Paradise Murdered: Neither Horror Nor Comedy Or Anything In Between

I have often thought that Korean movies are distinguished by their propensity for defying genre. As such, romcoms can suddenly take dark turns into very unfunny violence, and thrillers may take side trips into the broadest slapstick without warning then return to nail-biting action just as quick. Paradise Murdered is a whole other kettle of fish however: a movie that appears to be a horror script directed as is if it were a comedy. The result is neither funny nor scary, although it's definitely bizarre in exactly how it displeases.

You can see why Kim Han-min took a comical approach with the material. If you played Paradise Murdered straight, the holes in the plot would be too gaping to overlook. Why does the doctor (Park Hae-il) insist on not allowing anyone else to investigate the initial murders? Why does nobody suspect the town drunkard (Sung Ji-ru) who clearly is having hallucinations and is responsible for at least two accidental deaths, not get tied up, locked up and gagged? How do we know for sure that the little girl is dead? Or the little boy's mother (Yu Hae-jung)? What's up with the chaste ghost (Kim Ju-ryoung)? Why is everyone leaving their sandals behind? Is there really a community out there that's going to rejoice about receiving endless sacks of pure sugar for being best remote island of the year?

As to why Kim even chose to shoot this script, that answer is infinitely more apparent. He wrote Paradise Murdered all by himself. Whether he honestly thinks it's hilarious or simply realized that mining the humor was his best shot at salvaging shoddy material is anybody's guess. All I ask is that you don't write off Kim as a director too soon because he's actually done some fine work since this freshman effort. Both War of the Arrows, his medieval epic, and Handphone, his contemporary thriller, score much higher with the public via IMDb and Asianwiki.com. In the case of the first movie, I heartily agree. In the case of the second, I still need to see it.

Guess what I'll be watching next?!

Doomsday Book: Three Short Films Herald End of the World as We Know It

The apocalypse elicits mixed feelings in me. The primacy of survival appeals to my minimalist bent. The mass destruction of life makes my heart break. Secretly, between you and me, I think that technological advancements don't always advance society but that doesn't mean that I want to see planet Earth turned into a cinder of its former self to make a technophobic point. The three doomsday scenarios played out in Doomsday Book tap into some of my fears and some of my frustrations about the end of the world scenarios, although only one does it in a way that's truly artful. That's not the first entry, Yim Pil-sung's In a Brave New World, a vegan parable that posits that one bad apple is going to transmogrify mankind into rageaholic zombies, after the rotten fruit is eaten by a cow that's eaten by another cow. The winner isn't the third short either, Yim's Happy Birthday. This woeful tale of world's end finds a little girl (Jin Ji-hee) mistakenly making an e-purchase for a meteor that resembles a giant 8-ball. You can scratch that one off your must-see list too.

The standout, for me, is -- Kim Jee-woon's The Heavenly Creature. This mesmerizing short concerns a service robot (voiced by Park Hae-il) at a Buddhist temple who may or not be the latest re-incarnation of Buddha himself. Both suspenseful and philosophical, The Heavenly Creature is chockful of clever social commentary about consciousness, loneliness, self-actualization, pets, corporate hierarchies, religion, perception, apartment dwelling, etc. It's strong enough to stand alone, even if it's running time is under an hour. The end is near. Who has time for a long movie?

Footnote for completists: Ryu Seung-beom headlines In a Brave New World as the Adam of the new zombie race while director Bong Joon-ho (The Host, Mother, Memories of Murder) also makes a brief appearance (in front of the camera for a change).

War of the Arrows: History and Archery Shoot a Pointed Arrow to Your Heart

I'm not sure why the idea of watching a historical drama tends to dishearten me because when I think about it, I bet I like them more often than I don't. Looking back over the years, I can immediately name a few epics set way back when which made my annual top ten lists: The King and the Clown, A Frozen Flower, Musa - The Warriors... Even so, I was ready to be bored to tears when I sat down to watch War of the Arrows. Boy, was I wrong.

Kim Han-min's anything-but-dull drama set in the 17th century is, for all its fancy robes and bedazzled leather, a heart-stopping action pic with an extended chase scene in which bows and arrows prove every bit as thrilling as martial arts or souped-up weaponry ever did.

On the run is Nam-yi (Park Hae-il), a disgraced archer whose father was beheaded for being a traitor, and whose sister Ja-in (Moon Chae-won) is, at one point, abducted by a Manchurian kidnapper-prince (Park Gi-woong) who wants to tame her like a leopard's pelt. Well, the royal rapist is about to learn not to mess with an independent woman with a strong set of teeth. As to his invading militia, they're about to pay the price for underestimating members of the Joseon Dynasty.

Pursuing Nam-yi is a bald Machurian commander (Ryoo Seung-yong), his second-in-command Wanhan (Lee Seung-joon), and their small posse of fellow warriors who despite tricked up arrows and studded leather armbands, find themselves dropping off one by one. A random tiger that comes out of nowhere doesn't help matters for them either.

Although half of War of the Arrows is consumed by this great chase, my favorite part comes right beforehand -- an uplifting scene in which a feudal lord's son (Kim Mu-yeol), assisted by lovable sidekicks Gang-du (Kim Gu-taek) and Gab-young (Lee Han-wi), leads a prisoners' revolt against the invading army. Tired, dirty, and unarmed, the townsfolk charges their captors and through sheer numbers and unstoppable fury drive the enemy into the sea before burning the Manchurian flag. It's one of those common man against the oppressor feel-good scenes that always makes you feel more optimistic about being one of the hoi polloi.

Note: Some reviews accuse War of the Arrows of plagiarizing Apocalypto which does make me want to see the latter movie.

The Host: Honey, I Lost the Kid... to a Mutant Monster

Government. Military. Big business. The medical establishment. The media. Which is the most inhumane, the most corrupt, the most evil? While The Host's central family unites to track down the aquatic Godzilla who's kidnapped their daughter (Ko Ah-sung), director Bong Joon-ho hilariously castigates the movie's true villains -- those power-crazed officials who keep getting in their way. Yet The Host is hardly some diatribe of antiestablishmentarianism; Bong is critical of his core characters, too: the slacker dad (Song Kang-ho), his self-defeating sister (Bae Du-na), his bossy brother (Park Hae-il) and the lovable grandfather (Byeon Hie-bong). Everyone does stupid things, no matter what your walk in life. To err is human. But what's also human are the brave, crazy acts that love can inspire us to. What elevates The Host from Kaiju camp to exceptional monster movie is how Bong uses familial love -- as opposed to romantic -- to propel his four squabbling yet noble family members to the very bowels of the Earth. You could say their rescue efforts fail but the final image of a re-configured family of survivors is nothing if not uplifting. Song's performance as the endearing doofus dad is frankly unforgettable.