Review: "The Host" (2006)

More than a chilling horror movie, “The Host” is also a taut drama and sometimes slapstick comedy about a dysfunctional family that comes together to battle both monster and man in order to save one of their own.

The story revolves around the Park family headed by the owner of a tiny snack stand on the banks of Seoul's Han River. He lives with his dimwitted, slacker son Gang-du and Gang-du’s teenage daughter, Hyun-Seo. Rounding out the family is Gang-du’s sister, an Olympic caliber archer, and younger brother, an angry unemployed college graduate. One bright sunny day, a squid-like monster from the river emerges to feed on humans, capturing Hyun-Seo and carrying her off to his lair for a later snack. When a call from a cell phone reveals that Hyun-Seo is alive and trapped in a large sewer, the family galvanizes to save her.

“The Host” delivers a unique twist on the chills and thrills expected of a monster movie. Sure the fish-like creature is horrific to look upon and preys on human flesh but it also has some fine acrobatic talents that enable it to dive gracefully off a bridge into the river with minimal splashing or execute a series of back flips worthy of an Olympic gymnast. The expected “monster chase” sequence at the beginning is visually stunning and truly scary even though all the action occurs in broad daylight.

Scary bits aside, some of the most poignant moments are the quiet scenes with Gang-du and his family as they begin to reconnect and learn to trust each other. Each character is fleshed out and has a unique obstacle to overcome and so we care about them and root for their success, especially as it becomes obvious that they can only rely upon themselves.

“The Host” is also unique is that it’s one of few horror movies that delivers biting social satire. Not only do the Parks have to battle their own inner demons, they have to dodge the clutches of the local authorities who think they’re contaminated by a virus. As officials round up the populace, disregarding civil liberties and all common sense in the process while fueling ever greater levels of panic and chaos, and unleash a dangerous plan to destroy the monster, we come to realize that the focus of our horror is not so much the creature but the inept and deceptive government and its disregard for humanity and the environment.

Review: "Yojimbo" (1961)

Akira Kurosawa’s “Yojimbo” is a suspenseful and darkly humorous samurai-Western with a subversive take on the traditional samurai archetype. Visually stunning, well-acted and filled with interesting characters, the film’s observations on human behavior are timeless.

Taking place in late 19th century Japan, the main character, Sanjuro (Toshiro Mifune) is a masterless samurai roaming the countryside looking for work. He stumbles into a desolate village where two rival clans are fighting for control of the territory. Viewed as a superhero savior to the townsfolk, he uses his wits and the power of his sword to pit the rival clans against each other hoping to secure the best offer for his services. This results in some comic moments as both sides pander to Sanjuro to win his loyalty. Although Sanjuro is an opportunist, he sees both clans as evil and determines to take them both down by turning them against each other. But in the end an act of compassion puts his life in danger and he is forced to improvise an escape.

In addition to its compelling story, “Yojimbo” is distinguished by stunning black and white cinematography which contributes to the suspenseful atmosphere. The acting is also strong. Toshiro Mifune radiates an intense presence as the brooding and clever samurai and Tatsuya Nakadai embodies the snake-like charm of his villain with ease.

Review: "My Neighbor Totoro" (1988)

“My Neighbor Totoro” is a warm-hearted and enchanting animated family film that explores the blissful wonder of being a child. It focuses on the journey of two girls, Satsuki and her kid sister Mei, who move with their father to the Japanese countryside and discover a new world filled with fascinating and fantastical creatures. As they explore their new surroundings the girls encounter Totoro, a large, fuzzy, silent raccoon-type of creature living in a huge camphor tree and known as the “king of the forest”, and embark on a series of magical adventures.

Unlike some of Miyazaki’s previous feature films like “Castle in the Sky” and “Nausicaa of the Valley of the Wind” which emphasize dramatic conflict and thrilling battles, “My Neighbor Totoro” is more concerned with observing a slice of life of two very real, likeable and spirited young girls as they use their resources of imagination to fuel adventure and overcome obstacles. What’s truly amazing is how Miyazaki evokes the magic and wonder of childhood, capturing in realistic detail the emotions and activities of ordinary children as they explore and settle into their new surroundings.

The visuals, as in all Miyazaki films, are stunning – the recreation of a rural Japanese landscape is detailed and realistic while the magical creatures are enchanting and one of kind. Yet it is Satsuki and Mei that resonate the most. We come to care about them and are concerned for them when things go wrong.