Jeong Byung-gil does not avoid the reefs of the heartbreaking romance and the melodrama, where the evident effort at sentimentalism makes the majority of the parts between the action scenes almost tiring.
Best movies from 2017 and2018 professional#
Another combination of films, this time including “La Femme Nikita” (which will be forever mentioned when the theme of the female professional killer comes up) and “Kill Bill,” keeps the story interesting, although a bit extreme at times. However, and this is one big “however,” the film’s rhythm falls very low during the hour or so where we learn the true story of “The Villainess,” and the blights that still torment her life.
Best movies from 2017 and2018 movie#
This greatness continues to the rest of the action scenes in the movie that include car, bus and motorcycle chases and fights, and scenes occurring in places that range from private clubs to the outside of the buildings.Īll of these are presented through another great combination of films that seems to feature the aesthetics and tactics of “Chocolate” and “The Raid,” and the aesthetics of “A Bittersweet Life” and “I am a Cyborg, But That’s OK” at the same time, with the latter deriving from the way Kim Ok-bin plays Sook-hee in the action scenes. Violence, martial arts, street fighting, guns and knives, and an exceptional combination of Park Jung-hun’s cinematography, Heo Sung-mee’s editing, and Koo Ja-wan’s sound make for one of the best action sequences ever to appear in cinema. Up to this point, the action is frantic in the most elaborate way. Now, the girl has to work for the government’s secret service as an assassin for 10 years, in order to avoid them having her and her daughter killed. In this sequence, the film transforms into yet another video game, this time in the category of surviving horror.Īwhile later, we start to learn about the real story of Sook-hee, the wife of a criminal who trained her to be a killing machine and left her pregnant. Some seemingly surrealist scenes occur where she has to pass through a room where women practice ballet, another where they act, and another where they put on their makeup. After awhile, the camera is pushed back and the character is revealed to be a woman, while the video game aesthetics remain, as a third-person action this time.Īfter the end of this scene, and a disorienting cut including a flashback, we watch the main heroine escape a room in which she was secluded. The movie starts with an extremely impressive action scene, where we watch an unknown assailant attacking swarms of enemies in a building, butchering, maiming, breaking, kicking and punching everyone who enters the scene, in a style identical to the first-person shooters in video games.
Here are the 10 best Korean films of 2017. Lastly, I took the liberty of including “The Truth Beneath,” which, although a 2016 film, I watched very late last year and did not manage to include in that list… Dae Hyung-lim shot a great indie film, while films like those on the rest on the list continued the legacy of the country in action/gangster thrillers. This, however, does not mean that the level of quality fell much lower, since the country’s film industry seems to provide great films continuously, even despite their mainstream and Hollywood-like aesthetics, at least for the most part.įurthermore, the international hype about Korean movies continued with productions like “A Taxi Driver” and “The Villainess.” Hong Sang-soo managed to shoot three films, with one of them standing out.
Evidently, two consecutive great years are quite uncommon, even for Korean cinema, particularly because films like “The Handmaiden” and “The Wailing” did not find their equals in 2017.
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