Doomsday Book: Three Short Films Herald End of the World as We Know It

The apocalypse elicits mixed feelings in me. The primacy of survival appeals to my minimalist bent. The mass destruction of life makes my heart break. Secretly, between you and me, I think that technological advancements don't always advance society but that doesn't mean that I want to see planet Earth turned into a cinder of its former self to make a technophobic point. The three doomsday scenarios played out in Doomsday Book tap into some of my fears and some of my frustrations about the end of the world scenarios, although only one does it in a way that's truly artful. That's not the first entry, Yim Pil-sung's In a Brave New World, a vegan parable that posits that one bad apple is going to transmogrify mankind into rageaholic zombies, after the rotten fruit is eaten by a cow that's eaten by another cow. The winner isn't the third short either, Yim's Happy Birthday. This woeful tale of world's end finds a little girl (Jin Ji-hee) mistakenly making an e-purchase for a meteor that resembles a giant 8-ball. You can scratch that one off your must-see list too.

The standout, for me, is -- Kim Jee-woon's The Heavenly Creature. This mesmerizing short concerns a service robot (voiced by Park Hae-il) at a Buddhist temple who may or not be the latest re-incarnation of Buddha himself. Both suspenseful and philosophical, The Heavenly Creature is chockful of clever social commentary about consciousness, loneliness, self-actualization, pets, corporate hierarchies, religion, perception, apartment dwelling, etc. It's strong enough to stand alone, even if it's running time is under an hour. The end is near. Who has time for a long movie?

Footnote for completists: Ryu Seung-beom headlines In a Brave New World as the Adam of the new zombie race while director Bong Joon-ho (The Host, Mother, Memories of Murder) also makes a brief appearance (in front of the camera for a change).

I Saw the Devil: It's a Bittersweet Life That's More Bitter Than Before

I Saw the Devil is a high-octane thriller that's got something to teach if you can hear it over the accelerated beating of your heart. The lesson is this: A successful revenge is a Pyrrhic victory. When undercover agent Kim Soo-hyeon (Lee Byung-hun) decides to play cat-and-mouse with serial killer Kyung-chul (Choi Min-sik) who raped, murdered then dismembered Kim's wife (Oh San-ha) and many others, he has to deal with some casualties along the way. For each time he releases his prey only to stalk him again, some innocent bystander is likely to get hit, stabbed, or choked. (If you're really unlucky, you'll suffer all three.) Soo-hyeon also submerges himself in a heretofore unconsidered freaky-scary world where mass murderers crop up time and again as if a whole underground network of interconnected sociopaths existed just below society's surface. (David Lynch would have a field day with an American remake!) So while, Soo-hyeon's got high connections within the police force — his father-in-law is Squad Chief Jang (Jeon Gook-hwan), he's going to need to draw on more than those resources to beat Kyung-chul at his own game. You see, Kyung-chul's got powerful allies too, especially one old buddy — a good-natured cannibal (Choi Moo-seong), with a violent girlfriend (Kim In-seo) — who enlightens Kyung-chul over dinner re: Soo-hyeon's "hunter" mindset. This mealtime revelation allows Kyung-chul to turn the tables at least for awhile.

Both Kim and Choi turn in hypnotic performances: Kim as per usual takes a minimalist approach, executing tasks as a form of acting then showing flashes of deep emotion at crucial points like when he's leaving the mausoleum where his wife's just been entombed; Choi chooses a flashier approach, giggling tauntingly and staring furiously at anything that gets in his way. It's a nice balance. Kim grounds the film; Choi embellishes it. I've seen a number of Kim Jee-woon's movies before (The Good, the Bad, the Weird, A Tale of Two Sisters, The Quiet Family). I Saw the Devil definitely showcases what this director does best: an extended chase scene that's punctuated by artful depictions of violence filled with horror; an adrenaline-releasing thriller fueled by one believably psychotic personality. I'm thinking particularly of A Bittersweet Life which also features Kim as a nearly-invincible-and-unquestionably-wronged man trying to survive amid an army of fists, knives, and guns. I was a big fan of that earlier effort and I'm a big fan of this one too.

The Good, the Bad, the Weird: Let's Assume You Can Drawl in Korean

The Ramen Western, like its forebear the Spaghetti Western, fetishizes the genre. All the period details -- the opium pipes, the sweeping leather coats, the aviator goggles, even the rotten teeth -- don't ground the action in reality. They tickle us with their particularity. That's especially true in Kim Ji-woon's vintage piece of filmmaking The Good, the Bad, the Weird. Here actors Song Kang-ho, Lee Byung-hun, and Jung Woo-sung seem to be playing cowboys in a tribute to a Sergio Leone homage more than performing in a movie indebted to John Ford or Sam Peckinpah. Consider this flick a hall of tarnished, sometimes cracked mirrors reflecting dusty cowboy hats, galloping horses and a big Montana sky. You'll be as pleased when you get the expected (like the climactic battle involving cannons, the Japanese militia, and scores of rebels on a desert landscape) as the unexpected (Song absurdly running around with a diving helmet straight out of Jules Verne). There's plenty of blood -- some of it splattering on the camera lens -- and more than a little sadism (one stabbing scene leading to the slicing off of a finger is particularly gruesome). Neither ever feels gratuitous. Much of it's pretty fun.

A Bittersweet Life: Payback Is Murder

Jopok means Korean mafia. But it also refers to a genre of movies dealing with same. Example: A Bittersweet Life, Kim Ji-woon's superfine and shiny genre flick about a slick bad-ass (Lee Byung-hun) whose career as a criminal hits the skids when he falls for the young lady (Shin Min-a) he's supposed to be shadowing. He discovers she's cheating on his boss (Kim Yeong-cheol) but he's so enamored of her shoulder and her ear that he can't bring himself to kill her even if she doesn't love him back. Anyway, who has time for love when you're just trying to survive. Gang members armed with knives, sticks, and wrenches, not to mention a sick imagination when it comes to torture, are everwhere you turn. That's when it's time to get creative. Dig your way out of your own muddy grave. Figure out a way to use a telephone battery as a weapon. Track down the underground of the underground and get yourself a black market Stechkin, a Russian automatic pistol. Whatever you do, don't let them break your spirit. Not when they tie you up. Not when they stab you in the gut. Not when they shoot you with an Uzi so blood is pouring out your front. Vengeance is mine sayeth the Lord. But is this what he was talking about? Maybe. Because he also said an eye for an eye. And there's plenty of that here in technicolor.

The Quiet Family: Shhh! No Laughing Allowed

Bad dramas make me angry. Bad comedies leave me bored. In keeping with that, Kim Ji-woon's flat farce about a family who falls into the habit of killing guests at the inn they've recently bought didn't irritate me with its implausibility. It left me comatose. Not many comedies elicit no laughs, no titters, no smirks, no half smiles, no slightly internal feelings of amusement without any outward expressions at all, so I suppose The Quiet Family is something of an acchievement in how purely it fails. When's the last time you saw a film in which every comic set up fell short of the mark. From the initial suicide of the first customer to the mass burning of dead bodies in the warehouse out back, the crimes get more and more extreme without ever feeling outrageous. You feel the actors playing the macabre scenario for all its worth; you also feel Kim's script has nothing amusing to say. Maybe this isn't a comedy. Maybe this is a murder mystery and the part of the detective has been pretty much left on the editing room floor. Or maybe this is a horror movie in which the ghost is invisible and it's our job to insert his spooky presence. It certainly feels like work watching it.

A Tale of Two Sisters: Lights! Camera! Inaction!

As far as symbolist family sagas involving ghostly multiple personalities go, I suppose A Tale of Two Sisters is one of the less hermetic ones. By the end of this atmospheric mystery (which is another way of saying that it's not that suspenseful), everything except for the creepy critters has pretty much been explained. Frankly, I would have preferred a bit more head scratching. I like the lizard creatures, the child crawling out of the woman's crotch, and the big bloody bag. Who cares what's in it? That's scary! But most of the time Kim Ji-woon's film has you watching anticipatory tableaus cheapened by the nagging question is this happening in the stepmom's head, the daughter's head, or the little sister's head. Why none of the characters chose to bash in the father's head may be the greatest mystery of all. Though he's somewhat peripheral to the action, his very coolness is so inappropriate that I kept hoping he'd turn out to be a modern version of Ted Bundy or Dr. Frankenstein. No such luck. Lots of nice haircuts shot so the face is somewhat obscured like in The Ring. But not nearly as riveting.