Cast Member: Song Kang-Ho

‘Broker’ is deceptively gentle in the same way as the tide is – constant, soothing and yet with a power to erode even the hardest granite with its motion.

The excellent acting, especially from star Han Suk-kyu, and the easy going approach give ‘Green Fish’ a style all of its own and it’s certainly worth seeking out as it is a lesser known Korean drama.

A rather unremarkable and unsatisfying debut from writer and director Song Neung-han, ‘No. 3’ is neither as funny as it thinks it is or as hip and entertaining as it wants to be.

It’s easy to see why ‘Parasite’ won the Palm d’Or at the Cannes Film Festival. Bong Joon-ho’s latest is no mere pretender to greatness; it’s the genuine article.

A very involving and enticing tale that is made all the more appealing by some top performances from Han Suk-Kyu and Choi Min-Sik.

Bong Joon-Ho makes an incredibly confident and thrilling English language debut in ‘Snowpiercer’, which can sit comfortably alongside his already impressive filmography.

It doesn’t deliver as much as it promises and doesn’t quite hit the mark as a complete unit due to a less cohesive second half and not enough time spent establishing Dong-Jin’s character.

Packed with switching allegiances, twists and turns and on occasion stellar set-pieces, ‘The Age of Shadows’ rockets along on its quest to keep one guessing and in a perpetual state of tension.

It isn’t a noisy blockbuster with shrill bells and whistles; it is a smartly made drama with a dash of redemption, a healthy chunk of political history and a level of tension cranked up to the zenith.

Despite its obvious shortcomings, ‘The Foul King’ is an excellent advert for Korean cinema and retains a strong entertainment value even during its weaker moments.

‘The Good, The Bad, The Weird’ is a great achievement and another success for Kim Jee-woon and is most importantly big, bright and ballistic entertainment that should be seen on a screen as big as possible.

However smartly presented this big budget hit is, it is the dry Korean eccentricity, Bong Joon-Ho’s confident orchestration and the actors at the forefront who make this so captivating.