Beasts Clawing at Straws: Survival of the Wicked

"The good ended happily, and the bad unhappily. That is what Fiction means." So quipped Oscar Wilde. And while Wilde clearly didn't have Beasts Clawing at Straws in mind, the 100-something-year-old epigram definitely applies to Kim Yong-hoon's enjoyable thriller. Which says a lot because there are so many bad guys vying for that Gucci bag of cash. Many are psychos: the madam (Jeon Do-yeon), the guilt-ridden lover (Jung Ga-ram), the loanshark (Jeong Man-sik). Others are more like infuriating foils: the foul-mouthed grandma (Youn Yuh-jung) and the jerky manager (Heo Dong-won). Some are just complicated: the indebted call-girl (Shin Hyeon-bin) and the shady customs official (Jung Woo-sung). The only good people seem to be the naive janitor (Bae Sung-woo) and his cleaningwoman wife (Jin Kyung).

If this sounds like a lot of characters, you're not wrong. And they're hardly the only memorable ones. For instance, there's also a cannibal hitman (Bae Jin-woong) who never speaks, and a dim-witted best friend (Park Ji-hwan) who you may quickly write-off as doomed. Yet despite the huge cast, Beasts Clawing at Straws is never confusing or confounding. To his credit, Kim has crafted an intricately plotted crime pic in which your alliances are constanty changing and in a weird way, justice kind of prevails. Granted, in a very twisted manner. Side note: One of the production companies credited at the top is called Artsploitation and Beasts Clawing at Straws more than lives up to that description.

Hunt: Sadistic Spy Games

I miss the days when gunshots were few and far between in South Korean action pics. I also have a hard time with movies that involve interogations using torture because the violence seems so pointless since people often confess to whatever the accusation is when under extreme physical duress. Which brings me to Hunt, the weapon-heavy, gratuitously battering directorial debut of Squid Games actor Lee Jung-jae. In this spy pic about an attempted presidential assassination, the bullets fly with some regularity but the more effective conflicts are strictly mano a mano...like when two opposing police-like factions meet in a hospital hallway and one of the leaders shouts out "Push through!" Mob meet mob.

As for the two men helming these two rival groups, one heads the foreign arm of the South Korean Agency for National Security Planning; the other, the national branch. Both men are deeply corrupt. (Is it just me or would lead actors Lee Jung-jae and Jung Woo-sung make an sensational pairing for a Korean version of Sam Shepard's True West?) That one of them is fighting for peaceful reconciliation between the two Koreas is ludicrous to the extreme. Hat tips to Jeon Hye-jin as a persistent third-in-command, Jeong Man-sik as an eventually-comatose agent, and Hwang Jung-min as a North Korean defector with sass because even overlong movies that don't quite work can come with fine performances.

Hopeless: Correct

How bleak can a life be? Writer-director Kim Chang-hoon's riveting feature debut Hopeless shows one that's extremely so. 17-year-old Yeon-gyu (Hong Xa-bin) has a family in debt, classmates who gang up on him, and a drunken stepfather (Yoo Seong-ju) who goes after him with a newly purchased baseball bat. The only place he's able to find (temporary) sanctuary is with cool-headed gangster Chi-geon (Song Joong-ki) who takes him under his wing, although the why is never clear. I have my theory. Anyone else pick up on some homoerotic tension? Regardless, love of any sort is not going to save the day. Because life goes from bad to worse pretty quickly.

Yeon-gyu loses his part-time job as a food deliver for small-time restaurant owner (Jeong Man-sik) when a new facial scar alienates the customer base. His new criminal boss' boss sees him as a killing tool, not a human being. And his step-sister Ha-yan (Kim Hyung-seo a.k.a. Bibi) is getting harrassed at school and needs his assistance. Even when he shares his life story with Chi-geon, his listener responds with a fairly blank stare. Yet Yeon-gyu's struggle to survive and maintain a moral center despite his shit-town surroundings makes Hopeless more than a trip to the dark(est) side. Surely we can do better as a species! Clothing and feeding the poor is just the beginning.

Asura: The City of Madness: Politics as Usual

Watching this movie, as I did, the day after Trump got a bloody ear at a rally, Asura: The City of Madness lent credence to conspiracy theories that our former president staged his own assassination attempt, dead bystander notwithstanding. For somewhere early on in Kim Sung-su's political thriller, an equally corrupt, avaricious mayor redirects the attention of the media by having his head clandestinely sliced by a box cutter to salvage his rah-rah conference of self-promotion. That self-directed mutilation is especially creepy because Mayor Park Sung-Bae (Hwang Jung-min) — like DJT — emerges bloodied and defiant, using the injury as a way to paint himself as a martyr. Like Trump, too, he's surrounded by thugs with fear-based loyalty and questionable sense. The only saving (dis)grace for Park is that the justice department — represented by Special Prosecutor Kim Cha-in (Kwak Do-won), Chief Prosecutor Oh (Choi Byung-mo) and a hunky detective (Jeong Man-sik) — are only ever-so-slightly less slimy.

Stuck between the two feuding parties is Han Do-Kyung (Jung Woo-sung), a dirty cop willing to turn traitor on his boss if it means making money for his wife's costly medical treatments. The compromised morals of his cheery BFF Sunmo (Ju Ji-hoon) have more to do with career opportunities with a long game in mind. Eventually, both characters go off the deep end: one on his way up; one, his way down. Neither have luck on their side or as someone says at one point they're probably "trying to be clever with an inadequate brain." Recurring thought: Stay out of behind-closed-doors-with-a-knife politics.

Jazzy Misfits: Unbound Relations

Director Nam Yeon-woo's decision to pair an accomplished older actress (Jo Min-soo) with a TV rap star (Cheetah) pays off big time in the wonderfully silly mother-daughter comedy Jazzy Misfits. For while Jo chews up the scenery as a volatile, negligent, alcoholic mother who comes out of the woodwork only after her younger other child (Choi Jisu) robs her of the rent, Cheetah (a.k.a. Kim Eun-young) more than holds her own — beyond her effectively deadpan reactions — via extended cuts of her crooning in the nightclub and at the recording studio. As such, these two convey deep emotional realities in different mediums: acting and singing.

They're surrounded by a rich cast of characters, too: the mom's former suitor (Jeong Man-sik) who's now a policeman; the local food courier (Terris Brown) who's crushing big time on the talented daughter; and a random white tourist whose unexpected parkour skills hilariously come into play in the movie's best chase scene. With drag queens, lesbian girlfriends, gay tattoo artists, a trans bar owner, a sexy, shirtless downstairs neighbor, and a crewcut Heo Jung-do (from the addictive Kdrama My Demon) as a cheerful sound mixer in over his head, Jazzy Misfits is never anything less than ebulliently screwball.

Remember: Jason and Freddy

Since the Korean War ended in 1953, I'm not sure the math totally works out with Remember, a thriller about Freddy (Lee Sung-min), a beloved geriatric waiter at TGIF, who hires his co-worker Jason (Nam Joo-hyuk) as a driver so he can execute a series of vigilante executions for fellow countrymen who profitted from aligning with the Japanese during occupation. That would make all the guilty men tweens which makes their actions seem infinitely less calculating, although not less upsetting. I personally allowed myself to succumb to this revenge fantasy's logic. Justice is in such short supply lately, that a one-man judge-jury-executioner who's going after slimeballs with good PR teams has serious appeal.

Especially when the two lead actors — Lee and Nam — have such undeniable chemistry. Whether they're evading Detective Kang (Jeong Man-sik) or outwitting a middle-management menace (Yun Je-mun), you never doubt these two have each other's back. And writer-director Lee Il-hyeong's script provides plenty of conflicts that find the two in double-David versus gang Goliath scenarios and last-minute escapes. It's weird to have a movie that's so dark elicit "That's so cute" reactions so regularly but the statement was never made without pleasure. Running over two hours, Remember kept me up late without regret.

Rampant: Fighting the Mob Mentality

Don't get sucked in by the tantalizing promotional material. Kim Sung-hoon's Rampant isn't a movie about demons or spirit possession by a long shot. It's a zombie movie, and a very traditional one at that. Infection is spread by biting. Conversion from human to zombie can take some time or be fairly quick. To kill a zombie, nothing is more effective than chopping off the head. True to form, the actual cause of the zombie epidemic is unclear and only ill-fated fools think they can use the disastrous outbreak to their political advantage. The one thing unique to this particular zombie flick is that it's in period dress for the Joseon Dynasty.

Which mean that we're dealing with kings and princes, royal courts and invading armies who wear some pretty fancy duds alongside the scrappily dressed peasants and bloodthirsty undead. Our hero is a reluctant one: the self-exiled Lee Chung (Hyun Bin), next in line for the crown but more concerned with getting in women's drawers than getting to sit on the throne — a relief to his dad, the king (Kim Eui-sung) — a gluttonous man-baby who has basically abdicated in favor of feasts and concubines. Respected by no one, the monarch is secretly being undermined by his scheming Minister of War (Jang Dong-gun) who probably would make a better leader. But divine right has sway with the masses so the master archer (Lee Sun-bin) and her patriotic pals are going to side with the royal blood despite many good reasons not to.

On paper, it sounds okay but Rampant never quite works for me. The hero's queeny sidekick (Jeong Man-sik) fails to amuse despite hitting all the tried-and-true notes; the principled brother (Kim Tae-woo) isn't around long enough to earn your respect or your sympathy. At best, Rampant registers as a timely political parable — when it comes to those suffering from a mob mentality, it's best to move on to a different neighborhood. You can't convince a zombie of anything! Reason is powerless with the brain dead so don't waste your breath, don't argue. Just run. Or fight. You can always fight.

The Tiger: Your Alliance in Man Versus Nature Scenarios

It used to be that in a person-versus-nature movie, the audience always allied with the human being. The hero had to beat nature or at least overcome "the enemy," although victory and/or survival often came with a newfound respect for Mother Nature's powers. Nowadays, the allegiance is not so easily presumed. In Park Hoo-jung's The Tiger, for instance, less-than-favorable examples abound of mankind's disrespect for the planet and its inhabitants: taxidermy trophies of unnecessary slaughters, summarily dismissed pelts, the decimation of forests, the sheer numbers of militia brought on to capture a tiger who only has one good eye! How can you not root for the big cat with the slayed kittens? Bring on the snow, the rain, the cold! Both the Japanese regime — and the unprincipled Koreans who align with them — should be struck down by lightning, swept away by a river, then swallowed up by a tar pit post haste. Forgive us, Mother Earth. Unleash your fury. It's more than justified!

Then again... That's not quite how you feel during The Tiger because none of the animals are truly animals. They're anthropomorphic CGI creations. Which suddenly shifts the battle to new terrain. For are we really rallying behind the beasts of the wild here? To be honest, sometimes it feels like we're cheering for robots or Chuck E. Cheese rejects. That doesn't feel pro-nature. At best, this tiger comes across as a person in a giant fluffy costume. At worst, he looks and acts like a soul-less mechanical being sent from the future to ravage the humans of the past. He's not alone either. All the animals feel unlike animals. Just watch how those wolves scatter like a bunch of video game rodents when threatened by Playstation levels of arsenal.

Naturally enough, that ever-dependable actor Choi Min-sik turns in a commanding performance as a hunter with outdated morals, a man who respects Mother Nature, the mountain, and the kill. Yet despite energetic support from Kim Sang-ho as an obsequious sidekick and the impressive scar added to Jeong Man-sik's camera-ready cheek, even the great Choi can't make The Tiger feel human.

The Chronicles of Evil: Double Vision

Can a movie have an identical twin? Not a clone like Gus Van Sant's Psycho, but an actual double of sorts, birthed from the same egg of an idea then evolving into something separate but remarkably similar. The kinship between The Chronicles of Evil and A Hard Day is striking. At first glance, they look like the same movie: A not-clearly-necessary cover-up that follows an accidental killing of a coincidentally bad guy leads a corrupt cop to execute a series of self-protective crimes, which in turn lead to threats to his own family's safety as well as the death of his buddy on the force. I can't speak for the histories of the screenplays, but Chronicles, which came out a year later, definitely feels like the copycat work, the lesser twin, if such a thing can be said. It's one of those cases in which you keep staring until you realize one of the two is much cuter in the end.

Which isn't to imply that Chronicles isn't doing anything to improve on the original (which was hardly a perfect thriller). Once it's done with duplicating its predecessor's central narrative, it actually does deliver some very WTF plot twists involving a gay actor (Choi Daniel) with lip gloss and addiction issues, and his murderous muse (Park Seo-joon who in his mid 20s comes across 16). Also, any opportunity to see Korean cinema's reigning teddy bear Jeong Man-sik must be embraced. He's Korea's answer to Bruce Willis, although no one's bothered to cast him in the lead yet. At least not that I know. Tell me I'm wrong! In the main role instead is Son Hyeon-ju who gives a truly strange performance that appears to be augmented by a prescription bottle of ready tears as he looks on the verge of crying for much of this film.

I hope writer-director Baek Woon-hak goes out on a limb for his next movie and does something more wholly original. But given there were twelve years between this flick and his stinky Tube, I guess we'll be waiting awhile to find out. That's okay by me. I'm no rush.

A Hard Day: Not-So-Good Cop, Not-So-Bad Cop

At what point does a sleazy cop (Lee Sun-kyun) who's committed a hit-and-run murder become sympathetic to you? Is it after you've realized that the person he's accidentally killed is a serial killer? Or is it once you've learned that the phone caller (Jo Jin-woong) harassing him for committing said reprehensible crime has a more sordid history in — and outside — the police department that employs them both? Or is it, sentimentalist that you are, when the car-crashing cop's innocent family is threatened by the unknown witness to his crime? For me, that turning point never happened. And that's not a bad thing.

In a world that appears to embrace antiheroes because of their charm, their snappy one-liners, and their adherence to a dubious moral code, A Hard Day feels refreshing for having a protagonist who is, when you stop to think about it, pretty irredeemable. He's a self-absorbed, petty, disrespectful bully who you're happy to see get his just desserts even as you wish the same unfortunate comeuppance for his nemesis. When the two butt heads, you wish they'll both get concussions in the process. The closest writer-direct Kim Seong-hoon's highly entertaining thriller comes to sympathetic characters are the understatedly hunky detective (Jeong Man-sik) who's left a trail of receipts documenting his illegal use of government funds to hire prostitutes, and the squad chief (Sin Jeong-geun) who apparently will look the other way, regardless of the crime. The rest of the department is pretty forgettable.

In a nice Aristotelian touch, the entire action of A Hard Day is supposed to take place within one single day. (Hence, the title.) Although that feels highly unlikely, it does give the action a sense of speed that heightens the excitement. One assumes, the lead character will deal with the divorce papers he's served early on tomorrow.