HOPE
***
Directed by Na Hong-jin.
Starring Hwang Jung-min, Jung Hoyeon, Zo In-sung.
Science-Fiction, South Korea, 160 Minutes, Certificate 15.
Released in Cinemas in the UK on 25th September by Neon.
After making an immediate impression with his bruising thrillers THE CHASER and THE YELLOW SEA, Korean writer and director Na Hong-Jin, seemed to cement his position at the forefront of Korean genre cinema alongside the likes of Bong Joon Ho and Park Chan-wook, with the release of his epic horror THE WAILING. Distinctive, original, entertaining and scary it feels hard to believe that it has been ten years since its release and that we have had no new works from this exciting talent. In the years since there were rumours that he was working with a certain Hollywood power couple on something, then finally all was unveiled at this year's Cannes Film Festival where Hong-Jin unveiled, in competition, his epic sci-fi actioner HOPE. Seemingly good things can happen for those who wait, with advance word comparing the film to the likes of instant classic MAD MAX: FURY ROAD, apparently in reference to a number of extended breakneck action sequences.
But then, as the film reached mainstream audiences across the globe, ahead of its UK debut, word of other less satisfying and seemingly baffling elements seemed to eke out. Was this a case of varying opinions or baffled viewers caught out unsuspectingly by a director's uncompromising vision? Such things are only catnip to cult cinema audiences who are always looking for something wild and offbeat, further fuelling the anticipation. So, has Na Hong-jin delivered the next cult masterpiece of world cinema after a decade in the wilderness? The truth, frustratingly, lies somewhere else entirely.
Things kick off promisingly enough with Hwang Jung-Min’s arrogant small town cop Beom Seok investigating the death of a large bull on a country road alongside his cousin Sung Ki and his group of rifle toting friends. Tricked into believing this carnage is the work of a wild tiger that has wandered down from the mountains, Beom Seok soon realises on his return to town that something much more ferocious and much, much bigger is rampaging its way through the town laying it, and its heavily armed yet completely unprepared residents, to a terrifying and bloody destruction. With the aid of fellow officer Sung Ae (played by SQUID GAME’S Jung Hoyeon), Beom Seok soon realises the full extraterrestrial extent of the attack and is left wondering how he can protect the town from such a threat.
Na Hong-jin wastes little time in getting to the action, without revealing the full threat for quite some time. It is an impressive tactic that leaves the audience, alongside Beom Seok, reeling at the steadily escalating destruction and carnage while retaining an air of mystery among the falling debris and scattered body parts that fly across the screen. The choreography is impressive with its sweeping camera shots that plunge you right into the middle of the action.
And then we get to see what the threat is.
And this is where the frustration and disappointment seeps its way into what has so far been a superior slice of sci-fi action. As genre audiences we can forgive a fair amount of unconvincing FX work, as long as the story and characters can keep us distracted, we’ll happily go along for the ride. But the janky effects that are placed front and centre here are so unconvincing and jarring it keeps pulling us out of the film that we have been so wrapped up in until now. When compared to the likes of GODZILLA MINUS ONE which achieved so much more FX wise with a fifth of the budget that was spent on this, it feels especially baffling. There are instances when the work does measure up but these are fleeting in comparison to the sub-par work that is more often than not reminiscent of the early 2000’s CGI misfires that Hollywood blockbusters cranked out against an upcoming deadline/release date.
It is such a shame because simultaneously we are being treated to action sequences that count among the best of the year. An extended forest stand-off that morphs into a frantic chase sequence involving monsters, horses and police cars is truly staggering and manages to sweep you along, coming close to suspending your disbelief so completely. This alone is worth the price of admission to see it on the biggest screen you can, and along with the excellent character work from the film's large distinctive cast, including the earlier mentioned Hollywood power couple in a totally unexpected fashion, make this one of the most entertaining sci-fi/horror mash-ups of the year.
And here is where the second layer of frustration comes into play.
Right in the middle of all of this barn-storming, high octane genre mashing fun, things kick up into an even higher gear where the stakes are raised even higher than you could possibly guess... and then the film stops. It does not end. It cuts to credits. Not one plot thread has been resolved and no character has gone through what you could call an arc, although several of them have been thrown that way across the screen. With no official word on a sequel, yet, it feels like a bit of a narrative cheat to string the audience along in such a way. The closing dialogue may offer some allegorical spin on the film's title, and the large scale spectacle could be seen as a metaphor and commentary on US blockbuster cinema. Such an analysis may pass on an intellectual level, if you are being generous, but on a visceral level, which the film has wholeheartedly indulged in up until this point, it feels like a bit of a con. If the sequel does arrive, then all may be forgiven up to a point, but if this is not the case this could be nothing but an exercise in complete futility, no matter how entertaining it is.
Iain MacLeod