The Host, Memories of Murder

I've seen quite a number of South Korean films - but only from two directors: Kim Ki-Duk, almost always brilliant, beautiful and frightening poetics films, and Park Chan-Wook, maker of the vengeance trilogy, which are absolutely stunning. Recently I got to know a third Korean director Boon Joon-Ho. I've seen two films by him, The Host and Memories of Murder. He can mix tragedy and comedy like no other, right in a specific scene it will go from heart-wrenchingly tragic to laugh-out-loud funny, I think that's a real quality


The Host is a monster picture, metaphorically I guess. I really liked the characters, how it moved almost seamlessly between genres, and of course the elegant mix of tragedy and comedy. It does get a bit erratic though, and the ending feels pretty forced. Plus monster pics aren't really that interesting, metaphorical or not. 7/10


Memories of Murder is about a serial killer (true story) wreaking havoc in a small Korean community in '86. His victims are all young girls, raped and strangled. The two local detectives are more interested in closing the case than solving it, and repeatedly try to pin it on random innocent towns people, usually by beating them until they confess. That changes when Mr. big-city detective volunteers to solve the case. This film can also be interpreted allegorically, as a criticism on the government and methods of that period, but you don't have to to enjoy it. As a serial killer film, it's one of the best I've ever seen. I would rank it right up there with Seven, not because the story is brilliantly clever, but because it's parts work so well together. There is a real sense of true character development, and again it moves elegantly between tragedy and comedy. I can't recommend this enough, unless you're squeamish of course, 'cause it is certainly dark (and funny). 10/10

Notwist, Black Angels, Bon Iver

New music I'm listening to:


The Notwist - The Devil, You + Me
The original indietronica act have released the long awaited follow-up to the masterpiece Neon Golden, as predicted it doesn't quite live up to the expectations but it's still a very good album.


The Black Angels - Directions to see a Ghost
Texas retro-psych-rockers releases their second album. My initial feelings is that it is a bit weaker than the first, but I might end up going either way.


Bon Iver - For Emma, Forever Ago
He might be another bearded man with a guitar, but this is one beautiful album.

Pride & Prejudice - Atonement

Joe Wright and Keira Knightley - what a great duo. Wright is the instructor of both the newest adaptation of Pride & Prejudice from 2005, and the amazing film Atonement based on Ian McEwan's novel by the same name. Now amidst all my film snobbery, I have a serious soft spot for romantic and intelligent films like these two, and Wright certainly made two great films. Pride & Prejudice of course suffers somewhat from the unfavourable comparison to the amazing BBC series from 1995 (really there can be no other Mr. Darcy than Colin Firth), who of course is the authorative adaption. But regarding the film for itself, and not an adaptation of Jane Austen's famous novel (which I have yet to read), it most certainly is amazing in every way. The casting is spot on, and the camera work is absolutely sublime.


Last years Atonement is also very British, but moved up to the countryside in the 1930's. Here again Wright spoils us again with an absolute perfect cast and wonderful wonderful cinematography (the one-take of the Dunkirk beach evacuation, need I say more?), and McEwans great and tragic love story (which I have read, and also highly recommends). The tempo, the mood the costumes, the Oscar winning score - all marvellous.

If you have an ounce of romanticism in you, you should see both of the great films - 9/10 to both - Gods, can you ever get tired of looking at Keira Knightley's stunning visage?

Indiana Jones and the Kingdom of the Crystal Skull

A new Indiana Jones film?! Jesus, don't those money-grubbing Hollywood whores hold anything sacred. Harrison Ford can never be replaced, they should know that. Oh he still plays Indy? Isn't he like in a wheel chair? 66 huh? We'll I guess that's all right then, and Spielberg and Lucas too huh? Still, you know it's going to be one of those films full of this ridiculous meta-humour, where it keeps referring to the old films, and how funny it is that they are making a new one but now the actors are old. You know with all the old elements, juxtaposed so the joy of recognition will make the audience applaud.

Actually the film was awesome, and I was entertained from start to finish. Ford does a wonderful job, and the aging Indy thing is all handled very sensible and elegant. It's a great reprise by Marion, who of course was the only woman for Indy, and the sparks still fly when the two of them are in a scene together. The effects are awesome (especially the nuke wink wink), and the CGI is realistic and well-made - except perhaps for the goffers. The story is a bit weak and incoherent, and the villain (Cate Blanchet) was a bit too cartoonish for my taste, but all in all it was everything it should and could be, and an awesome trip down childhood lane.

7/10

Lust, Caution

Ang Lee certainly is a versatile film maker. From Hulk to Brokeback Mountain and everything in between. This time he's created a great historical piece, romance and espionage thriller, with the depth and breadth of an epic. Incredible the film manages to work on all these levels, not at least thanks to an amazing cast - the well-established Tony Leung (stars in everything from Woo's early Hong Kong action flicks to Wong Kar-Wai's art house films), debutante Wei Tang, who does an incredible job, and Joan Chen (aka Josie Packard) who actually speaks Chinese.
Set in China during the Japanese occupation during the second world war, it revolves around a Chinese collaborator (Leung), and the plot to murder him by a small resistance group. Tang's character goes undercover to get close to him, and becomes his mistress. A function she at first despises, but since grows to enjoy.
As a historical piece, it's beautifully done. Big Shangai street scenes, with bustling traffic of rickshaw's zipping to and fro take your breath away, and costumes, hair and so forth all looks completely authentic. As a thriller, it's very exciting and unpredictable, and finally the romantic aspect of it, might just be the most gripping. The relationship between Leung and Tang is an odd one. At first you are repulsed by it, but since then it becomes beautiful and tender - and of course tragic. The sex scenes between the two, are extremely explicit (not for the weak of heart - you actually see Tony Leung's hairy balls) and frequent - perfectly illustrating the direction their relationship is undergoing, from brutal rape-like sex to tender and affectionate love-making.
It's a great film Lee has composed, and should hold an interest to a wide aspect of a mature audience.

You see this girl naked, repeatedly