A hard as nails cop joins forces with a crime boss to take down a serial killer.
Based on a true story, The Gangster, the Cop, the Devil will get your undivided attention right off the bat from the opening scene. The South Korean film school proves time and time again that no matter what the genre, the outcome will be fulfilling and worth every minute you spend on it. Mu-Yeol Kim and Ma Dong-seok as cop and gangster respectively, develop excellent chemistry in their unlike partnership, offering a high-octane action / thriller trying to capture an unknown serial killer.
Captivating photography, engaging editing, and brilliant character and story development. Ma Dong-seok, after his amazing performance in Train to Busan (2016) comes back, punching above his league and comes out a winner stealing the show. Also, check Mu-Yeol Kim in Forgotten (2017) https://kgpfilmreviews.com/2020/05/25/forgotten-2017-mystery-thriller/. Both films HIGHLY recommended.
Things take an unexpected turn for a family after a young man sees his older brother getting abducted and comes back days later with no memory of what happened, acting like a different person.
Narrative like only the Koreans know how to develop. Dramaturgy that knows no boundaries and is unconditionally unleashed to shock you to your core. Huge comeback from writer/director Hang-jun Jang who seems like not taking particular interest in the film industry. Regardless of the reasons, and even though it flew a bit under the radar, Forgotten is the type of film that will get your undivided attention. You cannot miss a thing otherwise you’ll have even more questions. Very intricate with numerous twists and turns, Forgottendoes not hold any punches. It might not be Oldboy (2003) but it will definitely keep you on the edge of your seat.
The South Korean film industry (Hallyuwood, informally) is a dominant player in the market. Partially, yes, because the government is heavily investing in it but also due to the produced films’ impact globally. Money might open a plethora of doors but it is the sheer talent that walks such filmmakers through them, stirring the focus once more towards the beautiful artistic side of the industry and taking it away from the ugly scandalous one that we have all had enough with.
P.S. I didn’t know it was a Netflix film until I accidentally stumbled upon the information on IMDb – no logos in the opening or closing credits.
P.P.S. That’s for you cuz! Thanks for the recommendation!
P.P.S. Jiyoung, if you haven’t watched it, I highly recommend it. If you have, why didn’t you tell me about it??? 🙂
“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.
Below you can find my analysis on a few international films, not particularly well-known ones, that have spawned renowned Hollywood successes (whether critical or commercial). Maybe I can get you to watch either or both of them, and then get you to ask if the Hollywood remake added to the existing film it was indeed necessary.
Father, mother, daughter, and son – all unemployed – con a wealthy family into giving them jobs and manage to get access to their house… that is more than meets the eye.
Joon-ho Bong… the writer/director that brought you Memories of Murder (2003), The Host (2006), Tokyo! (2008), Snowpiercer (2013), and Okja (2017), to name but a few, strikes back with a comedy, drama, thriller that makes you laugh, cry, and hold your breath, and not necessarily in that order. Avoid spoilers at all costs. Parasite deserves to be watched with an “uninfected” mind. Then, and only then jump to conclusions about its metaphors, Bong’s thematic similarities with previous films, the clash of classes, and how similar concepts have been filmed in ways that yield entirely different results. Bring to your mind a new or an old film, one that had an impact on you or simply became popular. I still can’t stop comparing it and contrasting it to the same year’s Us (2019). Enough said…
Parasite is the first-ever Korean film to win the Palme d’Or at the 2019 Cannes and I can only imagine how Bong fell during the prolonged standing ovation it received. Hats off and congratulations to all cast and crew.
An ex-cop shows up in a prison island, shared by 12 Asian countries, where convicts are left to die, with the sole purpose to find his family’s killer and avenge their death.
This one went totally under the radar. The story doesn’t even remotely resemble something that could have happened in reality so, should you decide to watch it, don’t pay too much attention to the parts that don’t make too much sense. Why would you watch it then?
Bruce Khan! As per IMDb, he is the holder of:
A 4th-degree black belt in Hapkido,
A 4th dan in Korean Karate,
A 5th dan in Korean Kwal Bup,
A 4th dan in Korean Kyeoktooki.
And he is a lot more than that as a person. Like Bruce Lee, he had a severe back injury only to come back stronger. Hats off! He possesses agility, accuracy, speed, power… Honestly, I was not aware of the chap but I’m glad I got to know him. Certainly, I would have omitted certain characters and sequences in the film but once you watch it you’ll see why it was worth your while. Enjoy!
A little girl is trying to prevent a sketchy multinational company from kidnapping Okja, her genetically modified pet and best friend.
It would be great if “Okja” was “R” rated. To properly reveal what humans and animals alike mean to most multinational companies and organisations. Bong Joon Ho behind the camera, holds back to a certain extent but captures the essence nevertheless. Brad Pitt and Netflix in the production back him up, and Seo-hyun Ahn, Tilda Swinton, Jake Gyllenhaal and Paul Dano in front of the lens, support a vision that all of us need to stop turning the blind eye to. I salute cast and crew and pay my respects to them as they all give us a mild lesson on the paranoia behind a colossal company’s beautiful facade, its fancy logo, and its unfathomably brainless slogan.
The Animal Liberation Front exist, they are a real, leaderless organization, fight for animal rights all around the globe, and they are not as funny as they are portrayed in the film. Even so, “Okja” should be for everyone to watch and get an idea of how filthy and disgusting the mammoth food corporations are.
Booed at least three times at the Cannes Film Festival just for being Netflix, “Okja” itself does not deserve booing. This is the political side of cinema that I’m staying out as, whoever gets in the middle, gets caught in the crossfire of the Industry Giants’ war for money and power. Streaming vs Theatre and which productions deserve to go to which festival and why is not for us to decide and has nothing with us anyway.
You wanna see the real “R” rated version of “Okja”? Watch “Earthlings” (2005) and feel free to be ashamed. And cry your eyes out. I quit meat that very same day and wholeheartedly apologised for being human. https://www.youtube.com/watch?v=BrlBSuuy50Y