#ryoo seung-bum

[k-star-holic]

Han Hyo-joo - Jo In-sung - Ryu Seung-ryong's One-Take Action - Museum of the Moving Image

Source: k-star-holic.blogspot.com

[dramastream]

Ryu Seung Beom by Lee Yong Hee for Esquire Korea, October 2023

[namjhyun]

Zo In Sung, Han Hyo Joo, Ryoo Seung Ryong, Kim Do Han, Ko Yoon Jung, Lee Jeong Ha, Cha Tae Hyun, Ryoo Seung Bum and Kim Sung Kyun for Rolling Stone Korea promoting the drama Moving.

[geekcavepodcast]

Moving Trailer

"Bongseok, a boy who could float before he could walk, and Huisoo, a girl who survived a horrific car crash unscathed, end up at the same school. They quickly become close after confiding in each other, and soon discover there are more people like them out in the world — people with extraordinary abilities. But while life seems relatively carefree for the teenagers, a mysterious delivery driver named Frank begins murdering people with powers across Seoul. With danger drawing ever closer, will anyone be able to stop Frank before he uncovers the children’s secrets?" (Hulu)

Moving is based on the webtoon by KangFull. KangFull wrote the screen adaptation, which was directed by Park Inje. The series stars Lee Jung-ha, Han Hyo-Joo, Zo In-sung, Go Youn-jung, Ryu Seung-ryong, Cha Tae-Hyun, Kim Do-hoon, and Ryoo Seung-bum.

Moving hits Hulu on August 9, 2023.

[consumeronionbulletin]

Moving (2023)

Take seven episodes of Korean X-Men fanfic, add four episodes of spy stuff, a pinch of Korean gangster nonsense, mix well, and you have recipe for a pretty good superhero show.

The final three episodes of janky CGI fight scenes let me down at the end, though.

What Worked

The high school story that made up the first half of the show was delightful. Just a fun mix of YA tropes and the good kind of mutant superhero nonsense. I also liked the whole secret agent assassin thing playing out in the background as well.

And every single character actor was fun and interesting, this was a show that made sure to treat its secondary characters well.

What Didn't Work

And then the secret agent nonsense started taking over the entire show, and the plot got pushed to the side in favor of five episodes of backstory for every single grownup on the show, and then it got frustrating. I still liked alot of it, especially the meet cute between Bong-soek's parents, but we needed half as many episodes of it.

Also, that gang war plotline was just completely drawn out and gory and unnecessary. It made me dislike Hui-soo's father quite a bit. At least the past version of him.

The show's worst fault, though, was that dang three episode long fight sequence at the end (intercut with backstories on every single person in the fight). This series only had about 12-14 episodes worth of story, and they squeezed out 20 of them.

The series just gradually gets worse after episode seven, to the point where I was skipping scenes by episode 10, and even most of episodes 13-14. It's a case of not enough story and also too much backstory. That kind of thing works better in comics and/or webtoons, but does not work for a TV show.

The Performances

There's too many characters here to cover all of them, but they did a good job of making them (mostly) interesting.

Han Hyo-joo as ("secret agent mom") Lee Mi-hyun. I loved her. The character was well written and the superhero abilities were at the level where they could do creative and interesting things with Mi-hyun. Han Hyo-joo gave a good performance, but she was given a darn good character to play.

Ryoo Seung-bum as ("super hero assassin") Frank. Another interesting character played very well. He somehow managed to feel dangerous even when his only real superpower was not dying. The action scenes with him just worked, which made the big janky stuff at the end of the series look even worse.

Lee Jung-ha as ("super hero / boy next door") Kim Bong-seok. For this series to work, you had to really like this kid, and the actor did a good job making me cheer for him. Which made all the episodes where he was missing harder to get through.

Youn-jung as ("strong girl") Jang Hui-soo. Another likeable actor with a great character. It's too bad they kind of pushed her to the side in the final episodes. And it wasn't a knock on the actor. Her character arc just finished early and then they made 6 more episodes and the writers didn't really give her anything. The bullying stuff she had to deal with at the beginning of the series was gripping to watch.

Zo In-sung as ("the amazing, flying") Kim Doo-sik. All of the scenes he played opposite Han Hyo-joo were great. The rest of his backstory was pretty good, but a little uneven.

Ryu Seung-ryong as ("human punching bag") Jang Ju-won. I liked all the stuff he did in the early episodes, and I disliked most of what he did during and after his backstory arc. His stuff with Hui-soo's mom was okay in execution though a little unoriginal.

Kwak Sun-young as ("Hui-soo's mom") Hwang Ji-hee. I've seen this actor before (notably in Hospital Playlist) and she did a good job here, especially some of the early romance arc with Jang Ju-won. But the plot itself was cliche, and they just kind of killed her off to make people sad rather than having it make too much sense. (Was the NIS behind it, or not? Does that really change anything?).

The Lightning Man / Bus Driver. Some of this was engaging in that "everyone has a story" kind of thing, but that guy should have been fired the first time he hijacked the bus to go on a rogue mission. For every cool thing they let him do, we had to slog through 4-5 uncool / depressing things, which is not a good ratio.

The High School Kids. They were mostly okay, though there was really no reason for the future youtuber and the grumpy bully to be hanging around those last few episodes. And they built up Class President kid in the start only to just have him be mostly useless. Even his dad's backstory was completely superfluous to the plot.

The High School Teachers. They should have just made them all straight up villains. It was kind of okay to make the one teacher somewhat redeemable, but we really didn't need as much of his story as we got. And what was up with that security guard?

The Gangster Crew. No thank you. Did not like. Completely useless and a little depressing, especially for all the episodes we got of them.

The South Korean Spy People. They were all pretty hate-able, and meant to be hate-able. There was some good material but they drew this whole plotline out so much that I stopped caring about them.

The North Korean Spy People. The writers did a good job of making them both creepy villains and somewhat sympathetic as well. But we got way too much backstory for what ended up being very little payoff.

TL; DR:

This is not a bad series overall, but if you feel like skipping episodes, or just leaving after episode 7, that's okay. If you go into the show expecting a webtoon / comic type story, and you actually liked that kind of thing, then you should be in good shape to finish it.

[idolskpop]

‘Moving’ Episode 20: Han Hyo Joo, Ryu Seung Ryong, Zo In Sung’s Characters Find Their Happy Ending

The Disney+ original series ‘Moving’ has come to an end with its 20th episode, delivering a satisfying conclusion for the characters and the viewers. The superhero action drama, based on the webtoon by Kang Full, starred Han Hyo Joo, Ryu Seung Ryong, Zo In Sung, Cha Tae Hyun, and other talented actors as people with hidden superpowers who fight against dark forces.

‘Moving’ Episode 20: The Final Battle

(Photo : Disney+) The finale episode began with a tense showdown between Lee Mi Hyun (Han Hyo Joo) and Jung Joon Hwa (Yang Dong Geun), a North Korean soldier who also has the ability to fly. Mi Hyun was in danger of being killed by Joon Hwa, but her son Kim Bong Seok (Lee Jung Ha) came to her rescue and fought against him. However, Mi Hyun wanted Bong Seok to run away, knowing that the North Korean troop leader Kim Deok Yoon (Park Hee Soon) was aiming a gun at him. Fortunately, Bong Seok was saved by Jeon Gye Do (Cha Tae Hyun), who used his electromagnetic power to kill Joon Hwa. Deok Yoon then tried to escape with the files that contained the secrets of the superpowered people, but he was chased by Jang Joo Won (Ryu Seung Ryong) and Lee Jae Man (Kim Sung Kyun) to the rooftop.

(Photo : Disney+ Korea) Joo Won and Jae Man confronted Deok Yoon, who revealed that he had been working for Frank (Ryoo Seung Bum), a mysterious man who wanted to use the superpowers for his own agenda. Deok Yoon also confessed that he was the one who killed Jae Man’s father 50 years ago, when he was part of a secret mission to capture the superpowered people. Deok Yoon then tried to jump off the building with the files, but he was stopped by Joo Won, who grabbed his arm. Jae Man then shot Deok Yoon in the chest, causing him to fall. Joo Won managed to hold on to the files and pulled himself up.

The Aftermath

(Photo : Disney+ Korea) A year later, the superpowered people were living normal lives without being hunted by anyone. Jang Hee Soo (Go Youn Jung) and Lee Kang Hoon (Kim Do Hoon) graduated from high school with their parents’ attendance, except for Bong Seok and Mi Hyun, who had gone into hiding since the incident. Joo Won continued his chicken business with Kwon Young Deuk (Park Gwang Jae), a former North Korean soldier who became his assistant. Hee Soo entered the university’s physical education department and became friends with Shin Hye Won (Shim Dal Gi), a girl who had super speed. Kang Hoon visited Mr. Min (Moon Sung Geun), the head of the NIS, and expressed his desire to join the agency with one condition: to clear his father’s name from criminal records. Mr. Min agreed and revealed that Kang Hoon’s father was actually a hero who sacrificed himself to protect the superpowered people from Frank.

(Photo : Disney+ Korea) Kang Hoon also met the school guard and his classmate who disguised themselves as part of Jeonwon High School, but in reality they were high-ranking NIS officials who had been monitoring the superpowered people. Bong Seok and Mi Hyun left town and lived a peaceful life in a rural area. They occasionally received letters from Hee Soo and Kang Hoon, who updated them on their lives. Hee Soo also told them about a superhero wearing a yellow cape who appeared in Seoul and saved people from danger. In the last scene, it was revealed that the superhero was Kim Doo Shik (Zo In Sung), Bong Seok’s father and Mi Hyun’s husband, who had been held captive by Frank for 50 years. He managed to escape with the help of Park Il Chan (Jo Bok Rae), a North Korean soldier who sympathized with him. Doo Shik returned to South Korea and killed Frank, who had been hiding as an American businessman named Mark (Daniel C Kennedy). He then reunited with his family and hugged them tightly.

The Reviews

(Photo : Disney+ Korea) The final episode of ‘Moving’ received positive reviews from both critics and viewers, who praised the cast’s performances, the director’s skills, and the writer’s creativity. The series also achieved high ratings on Disney+, becoming one of the most-watched original shows on the platform. Some of the comments from netizens are: “I’m so happy that they all got their happy endings. Especially Doo Shik, he deserved it after suffering for so long.” “This was such a great series. The action scenes were amazing, the story was engaging, and the characters were lovable. I’m going to miss them so much.” “Han Hyo Joo, Ryu Seung Ryong, and Zo In Sung are such legends. They nailed their roles and made me feel all kinds of emotions. I hope they work together again in the future.” “Moving was one of the best adaptations I’ve ever seen. It stayed true to the webtoon but also added some twists and surprises. Kang Full is a genius and Park In Je is a master.” “I’m so glad that I watched this show. It was a roller coaster ride of action, drama, comedy, and romance. It had everything I wanted and more. Thank you to the cast and crew for this masterpiece.” What do you think of the final episode of ‘Moving’? Did you enjoy the series? Share your thoughts and leave a comment below. Subscribe to IDOLS KPOP for exclusive updates and captivating content. Read the full article

[awarejust]

Shin min a

SHIN MIN A CODE

This was followed by romantic comedy My Love, My Bride, in which she and Jo Jung-suk played a newly married couple it was a remake of the same-titled 1990 hit which starred Choi Jin-sil and Park Joong-hoon. But Shin became best known for her portrayals of supernatural horror icons revamped into endearingly innocent yet spunky heroines in the rom-com My Girlfriend Is a Nine-Tailed Fox (2010), and the historical drama Arang and the Magistrate (2012).Īfter appearing in The X, a 2013 spy thriller short film directed by Kim Jee-woon, Shin returned to the big screen in 2014 in Gyeongju, an introspective arthouse romance opposite Park Hae-il. This was followed by leading roles in the melodrama A Love to Kill with Rain and Kim Sa-rang (actress) the romantic comedy The Beast and the Beauty with Ryoo Seung-bum, and the psychological thriller The Devil with Uhm Tae-woong and Ju Ji-hoon.Īs Shin entered her mid-twenties, she began showcasing more maturity in her choice of roles, playing a sexy counterculture singer in Go Go 70s, an unfaithful wife in The Naked Kitchen, and a cynical young woman in search of her father in Sisters on the Road. She took on a supporting role in Kim Jee-woon's film noir A Bittersweet Life, reuniting her with previous Beautiful Days co-star Lee Byung-hun. The newcomer quickly rose to stardom, through the high school martial arts comedy Volcano High with Jang Hyuk, and the college romance Madeleine with Jo In-sung. Shin Min-a began her career as a model for teen magazine KiKi in 1998, then appeared in several music videos for K-pop boyband g.o.d, until her acting debut in 2001. She is best known for starring in television dramas A Love to Kill, My Girlfriend Is a Nine-Tailed Fox, Arang and the Magistrate and Oh My Venus. She took on a supporting role in Kim Jee-woon's film noir A Bittersweet Life, reuniting her with previous Beautiful Days c Shin Min-ah is a South Korean actress. Both sides tried a late winner but failed to score the third goal of the night in Bergamo and the match ended 1-1.Description: Shin Min-ah is a South Korean actress. AC Milan pushed and managed to score the equalizer in the second half with midfielder Ismael Bennacer. The home team scored the opening goal of the match with Ruslan Malinovskyi who surprisingly started the game after coach Gian Piero Gasperini declared that he was for sale in the pre-match press conference. Resultsĭefinitely the most awaited match of the second weekend of Serie A soccer.

SHIN MIN A CODE

Get it all free for one month with promo code ITALY. A subscription also gives you access to other sports content including every UEFA Champions League and Europa League match, the NFL on CBS, and countless movies and shows. Sign up now with offer code ITALY to get a special one month free trial. Paramount+ is the only place to watch every minute of every Serie A match this season, not to mention select games in Italian. Here are the scores and everything you need to know: AS Roma won on Monday against Cremonese while Juventus drew at Genoa against Sampdoria. Khvicha Kvaratskhelia was the man of the weekend after he scored a crucial brace and showed all his skill in front of his new fans at the Stadio Diego Armando Maradona as Napoli kept rolling. After Inter Milan's win against Spezia on Saturday night, Napoli managed to keep the pace with the Nerazzurri while AC Milan failed to win against Atalanta away and drew 1-1 in Bergamo.

[olivierdemangeon]

DOOMSDAY BOOK (2012) ★★★☆☆

DOOMSDAY BOOK (2012) ★★★☆☆

[may8chan]

No Mercy

[refreshdaemon]

Poster cast of 와이키키 브라더스 / Waikiki Brothers (2001):

이얼 / Lee Eol as 성우 / Seong-u

황정민 / Hwang Jung-min as 강수 / Gangsu

박원상 / Park Won-sang as 정석 / Jeongseok

오지혜 / Oh Ji-hye as 인희 / Inhui

류승범 / Ryoo Seung-bum as 기태 / Gitae

오광록 / Oh Kwang-rok as 현구 / Hyeon-gu

[nikitasbt]

Human, Space, Time and Human (인간, 공간, 시간 그리고 인간, 2018) by Kim Ki-duk

Human, Space, Time and Human by Kim Ki-duk is an ominous and bleak Homo homini lupus est sentence to the humanity, a kind of condemnation the films of Bela Tarr or Alexey German’s Hard to be a God have been proclaiming.

The human existence can be comprehended following the rise of depravity and exploration of the moral decay of the individuals resulting in the conclusion the humans are the world’s parasites and pests. The only hope for the bright future is in the shoots the plants put out as an allegory to the potentially innocent lives of the newborn. However, when the time of harvest comes over the new generations appear being unable to overcome the cruel human nature and people find themselves getting pleasure in suppressing and slaughtering the nature and eventually their own kind.

A disturbing and distressing Korean film of Kim Ki-duk is a misanthropic allegory of the human’s entity depicting the decline of humankind, extreme misogyny, cruelty, and inevitable supremacy of instincts and violence over the bright qualities and features the humans have been struggling to develop within the centuries.

The latest film of Kim Ki-duk contains many references to his previous works and even iterations. The film’s title resembles one of the most acclaimed works of Korean arthouse master Spring, Summer, Fall, Winter… and Spring (2003). The structure and plot development are also similar – the film is divided into several parts putting a loop in the end. While this plot loop in 2003 masterpiece was just saying the humans are meant to commit the same mistakes and experience love, hatred,  and failures, the message of Human, Space, Time and Human is very bleak and misanthropic. The society has always been decaying, and individuals cannot find their way through. After immersing into space and time dominated by Homo Sapiens, every newborn baby would become human whose life is full of sins, intolerance, and cruelty. Another obvious link to previous works of Kim Ki-duk is in the space where the film is set: just like Hwal (The Bowman) the whole story takes place on the ship, and we see no other locations but the ship where the characters are trapped. The whole world of protagonists is squeezed into this limited space with no laws and rules the society stands upon. Though, again the idea of this film differs from what the viewers had seen in Hwal. Human, Space, Time and Human surprisingly simplifies the cinematic language of Kim Ki-duk. Though the whole film is an allegory and contains a number of allusions just like Spring, Summer, Fall, Winter… and Spring, everything here is pretty much straightforward. Kim Ki-duk’s best arthouse features are intellectual and can be hard to comprehend due to ambiguous themes and demanding conventions the director comes up with. In this film, the idea is on the surface, and the viewers collide with clichéd characters. It is obvious where the villains are and who is here to oppose them. Though, it ends up with everybody being some sort of villain. The film’s Bible references are also quite transparent, though well-placed not far-fetched. Simplification of the cinematic system of Kim Ki-duk makes him more available to the audience, yet the film is something that would alienate many viewers due to disturbing violence and naturalism.

The first part of the film entitled Human portrays the group of travelers on an old warship embarking for 7-days cruise (this 7-days-story is the first Bible reference). The narration doesn’t explain why these different people travel on the same ship and where they are heading. It is also not explained why the so-called cruiser is packed with sex workers and all sorts of perverts. Perhaps, that’s the way the narration intends to depict society. This first part illustrates the class difference, conflicts between bandits and seemingly decent people, and abusing of power the senator (Lee Sung-jae) possesses on this ship. With the protection of a group of hired villains, he sets himself and his son in a privileged position which irritates the other passengers. Upon raising their voice seeking some equality in rights on the cruiser, passengers collide with the extreme violence of gangsters having no fear or shame in the actions with approval of their patron. Apparently, this leads to no good.

In no time, the ship becomes a scene of disturbing cruelty. The main female character whose name is never mentioned (portrayed by Mina Fujii) is raped by almost every significant male character including senator. His son is shown as a kind of positive character initially who was not fond of the privileges he is meant to enjoy. However, when he finds an unconscious woman in his cabin after his father leaves he rapes her too without any sympathy or sentiments. Meanwhile, the girl’s boyfriend is stubbed and killed and the other woman is also raped by another gang. There is nobody standing by the side of women, and we see the hidden misogyny going beyond control in every man. Also, there are several sex workers on the ship who sell themselves and close their eyes as they are treated as junk. Even those men who could be possibly against it find themselves being unable to cope with the sexual lust and hidden predilection for abuse of the women. The message of this part is that the men have never been able to suppress their beastly instincts towards women, and this will never change. Being put into the situation where the women are abused, the men choose to be a part of it despite showing some intentions to oppose it. Those who actually oppose it, get killed. These rape scenes are really heavy, disturbing and hard to watch. I can understand people who have stopped watching Human, Space, Time and Human at this point. However, the film would later become even nastier. An isolated group of people now sinks in drug abuse, gang rapes, assaults, cruelty, and unfair treatment of each other from the position of power. The main female protagonist is shown as the martyr, a kind of innocent Madonna. Meanwhile, this rise of depravity is being observed by a mute mysterious old man who resembles a character of an old Buddhist monk from Kim Ki-duk’s masterpiece Spring, Summer, Fall, Winter… and Spring. This is probably the only character in the film who has no intentions to rape anybody (not counting on a character played by Joe Odegiri who is killed at the beginning of the film after his girlfriend’s rape). The old man does nothing, but scrabbles dirt and remains of food collecting it in cups, and it seems like he has something in his mind on what’s going on around him.

The second part entitled Space begins next morning when the passengers and crew realize the ship is now floating high in the sky, and they can see no terrain or sea. Kim Ki-duk never explains what happened as everything from now has to be taken as an allegory to human existence and history. As the ship runs out provision, all the humans show their real face trying to find the way to survive. Nobody knows what’s happening, and those who have guns and grenades are reigning. Slowly people get an idea all of them would die of starvation on this ship. The senator who is in control of all provision is the first realizing it, and he decides to maintain his high status as death approaches. First, he orders to distribute less food to the other passengers, then he stops feeding them at all, repels the attempts of uprising and eventually kills almost everybody with his own hands.

The people in extreme situation turn into the beasts very fast, and there are no positive characters in this setup. It is not something original in the film of Kim Ki-duk, but he has his own view on this survival. Those who possess power retain an excessive use of it, while the others are not able to rise up and left to fight with each other. The female protagonists takes side from the events befriending the mute old man who plants the vegetables and fruits in the underdeck bunker. He even has a few chickens there are yet to start laying the eggs. The woman thinks this is madness as it will take months to get the yield, though the old man keeps looking after his shoots of plants. At the same time, people start killing each other, and their corrupted morality turns them more and more violent. The senator’s son wonders if there is a point of attempts to survive in such conditions. An old man acting as the personification of God explains it with his actions to the girl: the point is to maintain the new life which is being conceived. The symbol of this life is in the shoots he looks after. But soon the girl realizes she gets pregnant after being raped. The old man doesn’t let her do any harm to the child, and she understands this baby is the only reason to survive as it brings the new life which is still innocent while being in the woman’s womb. An old man convinces this baby is a result of divine intervention. At some point, the senator’s son tries to express his sympathy to this girl he raped and feels sorry for what she’s been through. He even tries to oppose his own father and gangsters, but he cannot do much. Later, the senator is killed, and the gang leader for some time becomes the only power on the ship. The girl saves a senator’s son life in a fray with a gang leader taking his promise to take care of her and child. But as he becomes mad of starvation he forgets about any decency ending up raping a pregnant woman again and eating a piece of her flesh. The third chapter Time is probably the most disturbing and disgusting as the survivors fall into cannibalism. Moreover, the old man also takes his part dismembering the corpses preserving the flesh and grinding their bones to use it for planting more shoots. He starts planting the shoots on the bodies of those who had fell victims of this madness. Though these heavy scenes are present here in abundance, at some point I ceased concentrating on this naturalism just taking it as allegory. Homo homini lupus est. People live feasting on other’s flesh, and they don’t do it literally because of law and legal instruments restraining them. When the people’s hands are not tied with any laws and they have to survive they end up like the passengers of the ship. This is the misanthropic message of Human, Space, Time and Human which is probably one of Kim Ki-duk’s conclusions on the nature of the human entity.

There is no God – says the senator at some point despite finding himself drifting in the air on the warship. At the end of the third chapter, an old man who acts like God disappears living the bloody footprints forming a sign of infinity on the deck. He also leaves some flesh, and two last survivors would have to decide who is going to keep living. Eventually, a woman kills the senator’s son to save a chicken he intended to eat. The martyr remains the last living, and she still carries the baby in her womb representing the continuation of life and acting as a symbol of hope. Soon we see the first old man’s vegetables and fruits growing out, and chickens laying eggs.

The last chapter of the film is again entitled Human. It’s time for a loop to close. At first, we see a child and his mother who are the last survivors on the ship and maybe in the whole world. The ship now resembles Eden as it is covered with plants, trees, and gardens growing up from the bones of those who passed away years ago. The little boy is growing up, and he is the symbol of new life. As there are only two people living, I anticipated the story is going to end up with something disturbing it came from. And in the last scene, we see an adult who had found a pistol and started developing violence. He is groping for discovering his real hidden nature and this is not an innocent child anymore. He would be a grown-up man soon who is meant to repeat the fate of other humans. The boundless violence and lust to abuse and suppress lives within him. The film closes with the boy chasing his mother in an attempt to rape her, as the other “humans” on the ship used to do. Then suddenly Kim Ki-duk gives a film Tarkovsky’s Solaris-like ending showing the ship floating from above in the endless space. The divine intervention results in the birth of another corrupt human and the film’s conclusion is a sentence to the humankind. Humans cannot overcome their cruel and abusive nature, they can only hide it for some time. Whenever they get a chance, they would show off their face, sins, and lusts. The idea of Kin Ki-duk’s film is certainly not something new, but it marks a milestone of his career. An author of many provocative features ends up making one of his bleakest film with a transparent verdict on the nature of humanity. Human, Space, Time and Human leaves humans with no hope for change.

The last film of Kim Ki-duk is extremely violent yet it is pretty much into life, from my point of view. The photography is quite delightful making it visually entertaining, not speaking of an abundance of ugly and heavily disturbing scenes of people killing, eviscerating, raping, and eating each other. Though, probably there is no way to get rid of these scenes in such film. The symbolism and multiple religious references which are easy to read appear to be an interesting addition to this carousel of insane violence and depravity. The performances of Lee Sung-jae as senator and Ahn Sung-ki as old man are great, but the real star of Human, Space, Time and Human is Mina Fujii portraying the lead female character whose name is never mentioned. Despite a very dark message and many disturbing and disgusting scenes, Human, Space, Time and Human had become the most remarkable Kim Ki-Duk’s film during the last few years.

This is probably not a film one would recommend to anybody to watch. Kim Ki-duk’s reputation becomes more and more controversial, especially with the recent allegations of sexual harassment against him. It is hard to imagine how the Korean director comes up with such a bizarre material so consistently throughout his career. There were the exceptions such as fantastic 3-iron, Spring, Summer, Fall, Winter… and Spring and even recent 2016 film The Net. However, this time Kim Ki-duk is back to disturbing content which is thought-provoking but very difficult to digest. It is disgusting, but realistic at the same time, and somehow the film might have an enthralling effect. However, I doubt this is something the audience should be looking for in the cinema.

[k-star-holic]

Jo In-sung and Han Hyo-joo, 'Museum of the Moving Image'

Source: k-star-holic.blogspot.com

[yourmoonandstar]

Last trial with the squad that gave me headaches but I still love

[namjhyun]

DRAMA REVIEW | MOVING (2023)

In a time when we are suffering from an over-saturation of content and less than mediocre stories, particularly related to people with superpowers, South Korea has released MOVING and proved there's still hope for the genre.

Like its tittle the story is in constant move, not only pushing forward but going back to different timelines to give us context o our main characters and how the things happening in present time are a direct consequence to the past. Technically, MOVING is perfect. One of the strongest points is definitely the editing and this can be seen in the way the story jumps from one year to another but you never lose track of what's happening nor leaves you confused. There are gaps to fill but with other episodes that will give you answers. The score complements the actions and emotions of the characters to perfection.

The performances are top notch and it's not surprise considering this drama is stacked. If you have been watching korean dramas or films for a while, you will recognize even the most random character or one-episode-cameo it's performed by an award winning actor or actress. These people have a reputation for a reason and they deliver in every scene, with a look, a touch, a smile or a punch that will push you through a wall. For some characters in the drama literally speaking.

Zo In Sung hasn't starred in a drama since Dear My Friends (2016) and I am so glad this is his return to the tv format. In MOVING he delivered a nuance, charming and badass performance that in the hands of another would have fell flat. His character's entire existence it's what pushes most of the story forward: a person used as a weapon to kill but all he ever wanted was to live. The big mystery of the drama it's to find out what was his fate after he got separated from those he loves.

Ryoo Seung Ryong remains one of the most compelling actors of his generation, giving us the incredible story of a good man lost in life until he found his purpose and redemption. His storyline, full of gore and violence, was actually a tender love story about how far a man will go to protect his family. Marvelous.

Han Hyo Joo's character could have easily fallen into the Smurfette principle but no. She's an equal to the men who love her and those that want to kill her, with a very strong motivation to keep herself on the top of the game. This character's loneliness comes through every scene she's in, bottling everything up in order to be strong for her family but you can tell she's waiting for a chance to be free and, most importantly, for her son to be able to live freely.

Ko Yoon Jung, Lee Jeong Ha and Kim Do Hoon are really promising actors, particularly considering they hold their own while performance with so many household names. I think Kim Do Hoon and Kim Sun Kyun probably gave one of the most heartbreaking yet beautiful stories in the drama.

Like I mentioned before every single actor in this drama brought their A+ game face but I would be doing a disservice if I didn't mention Kim Hee Won, Cha Tae Hyun, Ryoo Seung Bum, Park Hee Soon, Yang Dong Geun, Jo Bok Rae, Park Kwang Jae, Kim Joong He and, of course, Kwak Sun Young. She in particular was SPECTACULAR.

None of these characters are one-dimensional, they are not defined by the label society wants to put on them. They are all joined together by the experiences, hardships, love, motivations and ambitions they share. At the end of the day, related or not by blood, they are a family. Even the so-called enemies.

MOVING it's absolutely worthy of the hype that surrounds it through all social media and news outlets putting in the category of one of 2023 best tv shows. I only regret I didn't have the time to watch it sooner so I could have add it to mine.

[where-starsland]

The Servant (2010)

방자전 (The Servant, 2020) written and directed by Kim Daewoo

[koreanfilminsight]

Arahan // 아라한 장풍대작전 (2004) Directed by Ryoo Seung-wan // 류승완

It is year 2003 in Seoul, where the young are into digital camera cell-phones, MP3 players, digital cameras, Pentium 4, computer games, visual chatting, and living together before marriage. Under the skyscrapers, there are unknown masters, those who have reached the state of ‘absolute inner energy’ - the window cleaners hanging on a rope, grandma carrying a heavy load on her head - these are the ones who keep the city in peace. Sang-hwan becomes a police officer to punish those who use their powers for unjust purposes. But in reality, he is humiliated by gangsters. One day, he is approached by some people who say “you have the potential to become Maruchi. We will teach you Jangpung, shooting energy blows out of your palm.” They call themselves Chilseon. And he gets to meet Ui-jin, who is Arachi. He could not believe the strange things he was being told, but he believes it when he hears it from pretty Arachi. He decides to become Maruchi. But unlike their promise to teach him Jangpung and how to float in the air, he spends his days cleaning and doing chores. Meanwhile, Heuk-wun, the reincarnation of ‘absolute evil’ who was sealed off by the Chilseon breaks free, and the world is in dire need of Maruchi. Will this ordinary young man be able to team up with Arachi and succeed in keeping the peaceful energy of the world intact? (Synopsis by KOFIC)