Monday, 3 April 2017


This blog is dormant but my website is alive and kicking;


Please follow that route...

Saturday, 5 September 2015

Jumjim-ini-mini micro-posting - No. 1

"I am the pieces of a broken man"


(First posted... in my brain)

Friday, 10 February 2012

Lee Myung-se (Interview) - "Better and Sweeter"

[The sub-heading of Better and Sweeter is both a reference to Lee Myung-se's film "Bitter and Sweet" and a reaction to how the man is in person compared to my first thoughts or anticipations]



Award winning films, "Nowhere To Hide"[1], "Duelist"[2] and "M"[3] are amongst those directed by Lee Myung-se. In between directing (& writing) these action, fantasy & thriller-noir titles he's given the world further tales made up of dramas, love stories and comedies. However, it's not only the genre-busting he seems to do well it's also in his filming techniques. Rarely does a scene pass without some brilliant imagery. With all this in mind, it's my reckoning that this down-to-earth and funny guy is more than capable of pulling off his forthcoming feature. We cover that film and others in our interview together. Well done, 'Mister Lee'!

KCC Korean Cultural Centre 2012 12 Lee Myung-se Korea Nowhere To Hide M Duelist Gagman Love Bitter Sweet Asian

MM: You started out as an assistant director. Was "Gagman" based loosely around your start in becoming a director? Or was it based on experiences with other industry people you met?

LM-s: Of course, I watched other directors work and I think I tried to go the opposite way of what they were doing, & tried to re-interpret it into my own style.

MM: Some of "Gagman" reminded me of early Woody Allen, as well as Jacques Tati and of course Charlie Chaplin. Do you have a favourite comedy actor? Is there one who's inspired the comedy aspect of your writing?

LM-s: What was quite funny was that a lot of the reviewers at the time said a similar thing to what you’ve just said and mentioned all those directors, but actually until then, & at that time in Korea it was impossible to watch those films or those directors’ works. When I went to New York with my second film I took a real interest because at my time, and even when I was studying at film school, there were only two text books on films. There was no such thing as a cinematheque and it was only at the end of the 80’s that video started coming in to the country.

MM: Between "Gagman" and "Nowhere To Hide" you must have learned many new filming & post-production techniques. Even now, are you still learning new techniques?

LM-s: It’s now a digital era so you have to learn new techniques [laughs]. There are so many new things to learn, as well. The next film will be shot using digital technology but it's difficult to memorise everything... but I think I‘ve got a rough idea of how to proceed.

MM: It’s clear from the start of "Nowhere To Hide", and other films of yours that you’ve got a good passion for music. The music which accompanies the scene makes it a very balletic and stylish visual & sound. Is that piece of music in your mind before, or even while the script is written?

LM-s: Sometimes, yes. It’s a case by case scenario. I mean, I don’t intentionally choose that music but following the rhythm of the film it will be in there... or the film will be following the music I had in mind before. Even now I'm listening to music to prepare for my next film but Im not sure whether I'll include it or not. Another problem is that the rights costs are so high.

MM: How did "Duelist" compare to other films you’d made up to that point?

LM-s: I thought that the audience would have evolved by that point. People were using mobile phones or using new emoticons. They were compressing language and emotions using technology, so I thought that they would have evolved. But actually, when the film came out it turned out they hadn’t evolved at all. Actually, "Duelist" is a really simple story but the audience didn’t know how to take it and it was something that they couldn’t comprehend. It wasn’t even a [Andrei] Tarkovsky* film but they found it as difficult as one of his films.

MM: Most of the movie was filmed at 20 different indoor and outdoor sets, which had been specially built. Do you generally prefer studio sets or working on location? For example, is it easier in post-production if shot on a studio set?

LM-s: If I can I prefer to shoot in the studio. The studio is like a home to me. You can control the light. If you’re shooting outside on location you’re constantly chasing the light and being controlled by the time, but when you’re shooting in the studio everything is under your control, so that’s why I prefer to shoot there.

MM: In "Duelist" and other films of yours, what percentage of the process takes place in post-production, rather than whilst shooting?

LM-s: Post production is extremely important. For example, "Nowhere to Hide" actually only took one month to do everything, including the editing and the mixing... Because in Korean cinema the distribution of the cinemas showing the films aren’t pre-decided. If they give you a good date you have to do it by then. Even if you have sleepless nights you have to make it by that date. But I believe that an equal amount of time should be invested in both the pre and post production.

MM: I really admired the film, "M". It’s very atmospheric and moving & I was taken in completely, especially by the early bar scene. Could you tell us a little about that particular scene?

LM-s: There are several reasons for that particular choice. It was really difficult to get the funding for the film, and so for economic reasons that’s why that idea was used for the shooting. It was a completely basic standard film set and the only thing that was made was the light stand. Everything had to be covered in darkness in order to give the illusion that it was this really big bar. It was also a concept for the entire film, this idea of shining darkness. There was also a philosophy of high decors but I kind of wanted to try and attempt this shining darkness.

MM: You obviously love effects, whether lighting, editing tricks, slow motion, jump shots, still frames, image layering or vivid & tainted colours. How much do you think about these when writing the screenplay?

LM-s: I need to have the scene in mind in order to write the script, and that continues to develop until the shooting period, & it’s continuously evolving throughout that period. It can't all be contained in the initial script. Once the actors are all cast and the locations are decided then that changes some of the decisions you have to make along the way. Money, of course is very important too.

MM: The various effects in your films are definitely a Lee Myung-se trademark, but because you’ve got so many in the film do you feel the art aspect is more important than the story, or that the two go hand in hand?

LM-s: Yes, I have been asked that question many times and so I’ve been able to get a concise answer in my head. Regardless of whether it's in Korea or foreign lands, it’s always a conflict between the story or the visual.

[LM-s addresses MM personally:] I really hope that you are able to explain this false dichotomy between story and visual to many, many readers.

[There are smiles & laughs... including a nervous one from MM]

Simply because I shot this face it doesn’t mean that’s a visual. If you shoot the landscape with the cloud and it’s pretty, people think that’s what a visual is. It’s just like having two pieces of art that just depict the really simple landscape and thinking that’s the visual.

A real visual is like the sculpture of Balzac that is born.

To explain, a true visual is something that slowly evolves through the process much like making many millions of sketches when you’re trying to make the sculpture of "Balzac" by [Auguste] Rodin, where it's like fitting in millions of different jigsaw puzzles... that’s what a true visual is. Even when you look at all the classical films out there, there are only a few which can really truly represent what a real visual is. It’s that difficult to find.

Have you watched a film called "Late Spring"?

MM: No, I don't think so.

LM-s: There’s a scene in that film which is a close-up and that represents a true visual.

And, if you watch "Cameraman" by Buster Keaton, in the beginning there’s a scene where he mis-shoots so that the sea and the city landscape is all mixed up. Those kinds of scenes are true visual.

Also... In the film, "Mr Hulot’s Holiday", there is no main actor in that film but you really get the sense that this is a true vacation... And that’s all contained in the last image of a stamp.

[MM relays to LM-s his thoughts on the film, "M"]: Even though the film was confusing the great scenes complemented it... For example, there's a shot of the guy cycling round and round in the dark, outside the barbers. It is a part of the story but good imagery as well.

MM: What film have you enjoyed making most or the one you feel is your greatest achievement or accomplishment?

LM-s: In terms of achievement, "Nowhere To Hide" because previously to that I wasn’t able to get much commercial success... But that did so well and so of course I felt that was a huge point [career-wise]... And with that film I'm still able to make films now. But all the films were quite exhausting to me. I think the next film will be difficult to shoot as well but I’ve been able to gain some kind of relaxed state of mind, so I can actually enjoy the process a bit now.

MM: Is there an actor you enjoyed working with the most?

LM-s: I think all the actors I work with, it’s always a pleasure and an enjoyable experience... Including Gang Don-Won; Ha Ji-Won; Park Joong-Hoon; Ahn Sung-Kee; Kim Hye-su... And, regardless of whether they’re a commercial success at the box office or not, each film was cinematic and was able to get good cinematic reviews.

MM: Do you have any influences, such as other Korean or International directors?

LM-s: The time period I was growing up in, it was difficult at the time to be influenced by films in the cinema like the ‘Nouvelle Vague’ genres and directors like Jean-Luc Godard. Instead my inspiration had to come from books and especially poetry, like [Charles] Bourdelaire; [T. S.] Elliot** and they were my sources of inspiration which I took.

MM: I feel your films are very unique. How does it feel being so different with your filmmaking? Can you think of any other directors who have a similar style?

LM-s: I try to self analyze myself and there are still parts I don't know about myself, but at least i know I dont shoot in the same way as everyone else. Absolutely.

MM: Finally, what's next for Lee Myung-Se?

LM-s: "Mr K". It's a 007 movie... but not the actual James Bond!

[Laughs are shared]

MM: Thank you for your time.

KCC Korean Cultural Centre Lee Myung-se Korea Nowhere To Hide M Duelist Gagman Love Bitter Sweet Asian


First and Foremost [although almost Last in this article!], many thanks to the Korean Cultural Centre, London for arranging this interview and allowing it to take place.

Interview References:

[1] 1999 - Blue Dragon Film Awards

[2] 2005 - (25th) Critics Choice Awards

[3] 2007 - (27th) Critics Choice Awards

[Reviews of all these films and more will be on this site soon, if not already. I guess it depends on at what point in time you read this...]

*I believe that this is whom was being referred to - it is known that he used to watch Andrei Tarkovsky's films. On transcribing this interview fully I thought that it could only be Tarkovsky, or perhaps the less likely, Darren Aronofsky.

**T.S. (rather than George) is who it's believed is listed as one of his influences. I understand that [Franz] Kafka was also mentioned.



Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review


Familiar with Terror Cotta? You may have read about them recently...


Well this may explain:

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review
Revenge: A LOGO Story (Boy, if only I'd come up with the horror sub-branding, 'Terror' Cotta!)

Yes, the 4th edition of Terracotta Far East Film Festival will take place in London April 12th – April 15th 2012 and will continue it's support of films and emerging film-makers from across the Far East.

Terracotta Far East Film Festival curates and exhibits a selection of films from Asia which are hand-picked from the best of each years vintage.

Happily returning to the Prince Charles Cinema, in the centre of Chinatown, London, the festival is in a perfect location for an event which is pan-Asian in nature, encompassing films and cultural events.

Guest actors and directors will attend the festival to introduce their film, host Q&A sessions afterwards, run Masterclasses and interact with festival goers.

Building on the success of previous editions ‘LATE NIGHT HORROR’ slot, and to co-incide with ‘Friday 13th’ the festival organsiers are delighted to expand this slot into a triple bill for this year. This special late-night event will be TERROR COTTA branded and will run into the early hours of the morning; more details on the ‘Friday 13th: TERROR COTTA NIGHT’ to follow.

The Terracotta Festival branding has undergone a change to include a new logo that indicates a variety of countries, films, range of genres and was designed by the Official Design Sponsor of the festival, What Is Bobo. Yep... No question mark needed.

Terror Cotta Terracotta Joey Leung Korean Chinese Japanese Hong Kong Asian Prince Charles Cinema

“Terracotta's new branding of block colours reflects the diverse range of films that the festival is dedicated to screening. The richness of colour in the logo comes to life as it combines with imagery and plays on the theme of close up pixelation as the viewer gets deeper into the festivals films. What is Bobo look forward to once again being the Design Sponsor for the festival, and are excited to have developed its contemporary new style.” says What Is Bobo director, Robyn Larkin.

Joey Leung, the Festival’s founder, comments: “We are extremely happy to be working with What Is Bobo again as our Design Sponsor for the festival, and the result of the rebrand has been fantastic and has real longevity to it.”

Further announcements on the line-up will be made within a fortnight, exclusively on Twitch.

Personally, I can't wait! Plus, if you need assuring of this event's atmosphere and films themselves, here are some links as a taster from 2011:

Karate Girl

Red Light Revolution


Child's Eye


A Mini Mini Mention of Terracotta

Committed to bringing quality and entertaining Far East films to the UK.

Releases by Terracotta Distribution include the multi-award winning Breathless directed by Yang Ik-june and most recently, Johnnie To’s Sparrow .

A newly launched imprint label TERROR-COTTA is devoted to Asian horror and thrillers.

Terracotta Far East Film Festival is an annual event which aim is to widen the audience for Far Eastern film in the UK and to further promote this genre to existing film fans.

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review

For further information:

EAST WINDS - Third Window Film Festival [2012]

[Article working title: Third Window Film Festival 2012 - EAST WINDS - "A Second Wind OR A Third Windo(ow)"]

Adam Torel ThirdWindow Japan Japanese Korean Film Movies Films Coventry Festival

It's time to talk about festivals and one in particular.

Let me explain.

Mini Mini Movie has been established for some time now and much of it's focus and real love is for Asian film, or as some prefer to catagorise it 'East' Asian. Far East is yet another definition of the part of the world where much of these so loved films emanate.

Now, this is not just a love of these films but more an appreciation of the talent out there. I'm dumbfounded as to how billions of cinema-goers are oblivious to such pictures. Without elaborating too much - that's not what this article is about - I compare the general cinema, Hollywood essentially to that of TV. This is to say, put something in front of viewers and this is what they'll view. Thinking outside the box is the only way such gems - whether filmmaking styles, directors or stories - are discovered.

With that out of the way, off one's chest and probably disappearing deeply into the world wide web's void I get back onto the subject of Asian films. Not just the movies themselves but the way they're distributed here in the UK. This distribution comes in such forms of 'distribution' companies [well, duh...] but also the recognition of these films is helped and greatly assisted by certain film festivals.

It's these festivals and the places the distributors' films are also played which got me into this world of Asian cinema. As well as venues like the ICA (Institute of Contemporary Arts) and the BFI (British Film Institute), & even the KCC (Korean Cultural Centre) we have these festivals:

Terracotta Far East Film Festival

Zipangu Fest

London Korean Film Festival

HyperJapan (in part)

There is another film festival which, like Terracotta Far East Film Festival which is run by a distributor and it's main objective being to heighten the awareness of Asian cinema.

I'm referring to the Third Window Film Festival: East Winds at Coventry University. This is it's second year and they've got some pretty amazing films lined up. This is not to mention the guests recently announced!

Yep, the 2nd Annual East Winds Film Festival at Coventry University is here, or very almost - March 2nd-4th to be precise!

Mitsuko Delivers Sawako Decides Sion Sono Adam Torel Asian Movies Films Japanese

Further Info:

Third Window Films, in association with CUEAFS* and Coventry University will be hosting their annual East Winds Film Festival on the weekend of March 2nd-4th, 2012.

East Winds Film Festival was created with the purpose of bringing East Asian cinema to a University campus under the premise that the film festival is predominantly run by and for students, therefore making it one of its kind in the UK. The festival, despite only being in its 2nd year has drawn large international attention due to the way it operates, and this year sees Nissan sponsor the event as well as welcoming many world renowned film-makers and actors in attendance.

Satoshi Miki Fuse Eri Adrift In Tokyo Instant Swamp Japanese Asian Korean

This years' lineup of films includes a retrospective of Japanese film-maker Satoshi Miki who will attend along with his regular actress Fuse Eri.

Satoshi Miki Fuse Eri Adrift In Tokyo Instant Swamp Japanese Asian Korean Far East Turtles Swimmers

There will also be a double-bill of feature films from legendary Hong Kong director Herman Yau, who will also be in attendance.

Other screenings include the European Premier of Taiwan/China co-production 'Starry Starry Night' with a Q&A from director Tom Lin as well as screenings of Yuya Ishii's follow-up to 'Sawako Decides' with 'Mitsuko Delivers'; the South Korean blockbuster smash 'The Yellow Sea' and the European Premier of the acclaimed short-film 'BloodTraffick' starring rising star Grace Huang.

More information can be found here:

Adam Torel Third Window Films Terracotta DVD Asian Japanese Korean Chinese Hong Kong CUEAFS

*CUEAFS = Coventry University East Asian Film Society.

Sunday, 22 January 2012


[Review working title: "Love: A Revenge Story"]

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review VIOLENCE

Film: Revenge: A Love Story (Fuk Sau Che Chi Sei / 復仇者之死)

Year: 2010

Director: Wong Ching Po

Venue: Roxy Bar & Screen, London


Juno Mak
Sola Aoi
Tony Ho
Chin Siu Ho

Running time: 90 minutes


Released & Distributed in the UK by Terracotta Distribution – details here (and more at foot of review):

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review

Official Site:



Other Info:

Shown as part of the Asian Movies 'Meetup' - details here:

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review
Revenge: A LOGO Story (Boy, if only I'd come up with the horror sub-branding, 'Terror' Cotta!)

Film Festivals:
2010 Hong Kong Asian Film Festival
2011 (2nd) Terracotta Far East Film Festival
2011 (15th) Puchon International Fantastic Film Festival
2011 (7th) Fantastic Fest
2011 (17th) L'Etrange Festival
2011 (44th) Sitges Film Festival

"Best Actor" (Juno Mak) - 2011 (15th) Puchon International Fantastic Film Festival

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review MINI

At Terracotta Far East Film Festival this was - I believe - branded or hyped as a 'Must See'... So, I thought I don't want to miss it. I missed it.

A tad of background: Tonight's movie was a surprise (in a way - because it was the outcome of a vote) and it was now many months after the aforementioned Terracotta Festival.

At the start of the film there is a wrestling scene which seems to last forever. Note: I don't mean wrestling in a ring - you can give a sigh of relief, Hulk Hogan does not make a guest appearance.

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review

We are very soon subjected to images of women+1's. Yes, women with (unborn) babies. What takes place had some irony in it for me. You see, only a week or so before I'd been a tad taken a back by pregnant women scenes in the Japanese "Female Convict Scorpion" series of movies, so what was displayed tonight was hardly shocking. Ok... it was in a way, graphically anyway.

A suspect, and our main lead are soon shown in wonderful slow motion, being chased by those of the law. This lasts for quite a while. At a point where he appears to have been cornered we are riveted to, and focused on the slowness of the actions. In fact, when he puts his hands on to the back of his head we focus so intensely [his fingers are ever so closing together, causing a focal point] that the cut to the next scene is a bit of a surprise.

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review Chinese Mandarin

The latter 'slow'-mo could also be a coincidental comparison to the mind of this guy. Is he mentally slow or just gentle, genuine and quiet? He barely utters anything throughout the picture.

The remainder of this review is less about the story - intentionally - but more about it's nuances, style and comparisons to things in everyday life...

Starting with, the best 'stepping in blood' imagery I've seen in a while. Very realistic... Sticky but definitely not Sweet.

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review Chinese Mandarin

A very different use of pins is displayed. Drawing Pins? The sort you'd put on a Pin Board? Well, it can't be argued that they're not on a Board of some kind.

And, when we meet the 'love interest' I hadn't realised how popular the name Wing was, having also met a certain Wing the previous week.

We also have a good guy, bad guy chase culminating in a predicament which caused me to think "wow... this actor's on fire..." [literally]

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review Chinese CANTONESE Mandarin

Nearing the end and just when I was thinking that this has a hurried ending, we're a tad blown away by grey woodlands, white lighting (not White Lighting, to any English recovering alcoholics out there) & green greenery.

Then there's the red bloodery. Asian filmmakers seem to do blood the best! Perhaps though, as this is maybe best described as a whodunnit it also points to this film not being about the blood but more about who-done the spilling of it.

Lastly - and due to certain scenes near the end, involving young & innocent (looking) - I had resided in sub-heading this review & the movie itself as "Love: A Revenge Story".

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review Chinese Mandarin CANTONESE

So, you want a taster?


A Mini Mini Movie (i.e. Trailer)

"Revenge: A Mini Story"


Find this Trailer and other Mini-er Movies here at:


For DVD fans in the UK and fanatics of behind the scene detail, I would recommend checking out the extras on the Terracotta release. They include:

  • Making Of
  • Producer Interview
  • About Terracotta
  • What Is Terracotta Festival
  • Trailers - 8 Terracotta Films (including "Breathless" & "Sparrow")


Film Footnote - "Virally Vended"

Further details of Terracotta Distribution and another Asian film favourite, Third Window Films are below. However, before you rush to clickety-click-away I'd like to use this space to mention the recent mindless riots experienced here in the UK. Did you know that these riots caused hundreds of thousands of pounds in damages and loss to our favourite independent film distributors? These are, essentially... Arrow Films, Artifical Eye, The BFI, Crabtree Films, Cine-Asia, Dogwoof Films, Exposure Cinema, Eureka, Kaleidoscope Films, Left Films, Masters of Cinema, Metrodome Films, New Wave Films, Peccadillo Pictures, Revolver Entertainment, Showbox Home Entertainment, Terracotta, Third Window Films and Warp Films.

So, with the latter in mind it is even more important to spread the word virally about these unfortunate vendors. On that note I leave you with these links... all which will, in some way assist in keeping such films to be distributed here in the so-called land of milk & honey.

Thanks for your support... in every way.

Asian Movies Films Korean Japanese Awards Terracotta Terror Cotta Terrorcotta Joey Review Chinese Mandarin CANTONESE

Thursday, 20 October 2011

The Yellow Sea (Hwanghae / 황해)

(Original review on new website:


Film: The Yellow Sea (Hwanghae / 황해)

Year: 2010

Director: Na Hong-jin

Venue: ICA, London


Cho Seong-ha

Jung-Woo Ha

Kim Yun-seok

Lee Chul-Min

Running time: 140 minutes

Other Info:

Preview Screening

Korea Korean Asian Girlfriend The Chaser Photo Movies Film Action

I may or not be down with the kids but it's rarely a film makes me go OMG! Yes, Oh My God... From da Oh to da My thru to d'G...!

The Yellow Sea is one suspenseful, part-action, part-thriller (and one could even say, part-love-story) of a film.

Somewhere between essentially South Korea and mainland China we meet a guy. He, [Jung-Woo Ha] like many whom reside in this area is finding it hard to make a living. This guy has a day job, and a blood relation or two.

The main focal point of his love-within has flown a while ago to South Korea, perhaps to never return.

A proposal is put to our main character. [Our main character thus far anyway - Why? You see, by way of a segment sub-heading he is maybe the first of many who has a story to tell. The sub-heading is somewhat misleading, intentionally.]

The guy who makes the aforementioned proposal is a dodgy character. But, when you're down on your luck you'll listen to all kinds of proposals. Whatever this character's decision our story takes us to South Korea, ultimately Seoul and also Busan.

The Yellow Sea / Chaser / Asian / Korean / Movies / Music / Film

In Korea, Jung-Woo Ha's character must execute the proposal made to him. Execute is the perfect word here. It's also handy as he can potentially meet up with his love.

So, how to Exact an Execution and swiftly Exit accordingly... Hmmm... Well, this guy certainly knows how to observe, plan and stakeout as seen fit, to make this run smoothly. After all, he's not committing any crime for free! Indeed not, and although he's been promised a handful of digit-ed notes to undertake this, a couple of human digits, from a handful may also be acquired by him... Obviously... As proof that he's performed a job well done.

There is a great scene where he is judging the time a guy takes to get up to his apartment, using what he can see from outside. For example, the lights inside going on at certain times.

But what does a guy do in between planning and carrying out a deed, in a city not too familiar to him? Well, he could go on the search for the love of his life. He could make enquiries to those in Seoul.

When carrying out the intended deed things seem to be going well. Not much after this though, we have the perhaps corrupt and often inept police involved.

The Yellow Sea (Hwanghae / 황해) Korean Korea Movies Asian Film Cars Chaser

Then? It gets rather involved regarding whom is chasing who. Talk about good guys, bad guys and gangs. You could say the story gets messy. The quantity of bodily fluids spilt definitely IS messy. If you don't like sticky red vessel vino, then I wouldn't watch this. The same goes for knives and the like - there are plenty on show here, slicing & splicing.

Indeed, this is a very violent affair. It's not without it's humour though.

It reminded me of "I Saw The Devil" a little, in it's gore, unflinchingness and it's who-has-the-upper-hand-now element [A review can be found here: I Saw The Devil]. The few main characters will stop at nothing to achieve their goal, even if their accomplices are less willing.

Although this could be a story of a man running, because he's 'on the run' there is also even a pretty tense car chase thrown in. If you think that The Blues Brothers movie contained many a crashed car, you may want to rethink after seeing this.

The film keeps you watching whilst not getting too predictable - Any predictability is quickly eclipsed by the latest run, attack or almost continuous violence.

Yes. The Yellow Sea has elements of the Red stuff, The Blues Brothers & men with Black hearts.

KOREAN FILM MOVIES ASIA The Yellow Sea (Hwanghae / 황해) Na Hong-jin Cho Seong-ha  Jung-Woo Ha

A Mini Mini Movie (i.e. Trailer)

Find this Trailer and other Mini-er Movies here at:

"The Little Yellow Sea, The Big Blue...":