and isolated as possible carriers of the virus, came into contact with the monster, they receive a call from the kidnapped. The hope of saving the child is drowning in the ocean of misunderstanding. The family, recently trampled by the grief of loss, once again unites and flees the quarantine, ready at any cost to save their soul. The father of the family, a strange eldest son, resembling an alcoholic middle and youngest daughter, an archer, go in search. They are hampered by a dormant government, lying doctors, and money-hungry acquaintances. In such a situation, the only salvation is trusting each other.
A big plus for the film is the absence of superheroes, but there is the heroism of ordinary people. And we see their mistakes, their tears, their successes and their downfalls, their awkwardness, but most importantly, their unquenchable hope that keeps them from giving up and going all the way. At times, their behavior seemed unjustifiably exaggerated, faked, but, apparently, this was the idea of the director, who sought a contrast in everything, exposing the insignificance of human life under the pressure of the authorities. The story about the virus also seems to be a myth, invented only to denounce the Americans who poke their noses at everything, often poisoning Asian countries during various experiments. In the film, it is an American doctor who orders a Korean intern to pour chemicals into the river. It is not the U.S. army, not the local demonstrators, but the family of ordinary Koreans who are fighting the enemy, using not missiles and guns, but any means at hand, whether it is a bottle of incendiary mixture or a can of gasoline, an iron scrap or a simple arrow.
Noting the ideological relevance, one should mention the artistic value of this work of cinema. A considerable credit in this belongs to the camera of Hyung-ku Kim, with whom Jun-ho Bong collaborated in 'Memories of a Murder'. His manner, shooting style, frame construction and control of chiaroscuro personally captivated me. Especially engraved in the memory of the moment when coming to us the hero is isolated from the darkness of the general plan only by the light of the sickle of the shoulders. Important in a successful picture is the drawing of the monster. Unusual, reminiscent of 'fish on legs' as if composed of several creatures, it moves so naturally and plastically that at times it seems absolutely real and therefore frightening. And his acrobatics when moving across the bridge would be the envy of any gymnast.
I can’t help but mention the music in the film. A magnificent selection, organically coexisting with what is happening on the screen, enhances the tragedy of family loss, gives drive in scenes with a monster, alarming in moments of danger.
In the end, I want to go back to the title and understand what Jun-ho Bong meant. Why 'Host '? Master of what? It probably means Seoul, and possibly all of South Korea. Having made a film about the internal problems of his country, the director gives many answers, but not one specific one. Maybe it's a monster holding the city at bay. Perhaps the American government, the oppressive Korean people. But I would like the families of ordinary people, like the one shown in the film, to be the full owners of their land. Healthy, strong and happy no matter what. And I believe that one day it will be. . .