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Devastated and furious, U-gon traces the scandal sheet to a small company of sleaze-mongers headed by President Park Jeong Jin-young, King and the Clownand threatens them to help him get to the source of the rumor.

Pakula thriller such as Klute or Parallax View and Roman Polanski's just-this-side-of-full-blown-psychosis simmering of Knife in the Wateralthough it is not difficult to glean producer and co-screenwriter Bong Joon-ho's pet thematic concerns, with the poignantly-monikered Advance serving as a microcosm of the postwar Korean society propelled by the developmentalist ideology and Kim Yun-seok as its not-quite innately evil but fatally misguided "leader," ready to sacrifice "disloyal" and "foreign" elements to "save the ship.

Haemoo meaning "sea fog" in Korean is written and directed by Shim Seong-bo, Bong Joon-ho's screenwriting partner for Memories of Murderadapted, like the latter thriller, from a stage play originally produced by the Yeonwoo Theater Troupe, also responsible for providing the source material for King and the Clown But The Royal Tailor puts the clothing at the very center.

One should note, however, that it is a devilishly hard film to translate.

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It's the kind of film engages you while it is onscreen, but leaves you with little desire to revisit it afterwards. Kim Sae-ron is equally amazing.

They are forced to opt for wine. In these and other sequences involving the protagonist, Lee manages to avoid one pitfall that many Korean directors stumble into: Her son and the rest of his family would like her to move to a nursing home.

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No less a director than Yu Hyun-mok took on the challenge in the film has unfortunately been lostfollowed by Lee Gyu-woong in and Jang Il-ho in Tunnel 3D, directed by newcomer Park Gyoo-taek, is technically competent with the expected digitally spotless lensing and reasonably smooth CGI effects.

How you might respond to this motion picture may depend on your expectations regarding the basic requirements of a horror film.

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As Gye-yeol cherished each moment she had with Byeong-man, so should we. Strong-willed and ambitious, she attracts the notice of a much younger twenty-something colleague Hyeon-seung, and after a night of drinking they end up in bed together.

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Initially horrified, Jung writes that it took her a while to recognize the old cat's gesture as a desperate expression of love, borne out of the fear that it would be rejected. The decision to put more than half of the dialogue in that film in the Manchu language, which is rarely spoken in the present day, worked brilliantly.

Kim Kwang-sik's follow-up to My Dear Desperado does not begin promisingly.

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But somehow, Choi is able to hold everything together and impart a sense of weight to his character. Haemoo is yet one more evidence for my theory that the genre that Korean cinema truly excels at this juncture, globally speaking, is the mid-level-production psychological thriller in the '70s American cinema mold, rather than horror, comedy or even tear-jerking melodrama.

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Not surprisingly, the film's climactic fight between the two involves strangling by hand-shower metal cords inside a bathtub as well as a jaw-dropping game of Russian Roulette played while tightly embracing each other, pinned down by an overturned wooden furniture a la A Tale of Two Sisters.

Traditional Korean clothes of this kind are called hanbok, and they feature bold colors, shimmering fabric and sweeping curves of the sort that are hard to find in modern-day fashion.

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Its "plot twists" are pretty predictable, and the bad guys seem to cause more problems for themselves by trying too hard to maintain an airtight information embargo: