Review: V.I.P. Is D.O.A.

By Pierce Conran

Following his period epic The Tiger, director Park Hoon-jung scales down his ambitions for the North Korea-themed investigative thriller V.I.P., a brooding procedural that lumbers its way through a serial killer tale mired in political intrigue. Much like his hit gangland opus New World, several (male) actors share top billing but each struggle in cliche-riddled roles.

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News: Song Kang-ho Drives into 10 Million Viewer Club for 3rd Time with A TAXI DRIVER

By Pierce Conran

Jang Hoon's Gwangju drama A Taxi Driver drove past the 10 million viewer mark ($69 million) this morning (August 20), on its 19th day of release. It's the 15th Korean film to do so (19th overall) and the only one this year.

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News: Fox Resuscitates A BITTERSWEET LIFE Remake with Michael B. Jordan

By Pierce Conran

Stop me if you think you've heard this one before but a remake of A Bittersweet Life is reportedly coming together at 20th Century Fox with Michael B. Jordan taking on Lee Byung-hun's classic gangster role and former animation director Jennifer Yuh Nelson filling Kim Jee-woon's shoes in what is tipped to be a franchise-starter.

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News: Lee Chang-dong Gears Up to Film BURNING, Based on Murakami Short Story

By Pierce Conran

We haven't had a new Lee Chang-dong film since 2010's magnificent Poetry but we got our hopes up last year when his new project Burning was announced, only to have them savagely dashed when a copyright issue stalled the production. That snag has now been resolved and production is set to begin on his new film in the middle of September.

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Review: OKJA Will Make You Jump for Joy and Burst into Tears

By Pierce Conran

An endearing family adventure, a bitter ecological plea and a rousing action film all rolled into one, Okja proves once more that Bong Joon Ho is a master of twisting something new out of the familiar. While Netflix's gamble screams to be seen on the big screen, this colorful fantasy should be warmly received by global subscribers when it goes live on June 28th.

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Review: THE MIMIC, A Slick and Spirited Addition to K-Horror

By Pierce Conran

Four years after his strong debut Hide and Seek, director Huh Jung returns to a mid-August release date with his follow-up The Mimic. With better-than-average casting, this chilling and polished countryside take on a local urban legend may be the best Korean horror film in several years yet due to a problematic script it falls short of the genre’s heyday over a decade ago.

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Review: ANARCHIST FROM COLONY Gets Lost on the Way Home

By Rex Baylon

Lee Joon-ik’s latest film Anarchist from Colony is a continuation of the director’s fascination with the grand events of Korean history. From King and Clown, a film about the relationship between a Joseon dynasty king and a troupe of street performers, to Blades of Blood, about a Zatoichi-esque character during the early days of the Imjin War, Lee has focused on the perspective of the marginalized. This continues with the story of Park Yeol, a Korean anarchist who had grand designs on killing the Japanese emperor Hirohito, all in the hopes of freeing Korea from Japanese control, but was arrested and tried for treason before he could put his plan into action.

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Review: THE VILLAINESS Shoots and Chops Her Way to Bloody Revenge

By Pierce Conran

Korean action cinema bursts through to new horizons in the hyperkinetic pulp blade and bullet ballet The Villainess. Equal parts Kill Bill, Nikita, John Wick, Hardcore Henry and HK-era John Woo, the second film from Confession of Murder director Jung Byung-gil is an inspired but exhausting entry into this year's Midnight Screenings lineup at the Cannes Film Festival.

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BiFan 2017 Review: RYEOHAENG Casts Abstract Light on NK Refugees

By Pierce Conran

Director Im Heung-soon returns for his third feature, casting his artistic light on another under-served segment of the population with the documentary Ryeohaeng. Focusing on the lives of several female North Korean defectors in Korea, Im contrasts talking heads positioned in some unusual locations with dreamy reveries and musical sequences.

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Review: THE FIRST LAP, Stellar Cast Warms Up Strong, Low-Key Drama

By Pierce Conran

Director Kim Dae-hwan builds on the strengths of his debut End of Winter with another character-driven drama dominated by family gatherings, long takes and strong performances. One of this year's Jeonju Cinema Projects, The First Lap debuted in Jeonju this past spring and is having its international premiere in the Filmmaker of the Present competition in Locarno.

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Review: MIDNIGHT RUNNERS Reaches Finish Line with Gags, Brawls and Thrills

By Pierce Conran

Koala director Kim Joo-hwan graduates to commercial cinema in fine form with the entertaining youth cop comedy-thriller Midnight Runners. Featuring heartthrobs Park Seo-joon (Chronicles of Evil) and Kang Ha-neul (Dongju: The Portrait of a Poet) in roles that are equal parts cute and heroic, this slick bromance should prove particularly popular with young women at home.

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BiFan 2017 Review: SUDDENLY IN DARK NIGHT Goes Bump in All the Right Places

By Pierce Conran

From Kim Ki-young’s The Housemaid in 1961 all the way to Park Chan-wook’s The Handmaiden last year, Korean cinema has delighted in torrid tales of disruptive house servants. Whether as a way to contrast social classes or explore illicit sexuality, it has remained a compelling source for bold filmmakers. Ko Young-nam’s 1981 erotic psychodrama Suddenly in Dark Night, though less complex than the aforementioned, is another fine example of the sub-genre.

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Review: THE MERCILESS Punches Up Familiar Gangster Tale

By Pierce Conran

After helming a low-key music drama (The Beat Goes On) and a romantic comedy (Whatcha Wearin'?), director Byun Sung-hyun finally shows off what may be his true colors in the brash and confident half gangster thriller, half prison drama The Merciless, the second Korean film to be featured as a midnight screening in Cannes this year.

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BiFan 2017 Review: COFFEE NOIR: BLACK BROWN Brews Fresh Prohibition Drama with a Bitter Kick

By Pierce Conran

An intriguing concept can be enough to pull you into a film but what keeps you there is a sense of purpose and steadfast execution. Korean indie Coffee Noir: Black Brown, the third film from emerging talent Jang Hyun-sang, which premiered last month in competition at Bucheon, delivers on all three counts. This delightful and odd prohibition drama is grounded by Jo Soo-hyang, whose performance remains unwavering, even when some of the story threads around her don’t quite mesh.

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Review: THE DAY AFTER Offers Bitter Portrait of Infidelity

By Pierce Conran

Returning to black and white for the first time since The Day He Arrives (which screened in Un Certain Regard in 2011), Hong Sangsoo returns to the Cannes competition section with The Day After, a focused rumination on love and betrayal which is, much like his other 2017 films On the Beach at Night Alone and fellow Cannes-invitee Claire's Camera, an act of bitter self-reflection.

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BiFan 2017 Review: ROOM NO. 7 Gets A 6 At Best

By Pierce Conran

Following his acclaimed indie 10 Minutes, director Lee Yong-seung once again examines the plight of the working man in Korea with his commercial debut Room No. 7, which serves as the opening film of this year's Bucheon International Fantastic Film Festival (BiFan). Shin Ha-kyun and new star Doh Kyung-soo partner up for the pressure cooker comedy with a hint of genre flair.

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Review: REAL Makes Korean Noir Gloriously Camp, Weird and Amazing

By Pierce Conran

In the same week that a new release was embraced by the media (Bong Joon-ho's Okja), another was making headlines for all the wrong reasons. So strong was the vitriol for Real, a vehicle for Asian superstar heartthrob Kim Soo-hyun (Secretly Greatly), that lambasting it on social media quickly turned into a sport.

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BiFan 2017 Review: BEHIND THE DARK NIGHT Swedes Its Way to Victory

By Pierce Conran

Low-budget, semi-autobiographical indies about young men trying to make their feature film debuts have been done to death in Korea (Cheer Up Mr. Lee, We Will Be OK and Director's Cut come to mind), so expectations were muted for Behind the Dark Night, a new Korean competition film in BiFan this year. However, any negative assumptions were quickly dashed as this mockumentary of student filmmakers proved itself to be the most endearing debut to be seen in BiFan since Baek Sung-gi's riotous Super Virgin in 2012.

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Review: A TAXI DRIVER Rolls Up to Korean History with Grace, Humor and Tears

By Pierce Conran

History and commerce combine to terrific effect in the protest drama A Taxi Driver. Song Kang-ho is remarkable in his second film with director Jang Hoon, following Secret Reunion, while German star Thomas Kretschmann delivers what is probably the best performance by a major western actor in a Korean film. Despite some slight overreach in its final act, this is Korean blockbuster drama done right.

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Review: THE BATTLESHIP ISLAND, Impressive Action Torpedoed by Nationalism

By Pierce Conran

UPDATE (Aug 8): Following a rare change of heart after seeing the film a second time, I've decided to change my original star rating The Battleship Island. I can't say that my criticisms are any different, but watching the film without having to sort through the dense story and its characters allowed me to appreciate many of the film's impressive details.

Following a pair of blockbusters, action maestro Ryoo Seung-wan aims to outdo his past successes with The Battleship Island, the biggest Korean release of the year. Set on a Japanese labor camp island, this star-driven, big-budget period escape drama strives for greatness but falls short, with a harried narrative too consumed with nationalist sentiment. That said, a bombastic climax sees Ryoo and his team put their best feet (and fists) forward in an impressive display of choreography and staging.

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Review: A SINGLE RIDER Subtly Ponders the Small Regrets of Life

By Pierce Conran

A few months after the explosive period spy thriller The Age of Shadows from genre maestro Kim Jee-woon, Warner Bros is back with its second Korean production A Single Rider. Though both films share star Lee Byung-hun, who appears as an extended cameo in Kim’s work, A Single Rider, from debut filmmaker Lee Zoo-yong, is a far smaller work with only a handful of characters and which is largely concerned the theme of regret.

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Review: FABRICATED CITY, Mediocrity Hidden Behind Big-Budget Thrills

By Pierce Conran

Twelve years after the success of Korean War comedy-drama Welcome to Dongmakgol, director Park Kwang-hyun is finally back in theaters with the action-thriller Fabricated City. A tale of gamers and conspiracies in modern Seoul, Park's latest presents itself as a high concept twist on a familiar story but quickly abandons its ambitions and proceeds as a gratingly by-the-numbers effort.

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Berlinale 2017 Review: ON THE BEACH AT NIGHT ALONE, Hong Sang-soo's Most Personal and Cruel Film to Date

By Pierce Conran

A new year has arrived and with it the challenge of reviewing a new work from Korea's arthouse darling Hong Sang-soo. On the Beach at Night Alone, which borrows its name from the title of a Walt Whitman poem and premieres at the Berlin International Film Festival, his third time there in competition after Night and Day and Nobody's Daughter Haewon, certainly does not depart in any significant way from the stylings and themes of his body of work to date.

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Review: DONGJU: THE PORTRAIT OF A POET Offers Sober and Compelling Look at Korean History

By Pierce Conran

During the last year, the floodgates have opened for the Japanese Occupation Period in mainstream Korean cinema, yet The King and the Clown (2005) helmer Lee Joon-ik, arguably Korea's top purveyor of commercial period fare, has opted to tackle the period with his first ever indie film, and shot in black and white no less. A sober account of a difficult time in modern Korean history, Dongju: The Portrait of a Poet combines a young cast with a literary script, delivering one of the most unique Korean period films of recent memory.

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Review: PANDORA Melds Melodrama and Fukushima Fears

By Pierce Conran

Though not a new phenomenon in Korean cinema, the disaster drama has been particularly popular in 2016 and just as we wind down the year the local industry is preparing to launch one final assault on multiplexes with the release of Park Jung-woo's nuclear-themed extravaganza Pandora. From the same studio that brought us Train to Busan and featuring both the director and star of the 2012 disaster hit Deranged, the film has plenty of pandemonium pedigree behind it and already has the distinction of being the first Korean film to ever pre-sell to global online streaming giant Netflix.

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Review: CONFIDENTIAL ASSIGNMENT, A Routine Action-Comedy for the Whole Family

By Pierce Conran

After taking a back seat to Joseon Era dramas and then Japanese Colonial Era films over the last few years, tales of North Korean spies are ramping up to make a big comeback on screens in 2017. The first of four big-budget Korean spy action-thrillers on the way, Confidential Assignment landed just in time for the busy Lunar New Year holiday and has proven to be another smash success for hit making production house JK Films. But like their previous efforts, the commercial calculation of this multi-genre gambit dilutes the effectiveness of its familiar moving pieces.

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Review: THE KING, A Korean Scorsese Crime Saga

By Pierce Conran

Coming in the midst of an unprecedented political scandal and benefitting from a prime Lunar New Year holiday release date, prosecutor drama The King aims to be the first Korean hit of the year. A glossily entertaining saga with big stars, timely corruption themes and a boatload of Scorsese references, this fourth film from director Han Jae-rim aims for greatness until a finale that ultimately buckles under the weight of its own political ambitions.

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31 Most Anticipated Korean Films of 2017

By Pierce Conran

After a stellar 2016, many are keen to see if Korean cinema can muster the same quality lineup in 2017. However, though I've highlighted a few more titles than last year, I'll say right now that this year is unlikely to rival the last, when we were treated to terrific new outings from Kim Jee-woon, Park Chan-woo and Na Hong-jin, among many other outstanding new discoveries.

That said, many interesting films are on the way and a few incoming trends are noticeable. This list is very subjective and omits many films that I'm personally not excited about or may not have heard of. As always, many of the year's best films will surely be independent productions that will remain off my radar until they secure festival premieres.

Some of you may have heard that Lee Chang-dong is making a new film, but I'm sorry to inform you that due to a large production snag, that project that may never come to life, so has been omitted here.

Enjoy and please let me know if I've missed anything and what you're most looking forward to this year!

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Top 15 Korean Films of 2016

By Pierce Conran

While 2016 has a been a difficult year in many regards, one area where it has excelled has been Korean cinema. With big auteurs returning with some of their best work, younger filmmakers making their presence felt and another new batch of promising indies, the industry has put out its best crop of films in years.

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Review: THE TRUTH BENEATH Unearths Dark, Stylish Mysteries

By Pierce Conran

A great year for Korean genre cinema keeps getting better with the release of Lee Kyoung-mi's long time coming sophomore feature, the riveting The Truth Beneath, a sumptuous and anarchic political thriller, kidnap drama, suspenseful whodunnit and kaleidoscopic descent into delirium. Falling between the stylistic panache of Park Chan-wook's Lady Vengeance (2005), on which she was a scripter and assistant director, and the manic paranoia of Tetsuya Nakashima's Confessions (2010), Lee's latest features a career-best performance by Son Ye-jin in a narrative that occasionally gets mired in tonal vagaries.

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27 Most Anticipated Korean Films of 2016

By Pierce Conran

More so than usual, it took a long time to compile this year's 'most anticipated Korean films' list for the simple reason that there's so much on the horizon. Some of Korea's master directors return, following their US debuts, and there are many tantalizing combinations of talent and concept waiting in the wings.

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