Review: "Mother" (2009)

“Mother” combines family drama, murder mystery, horror and dark comedy into a suspenseful and intelligent thriller. The premise is deceptively simple: how far will a mother go to protect her child and prove him innocent of a crime?

In the hands of the talented Korean director, Bong Joon-ho, the mother is a lonely and overly-protective woman whose life is devoted to caring for her mentally disabled twenty-something son, Do-Joon. One day a young girl from the neighborhood is found brutally murdered and, based on flimsy circumstantial evidence, Do-Joon is hastily charged with the crime. Faced with a lackadaisical police system and a lazy lawyer, the mother has no recourse but to investigate the crime herself and will stop at nothing to prove her son’s innocence.

As with his previous work, Bong Joon-ho weaves together an exciting, off-kilter psychological thriller filled with mysterious characters, surprising twists and turns, stellar performances and underlying social commentary (in this case, a critique of the criminal justice system). Especially noteworthy is Kim Hye-ja’s performance as the mother: she adeptly embodies a mother’s loving and protective aspects while expressing a subtle undercurrent of hysteria that drives her obsession to free her son. Bin Won, apparently cast against type as he’s considered the “hot guy” in Korea, also gives a moving performance as Do-Joon: a gentle, innocent and moody man-boy who remains an enigma. Kudos must also be given to the cinematography: the use of distorted angles and a muted blue/gray color palette effectively communicate the film’s dark and disturbing tone.

Review: "Thirst" (2009)

With “Thirst”, Korean director Park Chan-wook crafts a visually stylish twist on the vampire myth that succeeds both as a classic bloodstained horror movie and as a psychological drama that explores the dark depths of human nature.

Taking as its inspirational source the novel “Therese Raquin” by French author Emile Zola, “Thirst” focuses on the story of a good Catholic priest who, while volunteering for a dangerous medical experiment to treat a deadly disease, is accidentally transformed into a vampire. A reluctant vampire, he slurps blood from the IV tubes of comatose hospital patients rather than kill innocent people. Unfortunately for him, his bloodlust also manifests as an unquenchable “thirst” for the beautiful wife of his childhood friend. And so begins a time-tested tale of suffering, death and redemption.

Aside from a compelling story which is refreshed by being transported to modern day Korea, “Thirst” excels at conveying the intense feelings associated with desire and how they lead to complete destruction. Cinematography, set design and music work together to evoke a sense of claustrophobia and desperation.

The performances of the lead actors are also top-notch. Song Kang-ho captures the sense of forlornness appropriate for a priest turned vampire. But it is Kim Ok-bin who shines in the "Therese Raquin" role, transforming her character from innocence to sensuality and culminating in demonic rage.

Review: "Memories of Murder" (2003)

Based on a true story about a serial killer who terrorized a rural Korean village, “Memories of Murder” is a powerful crime thriller that combines moments of comical absurdity and gripping suspense.

While the plot unfolds as a typical police procedural, the scope of the story is much broader and it packs an emotional resonance not often seen in the genre. On one level, it’s a “buddy cop” story that focuses on the conflict between the two detectives assigned to the case: Park Doo-Man (portrayed by Song Kang-Ho in a terrific performance) is the jaded, earthy insider who relies on instinct and brute force to solve the case. He clashes with Seo Tae-Yoon, a quiet, methodical detective sent from Seoul, who values analytical thinking and disdains his country bumpkin peers. On another level, “Memories of Murder” casts a satirical eye on Korea’s military dictatorship during the 1980’s, underscoring the ineptitude of the murder investigation despite the substantial manpower resources deployed.

Although the whodunit aspects of the movie are compelling, director Bong Joon-Ho’s focus is not so much on the crimes but on the detectives, their increasing frustration and obsession with nailing the perpetrator over the course of the investigation and how they learn from each other and change. The tension is palpable as various suspects are dismissed by the evidence, with the solution always remaining just out of reach.

Acting performances are uniformly strong and the stellar cinematography underscores the dark, macabre tone. Although more a character drama than action-thriller, “Memories of Murder” boasts a very cool chase on foot sequence at night that is on par with any classic action flick and should not be missed.

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.