I have a soft spot for Jee-woon Kim, a Korean filmmaker probably best know for The Good, the Bad, and the Weird or I Saw the Devil. He’s gotten some big recognition, and even made an American debut with a regrettably forgettable post-gubernatorial Arnold Schwarzenegger movie (The Last Stand).
But in the 2000s, he made a string of really phenomenal genre flicks (the two mentioned above, as well as A Bittersweet Life and A Tale of Two Sisters) that got me into Korean cinema even moreso than Park Chan-wook and Bong Joon Ho, who I was also paying close attention to at the start.
His career has been less consistent though. The Arnold movie and his adaptation of Illang we’re both misfires. He does get good performances from his actors, and he can elevate a good script to it’s maximum potential, but he doesn’t do the same for bad scripts. I think his greatest strength though is his visual flair, and that just doesn’t generate as much attention as his contemporaries.
I have a soft spot for Jee-woon Kim, a Korean filmmaker probably best know for The Good, the Bad, and the Weird or I Saw the Devil. He’s gotten some big recognition, and even made an American debut with a regrettably forgettable post-gubernatorial Arnold Schwarzenegger movie (The Last Stand).
But in the 2000s, he made a string of really phenomenal genre flicks (the two mentioned above, as well as A Bittersweet Life and A Tale of Two Sisters) that got me into Korean cinema even moreso than Park Chan-wook and Bong Joon Ho, who I was also paying close attention to at the start.
His career has been less consistent though. The Arnold movie and his adaptation of Illang we’re both misfires. He does get good performances from his actors, and he can elevate a good script to it’s maximum potential, but he doesn’t do the same for bad scripts. I think his greatest strength though is his visual flair, and that just doesn’t generate as much attention as his contemporaries.