Near the start of ARAHAN, the hero can’t believe that the old duffers surrounding him are the fabled Seven Masters. One of them punctures the moment by suggesting that maybe he thinks they’re Power Rangers instead.
Ryu Seung-wan’s comedy DACHIMAWA LEE started life as a short film in 2000, kick-started lead actor Im Won-hee’s career and then upgraded to full feature status in 2008. Although allegedly set during the Second World War with Korea under Japanese occupation, Im Won-hee dresses like John Shaft and acts like Leslie Nielsen.
Wonder no more why the fights in Far Eastern films often seem to pause at critical moments: it’s because everybody’s really breakdancing. Director Ryu Seung-wan presents a credible reason for this by making one set of assailants in THE CCITY OF VIOLENCE body bop along the pavement before simultaneously all pulling handstands. Along with the … Continue reading The City of Violence (짝패)
Ryoo Seung Wan’s critically revered 2000 debut, DIE BAD is yet to receive a UK release but it remains ripe for discovery as it showcases the origins of a talented young film maker. TAKE ONE will be interviewing Ryoo this weekend, when he visits Cambridge Art Picturehouse in the last leg of the Korean Film Festival. Oh, and before you ask – yes, a pointless English remake is on the cards. Step away from Korean film, lazy English film makers!
Mike Boyd reviews George Clooney’s latest offering, as both director and actor – a political drama about the dehumanisation required to win the US presidency.
Rosy Hunt reviews E.A. Dupont’s Piccadilly, which is screened on 12 November as part of Silent London’s silent film season at West London Trade Union Club.
Jim Ross reviews Miranda July’s second feature film, THE FUTURE, which premiered at the Sundance Film Festival and is now showing at Picturehouses nationwide
Jim Ross reviews Andrea Arnold’s take on the classic tale of WUTHERING HEIGHTS, based on the Emily Brontë novel
Rosy Hunt attended DREAMS OF ELBIDI, a unique fusion of community theatre and traditional cinema. It offers not only a dramatisation of Kenyan ghetto life, but a way to entertain its African audience while educating them about HIV and AIDS. Also featured: transcript from the Q&A with Kamau wa Ndung’u.
Long Road student reviewers James Doughty and Jack McCurdy offer their thoughts on The Yellow Sea, which screened at CFF2011 and is also part of this year’s London Korean Film Festival programme.