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Dating agency korean movie

Dating agency korean movie

Korean Film Council. Seoul population: They are monitored by South Korean N. Something goes wrong, and a gunfight breaks out. Pyo barely escapes with his life, but manages to elude Jeong, obsessed with bagging him. It appears that someone in the North Korean embassy has been selling secrets and is now preparing to defect to the South. Pyo begins to suspect his estranged wife Ryeon Jeong-hee Jeon Ji-hyun, a.

Gianna Jang, The Thieves. Meanwhile the Northern headquarters is sending Dong Myung-soo Ryoo Seung-beom, Perfect Number , a sadistic interrogator and cold-blooded assassin, to clean up the mess. The Berlin File was one of 's biggest domestic hits 7. Although apparently beset by a series of production difficulties, it is an impressively mounted thriller: Many domestic viewers compared the film to the Jason Bourne series, but despite a few superficial concession to the latter's fragmentary style, The Berlin File is a throwback to the "serious" espionage thrillers of '60s and '70s, films such as The Quiller Memorandum , also set in Berlin and written by Harold Pinter , A Dandy in Aspic and Three Days of Condor Ryoo, who also penned the film's unusually for him taut screenplay, again seems to have achieved what he does arguably better than almost any other Korean filmmaker: What I actually saw, however, was nothing like that.

On the contrary, Ryoo's film departs from most current South Korean hits featuring North Korean agents, such as Secret Reunion and Secretly, Greatly , in that he eliminates South Korea as a site of consumer-capitalist everyday activity into which pretty boy Northern agents have to assimilate themselves. Neither do, despite the crowd-pleasing presence of Han Suk-kyu, Southern agents play a significant role in The Berlin File. Instead, the film works best when Ryoo focuses on the intolerable paranoia and distrust that poison and undermine the integrity of North Korean characters.

Here, his casting of Ha Jung-woo and Jeon Ji-hyun is excellent. Ha may not be as brilliant as, say, Song Kang-ho, in conveying tormented psychological inner workings of the outwardly taciturn warrior, but he still commands the screen with bristling charisma one of his best-known, pre-stardom stage roles, by the way, was, appropriately, Othello. Jeon matches him blow by blow as a radiant beauty whose disappointment in her husband and her life is eating her from inside out.

And as usual, Ryoo Seung-beom is fantastic as a sadistic, leering North Korean assassin, who perfectly captures the mock-suave panache of a European-boarding-school-educated, jet set kid easing into a life of immediate material gratification and criminal activities. Indeed, Ryoo's Dong Myung-soo seems to be the perfect embodiment of the quasi-anarchic, utterly ruthless pursuit of power that seems to be the true credo of the North Korean rulers, beneath their Communist or nationalist flag-waving.

You want Reunification? Be my guest: Ryoo stumbles somewhat in a series of extravagantly ambitious action sequences that build up to the film's finale, with its occasionally haphazard continuities and CG-rendered, cheap-looking explosions. Another problem is the strangely unconvincing characterization of Han Suk-kyu's Agent Jeong, compared to his Northern counterparts.

His interaction with a C. On the other hand, technical specs are dependably superior. DP Choi Young-hwan The Thieves , reunited with Ryoo after a decade following their collaboration in No Blood No Tears , and Lighting Director Kim Seong-gwan portray Berlin, through impressively extensive location shooting, as a city pregnant with old secrets, bustling with busy population yet pocketed with dark corners and wood-paneled back rooms.

The hand-to-hand combat choreography, designed by Ryoo's longtime collaborator Jeong Doo-hong and Seoul Action School, actually works better when it is essentially two people smashing each other with various kitchen implements and office tools in a narrow apartment corridor. In the end, exciting and beautifully rendered as they are, I cannot help wonder if the movie really needed these head-spinning action set pieces. All in all, The Berlin File is a flawed but terrific and gutsy espionage film.

Rather than paying lip services to the "Northerners are human beings too" rhetoric of ethnic reconciliation, the film addresses the fact that the Cold War ideology still survives in North Korea precisely because it serves the interests of the top-of-the-food-chain jackals like Dong and his clan, the paterfamilias of which is played by Myung Gye-nam in an amusing cameo , who continued to fatten themselves at the expense of ordinary working stiffs like Pyo and Ryeon.

As Dong sneers at one point, "People always change," even if the ideology remains unchanged. Casually disregarded by her work colleagues, she knows that her career is going nowhere, but there's nothing she can do about it. One night she hits bottom. Stranded on a beach in the middle of nowhere, she comes across an eccentric middle-aged man selling inspirational videos.

He urges her to buy his masterwork, "Instructions on How to Use Men," telling her that it will change her life, and give her the skills she needs to find success and happiness. She doesn't believe him for a second. But she buys the video. How to Use Guys with Secret Tips is in some ways a fairly standard Korean romantic comedy, except that it's funnier and more engaging, and ultimately much better than you would expect.

Director Lee Won-suk, a graduate of the American Film Institute, maintains great comic timing and even manages to keep the audience's interest in the final reels, which are a weak point of many Korean romantic comedies. Boosted by great performances and a multitude of gags that are genuinely funny, the film produced strong word-of-mouth among viewers, though not soon enough to save it in a month when it was sharing screens with box office behemoths The Berlin File, New World and Miracle in Cell No.

Much of the buzz surrounding this film centers on the two charismatic leads. Lee Si-young has an unusual star image: Lee originally learned boxing as part of her preparation to act in a TV drama, but then she continued training and eventually won several amateur boxing championships in the 48kg weight category.

Although this doesn't bear directly on her role in How to Use Guys with Secret Tips, her slightly "tough" image remains in the back of viewers' minds, and is toyed with in certain scenes.

The actor playing opposite her, Oh Jung-se, portrays a massively popular star who initially treats Bona with disdain, but later falls for her charm. Oh is a theater actor who has appeared in many supporting roles over the years, but his performance in this film has earned him special attention. Despite being the object of ridicule in numerous scenes, his underlying, offbeat charm runs constant throughout the film. Praise is also due to the veteran Park Young-gyu Attack the Gas Station , who plays the video salesman and appears as the presenter in the video segments themselves.

These short instructional clips, which run intermittently throughout the narrative, are deadpan, intentionally amateur in style, and hilarious. Korean romantic comedies seem to be maturing in some ways, or at least adapting themselves to new circumstances. Whereas five or ten years ago, female protagonists tended to fluctuate between na? The movie couples of the past used to do barely much more than hold hands, but contemporary romantic comedies have become more comfortable with the idea that young couples actually have sex.

There remains plenty of coy posturing and cuteness in the genre, but the male leads have become a little more relaxed and self-effacing, while the female leads now retain a bit more of their dignity. These qualities are one reason that How to Use Guys with Secret Tips feels fresh and new, but it is also simply a very well executed film.

In a genre that looks easy, but is actually quite challenging, this is a significant accomplishment. Darcy Paquet New World A large truck barrels down an empty street and crashes into a passing car. This single incident throws the inner workings of the Goldmoon crime syndicate into chaos, since the powerful boss of the group had been sitting in the car's back seat.

Hierarchies and power relations which had formerly been stable are now suddenly in flux. A conflict seems likely between the gang's unpredictable 2 figure Chung Hwang Jeong-min, Blades of Blood , The Unjust and the smoother, highly ambitious 3 figure Joong-gu Park Seong-woong. But unbeknownst to the higher ranking members of the gang, the local police force is also gathering information from the inside, and using it to further their own ends.

Chung's most trusted subordinate Ja-sung Lee Jung-jae, The Thieves is actually an undercover cop, who has successfully infiltrated himself into the gang and earned their trust. After eight years of nail-biting tension, and with a baby on the way, he is now anxious to extract himself from the gang and retire.

But his handler Chief Kang Choi Min-sik wants him to stay on, and is willing to play hardball in order to keep him in line.

Korea has no shortage of gangster movies. There are gangster comedies, gangster romances, gangster coming-of-age dramas, gangster horror, and run-of-the-mill gangster films about well-intentioned young men who get pulled into crime and end up in the midst of ugly gang battles. Despite the diverse settings and variations in tone that you see among this group of films, they are all essentially melodramatic in the sense that we are made to identify with one or two victim-heroes who are up against forces much stronger than they are.

Sometimes they win and sometimes they lose, but in the course of fighting their struggle, their inner goodness or sense of honor is revealed to the audience. Park Hoon-jung's New World does not depart entirely from this formula, in the sense that we do empathize deeply with the plight of the embedded police officer played by Lee Jung-jae. But Park's approach is more expansive that of most other Korean gangster films. Ultimately he is less focused on the psychology of his main characters, and more concerned with exploring the structures and mechanisms of power within the gang.

He describes it as a film about "gangsters doing politics," and that is essentially what his characters must do in order to maintain their grip on power. The cat and mouse game played with the local police force only adds another layer of complexity to the narrative.

Rules of the Time. In New World he gives a layered portrayal of Chief Kang, whose strong motivation to bring the criminals to justice leads him to treat his subordinates unfairly. Hwang Jeong-min, for his part, is both repellent and charismatic as the impulsive and extroverted Chung.

Finally Lee Jung-jae is very effective at expressing the anguish and panic his character feels but desperately tries to keep hidden from view. Although an acting veteran of some 20 years, his performance in this film caused many viewers to look upon him with new eyes.

Although some have criticized New World's noticeable resemblance to Infernal Affairs and The Godfather a film that the director claims to have watched more than times , I think this film does represent something new. It has a scope and depth that is unusual for Korean films of this genre. A sequel is also likely to emerge in the coming years, given that the original screenplay contained vastly more material than could fit into one feature film.

It would be an exaggeration to call this film the Korean Godfather, but it leaves a pretty strong impact, and I for one would be quite interested in watching New World 2. It is when they are listening to a moving song on Sung-joon's cassette player. The smiles on their faces are pure bliss. Then they kiss. As far as I can recollect, it is the sincerest, most romantic moment ever shared between lovers in a Hong film.

Which means it must quickly be ruined. It isn't torn asunder immediately, that comes a bit later when Sung-joon's patriarchal delusions of ownership of a woman's body is destroyed by the reality that Hae-won's body is her own to share with whom she pleases. No, this romantic moment is initially hastily tainted by Sung-joon's paranoia that they are being watched, that their rendezvous will be spotted by the wrong people, people who could destroy his marriage or his teaching gig by starting rumors.

Of course, such things aren't rumors when they are true. What this structure allows for is an example of how a song's impact can be shifted as the mood of the scenes shift. When we first hear it, the song sounds lovely because it's juxtaposed with a sweet, tender moment of affection. Yet when Sung-joon listens to it later after ending their relationship, the song becomes foreboding and depressing. This is a Hong film, so we don't know if the relationship is officially over.

It's just as likely that these characters might continue to repeat their destructive patterns with each other. Hong's films have always provided moments of dissonance with romantic tropes. For the most part, the characters do not reconcile themselves.


Dating agency korean movie

Under the sure hand of director Han, the film deftly combines the high gloss of court pageantry, sophisticated melodramatics, clever dialogues and the requisite projection of contemporary Korean obsessions to the distant past. This whodunit becomes the main narrative drive of Part 2. The reason for this fee is not so much profit, as upkeep of the website, database, and Dating agency korean movie. There are gangster comedies, gangster romances, gangster coming-of-age dramas, gangster horror, and run-of-the-mill gangster films about well-intentioned young men who get pulled into crime and end up in the midst of ugly gang battles. Sullen and unhappy on his first day at the unfamiliar locale, he notices an ethereally beautiful girl, Hae-won Kim Yoon-hye, Ghost Sweepers skating by herself on a frozen Dating agency korean movie. Korean Film Council. As hurt feelings and misunderstandings swell up into rage, their emotions for each other can no longer be so easily concealed. The couple was almost incidental to the deal. In my opinion, Da-eun is a lot more convincing when she is trying to calmly sort out her doubts and convictions, externally showing little emotion, Dating agency korean movie, or at least reining in the outbursts.