Action / Drama / Romance

Rotten Tomatoes Audience - Spilled 58%
IMDb Rating 6.6 10 683


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January 11, 2019 at 05:32 PM



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Movie Reviews

Reviewed by KineticSeoul 7 / 10

Pretty original idea and executed well

This is a engaging movie from beginning to end, it starts out serious but adds a bit of black comedy near the end. The movie is about a smuggler that smuggles items and even people for the communist North Korea to South Korea as long as they are willing to pay for it. But during one of the smuggle mission to smuggle a woman from North Korea, within that short time period they end up falling for each other. And it goes from there, but if your looking for a movie with sunshine and rainbow this isn't for you. This movie shows the narrow mindedness of what hatred for one another can lead to. I like Kim Gyu-Ri as an actress and she played the role of being the woman being caught in the middle between the South and the North really well and was completely believable. I also think she pulled off the North Korean accent although she was born and raised in the South in real life. Sure there are parts that don't make sense sometimes, especially near the end but those are just small gripes when it comes to the whole thing. This is a depressing movie that will keep you thinking when it's finished and it's worth a watch.


Reviewed by totalovrdose 10 / 10

A Non-stereotypical Feature, which explores Love and Hate and the Boundaries that Separate Both

Although Poongsan possesses thematic elements of romance, drama and humor, it is none of these. Poongsan is one of those rare films that some viewers may potentially want to avoid, for it tragically reveals the horrors that exist in the world around us. Though other films provide viewers with entertainment, Poongsan drags us into a bloody world of poignant realism and painful drama, where men and women are brutally tortured, for no other reason than because they happen to reside on the opposite side of a fence separating their countries. It's a film, where North Korean 'traitors' are force fed expensive items, where South Koreans execute spies without remorse, and where love is so easily devoured by the all consuming hatred that surrounds opposing nations.

Although obviously produced on a budget, everything in the feature is brilliantly used to great effect. Many of the film's settings are either only partially seen, or filmed under the cover of night, accentuating the haunting darkness of the film. However, this doesn't take away from the barren wasteland that depicts North Korea, or the South's contrast: a westernized utopia, corrupting all with its influential privileges.

An unnamed stranger, identified only by the Poongsan cigarettes he smokes, travels covertly between the borders of North and South Korea. He takes messages of love from the South, to their families in the North, and occasionally returns with messages, items, and sometimes, people. Yoon Kye-Sang is perfect in this role. He never speaks, but superbly conveys his emotions through facial gesture, one of the film's most powerful scenes conveying the moment he reveals his heart.

Though set in chronological order, the film quickly skips forward: one moment, characters are naked, swimming in a river, next second, they're fully clothed and on land. This deliberate strategy, utilized so the film can urgently tell its story, potentially provides reason as to how the stranger can be horrifically injured one moment, and yet athletically capable the next. Fight scenes, despite being well choreographed, are not only few in number and short-lived, but occasionally unrealistic: vaulting over a fence is just one example where the audience's disbelief is in need of temporary suspension, and the way Northerners, and those from the South, are able to slip across the border with ease, potentially demonstrates a flaw in the system.

When a South Korean section chief (Han Ki-Joong) finds evidence that corroborates the existence of the unidentified stranger, he and his team track him down for a job. A defector from the North (Kim Jong-Soo) desperately wishes to see his wife, In-OK (Kim Gyu-Ri), who still resides on the other side of the border, in exchange to provide further information to the South. Once reunited with her husband, In-OK, who experiences difficulty acclimatising to the environment, discovers her husband is a changed man. Greedy, arrogant, jealous and violent, In-OK's heart quickly changes allegiances, instead belonging to the man who extracted her.

Occasional poetic language is supported not only by the visuals, which are capable of articulating metaphoric symbolism, but by the soundtrack, which encapsulates the emotions experienced in its accompanying moments. One particular vocal serenade, produced over the body of a deceased lover, is especially effective. With all the pain the film articulates, it's difficult to imagine how humor could be used, often articulating the ridiculousness of the confrontation the South and the North are caught between, while discussing how people on one side of the border die of starvation, while those on the opposing side grow fat on money and resources. In one instance, a South Korean spy, who proclaims his love for the North, is asked by his Northern torturer why he loves the country, because not even the torturer is capable of doing so.

Over the course of the feature I personally didn't cry, however, during the credits, everything the film had explored inexplicably hit me at once, and I found myself unable to stem the tears as I wondered 'what's the point?' I don't give Poongsan a 10 with ease, for it's a film that is seldom entertaining, and even during moments of beauty, these are marred by decadence. However, this feature does what so few fail to do these days: it tells the truth.

Reviewed by ShowMeTheCredits 1 / 10

Easily one of the worst movies I've seen

Having just endured two hours with this film, laughing in disbelief at all the wrong places and clawing at my eyes in pain, I feel that someone has to lay out some criticism here, as everyone else seem too scared of criticizing Kim Ki-Duk to do so.

First of all, I wasn't even aware that Kim Ki-Duk had written and produced this flick until my girlfriend told me so, about 20 minutes in. Of course, the mute protagonist immediately reminded me of Ki-Duk's work, but already at that point, with so many flaws and stupidities in the script and execution of the picture, I'd never have guessed that Ki-Duk would have had been within a hundred-mile radius of this set at any time.

I'm a big fan of Kim Ki-Duk's earlier films, so watching this is just jaw-dropping. I cannot fathom how anyone, least of all Ki-Duk, can write such nonsensical below-soap opera trash and get it published and distributed.

Early on we were mesmerized and joking that perhaps Ki-Duk had been using the last three years getting severely acquainted with some Soju bottles or just suffered from massive brain hemorrhaging, but the bottom line, as expressed by my girlfriend was, "Are we really going to watch through all of this?"

And then it just got worse and worse and worse and then a tad worse still. It seems like having been made with a milk money budget. Terrible acting, terrible editing, terrible script writing, well - terrible everything.

There's not a single thing that anyone does in this movie that makes sense. Both on a character basis and on a script basis. The latter mostly because there seems to be no point to anything that happens on screen. We just don't know why the heck anyone does what he or she does. What the point of the whole ordeal is - where the script wants to take us - what the message is. And yet, what they do apparently is uttermost crucial for them to do, because the script takes so many liberties defying everything we've just been told about every character and the story so far to have them act out this endless string of stupid stupid things out of the blue.

You'll also notice that there's no middle-ground for the way the any one of the characters behave here. Either they're weeping and/or screaming hysterically, they're deeply depressed and apathetic, or they're completely off-the-wall in a way that would put Adam Sandler on PCP to shame. Add to this that everyone seems to be either deeply retarded or extremely childish. They all act like they're pre- teens. It's utterly unbelievable that any one of them would be able to hold the job they're supposedly holding without having some kind of care person to aid them through their day and keep them from getting themselves killed.

Then there's the romance part. You kind of already hate the female side of that from the get-go. She's just extremely annoying, not to mention dumb, selfish, self-pitying and disgraceful. The male counterpart - our protagonist - is just a piece of dead lumber. Whereas the mute characters in other Kim Ki-Duk films are just depicted perfectly and carry with them this poetic reverence, not much unlike Buddhist monks, this time around he's just plain annoying. You get the feeling that he's not speaking, because if he did, he'd sound just as stupid as the rest of the characters.

Then there're the too-many-to-count script blunders and logic fails. Like someone stepping on a landmine, taking a flight through the air, and walking away without a scratch. Like jumping over a 12-foot fence just like that. Like the Northeners torturing someone, then for no reason letting that person walk around freely the moment after, to wreak some havoc. Like a Northener being smuggled to South Korea, getting angry with someone on the South side, and asking to be taken back to Pyonyang instead of just opening the door and live without this other person as a Southener. Like torturing someone to make them speak all the while having the victim's mouth covered with duct tape. I could continue this list ad nauseum, but it'd take you just as long to read it as it would to watch the film.

Very few films in the "upper class" of cinema manage to portray their heroes so badly that you wish for them to disappear from the screen, but this film not only manages that - save for a few pleasure girls and a cute little boy, I can't really think of a single character in this film that I didn't wish would just disappear from view. That's quite a feat.

I'm appalled and shocked. And for the life of me, I cannot understand how anyone would give this even a mediocre review. It's the worst Korean film I've ever seen, and I've seen some pretty silly ones. I am, however, thankful that we missed it when it was in the cinemas. At least I didn't pay money for this.

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