The Righteous Thief: Robin Hood Has a Family

Steal from the rich. Give to the poor. That's the modus operandi of one exceedingly popular folk hero who has manifested in various forms across various cultures. In England, they called him Robin Hood; in Germany, Schinderhannes; in Korea, Hong Gil-dong. In The Righteous Thief, Jeong Yong-ki's reboot of the People's Criminal, the man (Lee Beom-su) redistributing the wealth is a latter day descendant -- 18 generations removed -- who teaches piano and courts fellow faculty (Lee Si-young) at the local high school during the day then wears black tights, scales buildings and inhales helium to rob shady millionaires at night. Lately, he's developed an obsession with one evil mogul (Kim Su-ro), an absurdly rich businessman who's developed a somewhat fetishistic obsession himself with superhero paraphernalia.

Folk hero vs. superhero? Not really. Since we never really see the needy getting a piece of the pilfered pie, a more accurate description of the central conflict here would be indie criminal vs. corporate criminal. As crookery goes this isn't the most antiestablishment. Asked to testify which crimes are the worst in The Righteous Thief, I'd say probably say, they're the ones committed by the performers, not by the characters. Someone should be slapping the wrists of two stars immediately. Would Kim Su-ro and Song Dong-il please take the stand!

It's not often you see a movie in which two actors define their characters with identical mannerisms. So lazy. So felonious. Is Song, as the prosecutor, trying to steal Kim's characterization of the criminal mastermind? Or is Kim pickpocketing the performance of Song? Who's ripping off whom? Regardless, the mirroring of a shit-eating grin and the echoing of a self-deprecating laugh halves every potential laugh in The Righteous Thief. If I were the offended party, I would have left the opening night party in a fury and headed straight to the nearest bar. There I would've ordered a double.

Five Senses of Eros: Speak No Hot Sex, See No Hot Sex, Hear No Hot Sex

Memorable short films? I don't know many. Memorable short erotic films? I don't know any. The enervating anthology Five Senses of Eros didn't change that fact either, especially since there's actually not an arousingly erotic short in the bunch. The opener, Byun Hyuk's "His Concern," is a grating voiceover accompanied by images charting the first stage of a romance resulting from a chance encounter at a train station. (She's way too good for him even if he is played by matinee idol Jang Hyuk.) Number two -- Hur Jin-ho's "I'm Here" -- isn't much better: a twee 20 minutes of a husband (Kim Kang-woo) and wife (Cha Su-yeon) playing hide-and-seek even after she ends up dying of something or other. (This woman likes to spoon even when she's gone!)

On to the third mini movie "33rd Man" which gets more pornographic by kicking off with a naked humping couple undone once the ghost (Kim Gyu-ri) appears. She's not really a spook, mind you, she's simply an actress on a shoot with a frustrated director (Kim Su-ro) and an experienced leading lady (Bae Chong-ok) who oddly enough happens to be a bisexual vampiress. By film four, things get weirder and dykier. With Min Kyu-dong's "The End and the Beginning," now we've got a bitter, horny widow (Eom Jeong-hwa) who decides to shack up with the magician-girlfriend (Kim Hyo-jin) who her hunky husband (Hwang Jeong-min) was banging when he got killed in a car accident. (Just wait until she finds those S&M videotapes.)

Last and least erotic if most interesting is Oh Ki-hwan's "Believe in the Moment," a fragmentary little flick about six incredibly edible young things who confusedly swap partners as they struggle to find out the meaning of intimacy. Lots of kissing! No nudity! I've actually seen previous films by many of the writer-directors featured herein but I don't feel that any of them qualify as an auteur just yet. This project probably appealed to them as something to do before they got to work on a more serious project. Maybe they're auditioning actors. Maybe they're testing out cinematographers. Maybe they're trying to flesh out an idea about carnal desire or the eros-thanatos connection or a dream they once had but don't remember too clearly anymore. Maybe that's it. But only maybe.

S Diary: Love Is Tragic, Love Is Funny, Love Is Something Else

Sheesh. S Diary is one strange hybrid. Half romance, half comedy, the movie doesn't congeal as a romantic comedy because it tends to keep its genres separate. The first half is lightly serious stuff: a doleful tale of a young woman (Kim Seon-a) out to make boyfriends of three men she's perhaps not suited for. And as she gets closer to something deeply romantic, the movie gets slightly heavier with each subsequent rejection carrying with it a deadlier, more debilitating sting. By the third heave-ho, this unlucky lady is a real casualty of the heart. That's also when the writer-director Kwon Jong-kwan defies expectations and jumps tracks by turning what was a melancholic romance into a humorous revenge fantasy. Gone is the sat-upon sad sack unable to get a guy; in her place is a willful nut job determined to get financially recompensed for the emotional expenditures visited upon her by the choir master (Lee Hyeon-woo), the cop (Kim Su-ro) and the graffiti artist (Kong Yu). Kwon doesn't leave the weightier first half behind entirely though. There's a nice coda too in which our protagonist, a budding authoress, learns that you can't rewrite your past and that love is something best experienced in the moment. Try as we might to define our lives, we're better off just experiencing them.