I'm absolutely serious when I say this film is first and foremost an ad for the i-refuse-to-mention fast food chain. Twenty-five percent of the film's running time is taken up by the fast food chain and I'm not just pulling that number out of my ass as what the ad space seemed like. I actually timed. And I rounded down! With that amount of cinematic space as ad space, we must call this film what it was intended to be, an advertisement. And I'm sure this provider of unhealthy fare is happy w/ director Park's efforts, because the commercial space is clearly and positively associated with desire.
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I'm not aware of how much this film needed to gross to end up in the black, but guesstimating about the on site needs required when filming on a mountainside, i'd bet the financiers were not happy with the results. Some may question whether Ice rain should qualify as a "blockbuster." In movie blockbusters edited by julian Stringer, Stringer notes what makes a "blockbuster" a blockbuster has not received much academic study. What he found most often denotes a blockbuster is self-reflexivity, i am a blockbuster, damn it! and two factors of size, budget and spectacle. (The size of the eventual box office take is after the fact and qualifies the already established blockbuster as a success or failure.) Since Ice rain announces itself as a blockbuster and i assume the budget was considerable, it meets those two factors. Although I find the expansive views of mountain climbs large enough of a spectacle to warrant the blockbuster label, the film's eventual greater emphasis on the relationships in the pedestrian settings of the city could lead some to question its blockbuster luster. Regardless of its blockbuster legitimacy, considering that Kim ha-neul was coming off of the sassy-fied success of my tutor Friend the year before and that one of the most popular outdoor activities in south Korea is hiking the mountains of regions such as Kangwon-do,. Even greater disappointment arises when we recall that another mountaineering film was extremely popular in south Korea, a fact that many a korean cineaste wishes would simply disappear into thin air. ( Adam Hartzell ) Spy girl Part of me wants to call Spy girl, park han-joon 's advertisement for a major fast food chain. What's that you say? 'don't you mean Park han-joon's film, labor adam?' well, no, i don't.
It appears that the film did not work for Korean audiences because it performed poorly at the box office. Of the 50 Korean films released by the end of August, Ice rain was roughly in the bottom 30 of both (seoul) admissions and essays Per (seoul) Screen average (PSA). Tossing out the films that were shown in under 10 theaters and the huge anomaly of 2004, taeguki, ice rain still only managed 45 of the year's average psa. A positive sign is that it didn't fail as greatly as 2003's blockbuster bomb, natural City, acquiring 132 of Natural City 's psa. And when looking at the other films so far this year that were placed on 20-30 screens, Ice rain met 79 of the average admissions and 86 of the average psa. Normally, i could care less about the financial take of a film since my primary interest is that of aesthetic and sociological/political study. But a blockbuster implies commercialism, so here i'm judging the film on its own intent, which is to make money. And with only around 80,000 (seoul) admissions, this film didn't live up to its own hype.
One slip on your part and your partner can fall with you. In this way, ice vertebrae rain had me recalling the three attached partners in takeshi "Beat" Kitano's Dolls without the absurd (in a positive way) elements of that film. Where Ice rain doesn't work for me is in the weak initial development of the relationship between joong-hyun and kyung-min. Perhaps the problem really lies in the English translation, but the initiation ritual of the relationship suffers from a too-cutesy-ness to which paper melodramas are vulnerable to fall prey. However, such does allow for the intended differentiation between joong-hyun's immaturity and the more adult relationship woo-sung is capable of with kyung-min. The irony is that woo-sung's illicit affair with kyung-min comes off more legitimate than if she'd established a relationship with unattached joong-hyun. Another problem with the film is the need to reflect too soon on matters that happened earlier in the film, such as kyung-min's recalling of the "love tooth" incident.
In the beginning, the development of the relationship each man had with kyung-min receives equal representation along with the spectacular vistas of the treacherous hike up the snowy mountain. The visual enjoyment in the first half of this film is well executed by cinematographer yoon Hong-sik ( Tube, the way home ) and for the most part the realism of the special effects affect as intended. The second half of the film emphasizes the relationship over the spectacle, thanks to a stalling of joong-hyun and woo-sung's climb up the mountain. Where Ice rain works for me is in its refusal to fall fully into the mountain as cliched metaphor for 'problem to surmount' or 'goal to reach.' There is no "change" caused by the mountain per se, just reflection on actions past. Instead, kim has utilized the mountain to conjure up an interesting exploration of why it is we take risks, why it is we put ourselves in danger: the physical danger of mountain-climbing against the emotional danger of falling in love/lust or into relationships doomed. Two scenes vividly underscore this, woo-sung reaching into hot coals to retrieve kyung-min's gift of her "love tooth and the film's most powerful moment for me, kyung-min's throat-clench reaction to her mother's surprise intrusion of her affair. As in a relationship, more than one person risks getting hurt since climbing partners are connected through rope.
Korean movie, reviews for 2002: Sympathy for
Hyun-soo, modeled in some ways after the director's own experiences, has trouble adjusting at first, but eventually the stress of his environment begins to take its toll. Korean film critics, perhaps thinking back to their own experiences at high school, gave the film a warm welcome at its first press screening. Audience members also responded with strong initial interest, although viewers seemed divided after actually seeing the film (for the record, my wife hated it and my brother-in-law thought it was fantastic). As an outsider who went to a high school where students got into fights, but generally stopped short of stabbing each other with pens, i found myself with mixed feelings about this reviews movie. It's not that I have trouble believing that this sort of thing could happen - i'm sure it could.
But I do have some trouble with the way the film seems to view the violence with equal parts awe and admiration, particularly towards the end. I also found it somewhat conventional, and I'd hoped for a little more from the director of Marriage paralegal is a crazy thing. Many of the film's details are quite evocative or impressive, but in the end it doesn't seem to be saying too much more than, "Man, we had it bad." ( Darcy paquet ) (Trailer: 300k ) Ice rain A man, a woman, a man,. This basically describes Kim Eun-sook 's first feature film, Ice rain. Kim's short film "The Execution" had competed at Cannes in 1999, but the short form isn't usually a platform to immediate blockbuster proportions. Yet, somehow Kim was able to procure the backing to debut as director and writer with this mountain-climbing extravaganza, making her the first Korean woman to take the helm of such a venture. The film flashes back from a mountaineering expedition in Alaska to memories of two of the mountaineers, joong-hyun (lee sung-jae - public Enemy, dance with the wind ) and woo-sung (Song seung-hun - calla ) These memories are of married woo-sung's affair with kyung-min (Kim.
Source: Korean Film council (kofic). Seoul population:.32 million Nationwide population:.6 million Market share: Korean.3, Imports.7 (nationwide) Films released: Korean 74, Imported 194 Total admissions: 135.2 million (738 million) Number of screens: 1,567 (end of 2004) Exchange rate (2004 1151 won/US dollar average ticket price: 6287. They are listed in the order of their release. Once Upon a time in High School: Spirit of jeet Kune do non-Koreans who watch a lot of Korean cinema are likely to have been surprised at one time or another at the depictions of violence in Korean schools. From beat and Whispering Corridors to Friend and Bungee jumping of Their Own, we have seen teachers beating students (sometimes with sticks or bats students beating other students, parents bursting into classrooms and beating teachers. Just about every combination imaginable.
"Surely such viewers must have asked, "Korean schools aren't really like that, are they?" Director yu ha asserts in interviews that it is indeed this bad, if not worse - at least it was in the 1970s, when he attended high school. Once Upon a time in High School takes us back to these days when Korean society had reached the height of its authoritarianism and the country was rapidly modernizing. Young boys at the time were obsessed by the image of Bruce lee (hence the film's English title and yu depicts in this movie both how difficult life was for high school boys in those days, and how Bruce lee served as a model and. The film focuses on three main characters: the soft-spoken hyun-soo, played by rising star Kwon Sang-woo ( my tutor Friend an intimidating fighter woo-sik, played by lee jung-jin ( Bet on my disco and Eun-ju from a neighboring girls' high school, played by debut actress. When hyun-soo transfers in as a new student he becomes friends with woo-sik, and later the two of them meet Eun-ju on the bus. Initially the fights and troubles around them cause the three to become quite close, but as time goes by, divisions flare up and they begin facing their battles alone. In some ways though, violence itself takes the lead role in this film. The teachers themselves barely make a show of keeping control, while wayward students with nicknames like "Stabber" or "Hamburger" fight with whatever sharp or blunt objects happen to be at hand.
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Few films have exceeded the expectations that came before them, and general audiences as well seem to be less enthusiastic about the local films on offer. It may take until next year, when vertebrae many of Korea's best known directors return with new films, that the excitement returns. Reviewed below: Once Upon a time in High School (Jan 16), ice rain (Jan 16), spy girl (Jan 30), taegukgi (Feb 5), a smile (Feb 13), mokpo, gangster's Paradise (Feb 20), desire (Feb 20), samaritan Girl (Mar 5),. Handy (Mar 12) - sweet Sixties (Mar 19) - when i turned Nine (Mar 26) - the wolf Returns (Apr 2) - dance with the wind (Apr 9) - the big Swindle (Apr 15) - arahan (Apr 30) - woman is the future of Man. Gam's juan Victory (Sep 17) - springtime (Sep 24) - 3-Iron (Oct 15) - some (Oct 22) - a moment to remember (nov 5) - dmz (nov 26) - flying boys (Dec 3) - my generation (Dec 3). The best Selling Films of 2004 Korean Films Nationwide seoul Release date weeks 1 taegukgi 11,746,135 3,509,563 Feb 5 13 2 my little Bride 3,149,500 876,600 Apr 2 8 3 Once Upon a time in High School 3,115,767 1,023,601 Jan 16 6 4 Ghost house. (US) 2,532,000 892,900 Jul 16 5 * Includes tickets sold in 2005.
The tremendous distribution and marketing clout wielded by Showbox and Cinema service in releasing their movies had the essay side effect of pushing many smaller movies off the screens. The idea that money and power are unevenly distributed in the local film industry has come to receive more and more attention from critics and the press. At the same time, international film festivals have provided a respite for observers worried about the increasing commercialism of Korean cinema. In February, maverick director Kim ki-duk's tenth film. Samaritan Girl won the best Director prize at the berlin International Film Festival. In may came even bigger news, when Park Chan-wook's. Oldboy from 2003 screened in the competition section at the cannes International Film Festival and walked off with the Grand Prix (missing the festival's top prize the palme d'Or by one vote on the jury, according to some reports). Finally in September, kim ki-duk returned with yet another film 3-Iron, shot and edited in under two months, that carried home the best Director award at the venice International Film Festival. Despite these accolades, however, the general feeling among many critics is that this is a bit of a down year.
considerable attention to production values. "Well-made" became the new buzzword of the industry, as producers noted that audiences were demanding more quality of local films. The year 2004 opened with a new twist to this trend: the "well-made blockbuster." Many of Korea's recent attempts at making big-budget genre movies were hampered by directorial inexperience, weak storytelling, or a lack of A-list stars, but. Silmido (released in the last week of 2003) and. Taegukgi gave korean audiences a new taste of slick, homegrown, star-filled event movies. Apart from appealing to younger audiences with their stars and special effects, they also attracted older viewers in droves with their subject matter related to the korean War and modern Korean history. The results at the box-office were stunning: both films passed the previously only dreamed-about 10 million admissions barrier. However the success of the two films also brought new anxieties about the direction in which the korean film industry is headed.
GamesRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site. future publishing Limited, quay house, the Ambury, bath, bA1 1UA. England and Wales company registration number 2008885. 2004, from left: "Arahan "3-Iron "Taegukgi "Some". As 2004 opened, the korean film industry was still buzzing umum with the surprising success of films like. Oldboy, untold Scandal and, memories of Murder from the previous year.
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