>Daniel_

0/10

At first glance, I was expecting a different outcome in regards to how the movie managed to be so direct with the message of outoritarisim when dictatorship becomes the rule of the land once things come crumbling down. In this case, in a literal sense. The movie explored the obvious tropes that has been truth even in our life time when outority wants to keep ruling as a facade of progress, while, little by little reveals it's true colors of power and control mascarade as your neighbor. The many direct social issue queues are very present in this movie and in our face with a tremendous role from one of the characters who the represents this dilemma our word face even today and in this movie, Kim Yeong-tak. A character that embodied the world perfectly and the reprecutions of those who were impacted by that ideology. While this is a topic that by all means, is not new, the way it deliver these points across, was very impactful when you experience the journey trough the eyes of Min-seong's wife instead of partaking as an expectator and putting yourself in the shoes of one of these unfortunated characters which one of them was seong's wife, atleast for me. Making her and us understand the finale through her last scenes that exposed those who were in her position, as she finds herself in, is what made the ending of this movie and what represents, was quite the moment.

Brent Marchant

0/10

When everything falls apart, it’s hard to know what will happen, especially in relations between survivors. Will mankind pull together to promote the uncertain continuation of the species, or is it a case of every man for himself? In this South Korean disaster film about what happens when a massive (and unexplained, not to mention highly improbable) earthquake destroys all of Seoul (and beyond apparently), except for one high-rise apartment building whose residents must decide whether to save only themselves or attempt to help displaced outsiders, despite a crucial lack of resources. What follows is essentially an apocalyptic retelling of The Lord of the Flies, with occasional back story flashes in the vein of television’s Lost. However, the film’s modestly engaging psychological thriller aspects aside, much of the narrative consists of a string of predictable (and not especially original) episodic incidents, most of which consist of various factions battling one another to become the prevailing alpha dogs. It’s not something we haven’t already seen many times before. What’s more, there’s precious little in the script to make viewers want to care about these people, primarily because of its tepid character development and an overreliance on recurring conflict (yawn). Add to that obvious and heavy-handed stabs at metaphorical geopolitical symbolism, erratic shifts in overall tone (particularly in the film’s first half), and a handful of feeble attempts at comic relief, and you’ve got a picture in need of serious retooling. It’s indeed puzzling to see the many accolades that have been so generously lavished on writer-director Tae-hwa Eom’s third feature outing in light of the project’s pervasive failings. But, beyond its imposing special effects and an impressive production design, there’s not much here to write home about. Wait for this one to come to home media if you’re really interested in sitting through this overlong slog.