Blood and Ties: Daddy's Expiration Date

As a gauge to measure the depth of my love for someone, I used to ask myself: Would I harbor this person if they came to me on the run? What if they had blood or their hands? What if they'd actually committed a murder? The answer to these questions clued me in to how I really felt about a person, family members included...at least when I was bored in the middle of the night with nothing better to do. After all, isn't the midnight hour the time when they'd be most likely to come seeking my help? Writer-director Kuk Dong-suk is posing a similar question in Blood and Dies, which finds its central character (Son Ye-jin) struggling with the possibility that her martyr of a father (Kim Kap-su) may have kidnapped and murdered a child years ago (and involved her in the crime). Should she turn him in? Protect him? Serve him up to her boyfriend (Lee Kyu-han), an aspiring police officer, as a way to finagle a marriage proposal? While she's at it, should she write a story about her dastardly daddy and thereby land a job at the local paper? (Apparently, the job market is brutal for bright students from working class backgrounds.)

As she struggles to answer these and many other questions, time is ticking loudly because the statue of limitations is about to expire for this heinous crime, and at least one detective (Kim Kwang-gyu) is breathing down her neck. The process is further slowed down by this young woman's brain, which appears to be working at a less-than-average speed from the get-go. You know this is a woman who earned her top grades through diligence, not innate intelligence. I, for one, became less concerned with who was guilty and who was not, and more curious about whether the Yogi Berra catchphrase "It's ain't over til it's over" was going to be fulfilled in some weirdly creepy way. Alas, it was not. When Blood and Ties ends, despite the carnage and loose ends, it pretty much just feels "over." Too bad, Kuk didn't get all meta during the credits and circled back to the film within the film, a documentary — heard but never seen — exploring the very case which Blood and Ties is about. That would've been a deft touch.

Mutt Boy: A Howl of Despair

Let's start with a scene near the end of Kwak Kyung-taek's despairingly watchable Mutt Boy. Specifically, the prison fight scene. The one involving Cheol-min (Jung Woo-sung) and his mortal enemy Jin-mook (Kim Jeong-tae) -- the same Jin-mook who had Cheol-min's pet German shepherd killed then fed to the school's soccer team when the two boys were in high school. That Jin-mook. That despicable, quite unlikable, sick and twisted jerk.

Paired together at last for the ultimate cage match, the eponymous "Mutt Boy" and the meanie strip down to their skivvies -- tighty whities for the hero; black panties for the baddie, of course -- and take to fisticuffs (while wearing, for some unfathomable reason, gags). Free to fight without interruption, they punch mercilessly and without strategy. They don't block. They don't dodge. They just punch and punch and punch. And then when they're done with punching, they wrestle. And then they roll around and grapple and neck lock, all while wearing their symbolic undies.

The fellow prisoners are excited at first, then they grow weary because the fight goes on so long, and then some get excited again when it's over, even if it doesn't feel like an outright victory. The same can be said about Cheol-min's relationship with his adopted sister and love interest Jeong-ae (Uhm Ji-won). They fight. They wear each other out. He kind of wins but it doesn't feel like a victory. Same for his relationship with his chief of police dad (Kim Kap-su). Fight. Win. Non-victory. Same with the movie. It wears you down, wins you over, but you don't leave feeling good that about it. But you have to admit that it won. Ding. Ding. Ding.

If they handed out awards for weirdest performance, then for the year of 2003, Jung would definitely get it here for playing the slack-jawed, shat-upon dimwit who against all odds gets to helm his own gang and win over the ladies. His isn't a Cinderella story though. He was made to be miserable. He's got love, family, friends, a job, a roof over his head, looks, a wicked right hook, and potentially a new dog at the end but I wouldn't trade places with him for the world.

4 Toes: Comedy on the Fly

You get the feeling that writer-director Gye Yun-shik neither wrote for nor directed the actors in his jopok comedy 4 Toes but rather that he set up a couple of cameras then threw out spur-of-the-moment ideas for improvisation until he'd amassed enough material -- at least in terms of footage -- to cobble together a feature film. To that end, you've got skits about blood type, about a car's CD player, about a car accident with your buddy, about a mythical golden axe... You've also got skits based on locations, like a nightclub, a parking lot, a photo portrait studio, and a sauna which means for this big fight half the guys are naked, although never full-frontally so. Most scenes are super-short. Nothing really adds up. Nothing really goes anywhere either. There's no larger vision at work here outside of the desire to make a movie fast and cheap with some friends. And actually, it's a technique that could work but you'd have to have luck on your side and some actors who were a bit more naturally funny.

Fortune isn't smiling on Gye, however, or his four male leads, all of whom feel too old to be playing high school students in some scenes and too goofy to be gangsters in others. And yet, as ineffective as 4 Toes is, and as lazy as the script is (there's so much voiceover you'd think Gye was filming a novelization), I still appreciated the ballsiness of the undertaking. The willingness to risk, though it didn't pay off here, certainly explains why some members of the cast have gone on to much more successful comedies: Jeong Eun-pyo (Le Grand Chef), Kim Kap-su (She's on Duty), Lee Won-jong (200 Pounds of Beauty). Which suggests to me that sometimes there's something to be said for just practicing your craft in public or on celluloid or in this case what looks like digital video; and that there's no shame in having a little egg on your face if you're aiming to eventually get a part in an enjoyably frivolous movie that's light as a souffle. Even Gye went on to greater success: My Wife Is a Gangster 3 may not be a work of genius but it's a threequel in a fairly big film franchise.

She's on Duty: High School's Undercover Lovers

No one wants to relive their high school years, least of all Jae-in (Kim Seon-a), an undercover cop whose single accomplishment then may have been to head up an all-girl gang on the playground. But duty calls, so she'll have to put her personal feelings aside in order to infiltrate the student body and cozy up to the shy daughter (Nam Sang-mi) of a mobster (Kim Kap-su) who the police hope to get under their protection so he can rat on the head of a crime ring that promotes dog fights and enslaves Korean girls as prostitutes for the Japanese. That she'll fall in love with a fellow student (Kong Yu) -- who is equally good at Taekwondo and also happens to live next door -- complicates her assignment and confounds her ethical code. All that confusion probably fuels the rage that comes into play whenever she gets in a fight with school bullies, sparring partners in gym or run-of-the-mill thugs in the abandoned backlots where so much crime takes place worldwide. A woman warrior to be sure, Jae-in can singlehandedly overpower gangs of all ages, sizes and gender to jig music no less. Park Kwang-chun's She's on Duty is no masterpiece but it's an enjoyable after school special that teaches girls rock, smoking is bad, and listen to your elders.