Secret Reunion (Ui-hyeong-je) [2010] • South Korea

This is a Hollywood style cat and mouse buddy flick with good action sequences, good acting, and a thick plot with international intrigue which ends happily ever after. It stars a couple of South Korea's top box office attractions in Kang-ho Song and Dong-won Kang. Song plays his usual bumbling yet lovable and competent self, and Kang ups his acting ante from stud muffin to scary good hit-man. They have great chemistry together. It's gritty and bloody and, because it seems to follow Song wherever he goes, it's sprinkled with bits of humor throughout.

So what went wrong? Nothing, really, until the deus ex machina at the end. It's probably never been more true than it is with Secret Reunion that a bad ending can ruin a film (for some people). It seems to have bothered critics more than audiences, as Secret Reunion is South Korea's highest grossing film of the year so far. But it also seems to have disappointed one of its actors. As Song put it in an interview "If I were the director, I would have chosen an ending for "Secret Reunion" in which the pain lasts longer". In other words, no living happily ever after. South Korea has a tradition of ending films a little differently than most Hollywood films. People usually die instead of flying off into the sunset. I say it's no big deal and there is a lot f fun to be had with Secret Reunion. Just close your eyes, stop the DVD Player, or walk out a few minutes early f you don't want any cheese in your omelet.

★★★★

Director: Hun Jang
Starring: Kang-ho Song, Dong-won Kang, Kyeong-min Go, Seung-do Han, Su-ho Ha

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Duelist (Hyeongsa) [2005] • South Korea

I'm a big fan of of director Lee Myung-se's M, consider it a top ten favorite film of all time. It's an audio visual masterpiece. The man has undeniable multimedia chops with an unconventional approach to storytelling.

Duelist shares M's visual beauty along with its fragmented narrative style. It's not hard to get the basic story in either film but you do need to step back and just go with the flow rather than keeping notes on how A leads to B leads to C, and so on. Set in the Joseon Dynasty, the story here is your basic good (in this case) girl cop falling for the bad guy she's supposed to capture and put behind bars, with the romantic angle competing with, and coloring, the chase. There's a mystical twist to it too, wherein the would be lovers don't do a lot of talking to one another, instead, they fight. With swords. This allows director Lee to stage some dramatic and very elegant battle scenes, but the motivation here is romance so the dueling is presented as dance rather than combat, and probably won't satisfy fans of traditional action movies. There's a lot of killing but very little blood. The battles are emotional, internalized and stylized without all the grunting and macho posturing that usually accompanies this kind of action.

One of the many dualities of the film is the unrefined, gut level nature of the cops versus the refined ways of aristocratic bad guys. Another is the way the cat and mouse game shifts back and forth between sleuthing and the romance. The Duelist knows the young lady cop is infatuated with him, that his capable mysteriousness in matters of crime and conflict occupies her heart as well as her head. So he toys with her. She is his equal in combat but not in love and he uses this to his advantage.


Ha Ji-won shines in her role as the young police officer who plays the mouse to the Duelist cat. She gets to be goofy, girly, and kick ass all at once. You can tell she is doing most of her own stunts and she's got surprisingly good comic timing. This film is also quite funny at times. A lot of the humor is of the bumbling kind but it's not cheap slapstick. It's more good natured (unfair to characterize it as) loser type struggle. Veteran actor Ahn Sung-Kee, who elevates every film he is in, plays mentor to Ha Ji-won, and he's just great. Supermodel Kang Dong-Won plays the Duelist, named "Sad Eyes", and does a respectable job of playing a hairstyle with depth.

Duelist is a beautiful, if loosely constructed film that won't satisfy hardcore action fans. For me, even though the fighting scenes were mostly stylized dance pieces, and the film wouldn't work without them, there were just too many of them for me to want to watch the film again and enjoy all the other good stuff about it. Take a look at the clip below to see how awesome this guy is at shooting film and marrying music to it.

★★★

Director: Lee Myung-se
Starring: Ha Ji-won, Ahn Sung-Kee, Kang Dong-Won

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M (2007) • South Korea

M is a simple story of a writer, Min-woo, in search of his muse. Director Myung-se Lee tells it with a painter's instinct and a poet's dream logic. It's meant to be observed more than diagnosed, as one would a series of paintings in a museum. The story isn't difficult to take in unless you're really anal about wanting to know, definitively and with assurance, at every given moment if what is going on is real or a dream, a hallucination, a memory, or simply muted perception. This isn't way-out-there and what-the-fuck like David Lynch even though it will likely conjure up comparisons. There is none of the creepy, challenging nastiness of Lynch whose fun and absurd stylings make appearances here but call attention to themselves gently, as they reflect and infuse the story.

M is lightly sprinkled with odd/absurd dialog throughout, but it's appropriate to the characters as they are drawn. Min-woo is an up and coming writer who can't write a word of his new novel as he suffers a massive dose of writer's block, sleepless nights, crazy editors, possible hallucinations, an oppressive sense that he is being followed—which he is—and the haunting memory of his long lost first love as she infiltrates his present reality. Yeon-hee Lee plays the long lost first love, Mimi, who doesn't seem to know anything about Min-woo except that she loves him very much. She is also being followed, in a twistedly logical sort of way, probably by Min-woo. She isn't sure, however, if it's in life or in death. Yeon-hee Lee brings a good-natured goofiness and a remarkable innocence to the film, her presence is a continuous delight.

I wanted to applaud almost every scene in this movie. Director Myung-se Lee's attention to detail in setting up shots, how they are photographed and manipulated, his use of vivid colors and their changing saturation along with a generous use of black, the camera's movement during scenes and how the movement sets up transitions to new scenes, and how harmoniously, remarkably, the soundtrack keeps up with the intricate strangeness and beauty of the visual art—all these things push the boundaries of storytelling to its limits without being overambitious. Nothing about this film feels experimental because the control of the audio/visual terrain is so clearly, to the point of obsession, masterful. This is an Art Film without pretension.

★★★★★