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| Always (Only You) - So Ji Sub, Han Hyo-joo, Kang Sin Il; UPCOMING 10- 2011 RELEASE | |
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| Tweet Topic Started: Feb 8 2011, 04:12 PM (1,855 Views) | |
| Hitman-Reloaded | Feb 8 2011, 04:12 PM Post #1 |
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Black Belt 10th Dan
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So Ji Sub![]() An ex-champ who has trauma of sending someone to death.... He challenges to start a new life in the ring after falling in love with a blind girl. http://www.showbox.co.kr/ http://www.cine21.com/ http://movie.daum.net http://www.cineseoul.com/ http://movie.naver.com/ |
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| Hitman-Reloaded | Mar 17 2011, 12:49 PM Post #2 |
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Black Belt 10th Dan
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Han Hyo-joo ![]() Kang Sin Il ![]() Park Cheol-min
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| Hitman-Reloaded | Apr 6 2011, 01:05 PM Post #3 |
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| Hitman-Reloaded | Jun 30 2011, 03:48 PM Post #4 |
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Always![]() Chul-min is a lowlife who makes his living as a loan shark muscle and parking lot attendant. But his life is turned sideways when he meets a strange, cheerful blind woman named Jung-hwa. Soon they become close and he trains himself to be an MMA fighter. But when he finds out that she requires eye transplant before too late, and how he was responsible for her loss of sight several years ago, he takes a trip abroad to participate in a prize fight to give her the transplant she needs. Edited by Hitman-Reloaded, Jun 30 2011, 03:49 PM.
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| Hitman-Reloaded | Sep 5 2011, 04:27 AM Post #5 |
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| Hitman-Reloaded | Sep 5 2011, 04:29 AM Post #6 |
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| Hitman-Reloaded | Sep 8 2011, 11:59 AM Post #7 |
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| Hitman-Reloaded | Sep 8 2011, 12:00 PM Post #8 |
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| Hitman-Reloaded | Sep 8 2011, 12:09 PM Post #9 |
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BEHIND THE SCENES
Edited by Hitman-Reloaded, Sep 21 2011, 11:29 AM.
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| Hitman-Reloaded | Sep 8 2011, 03:05 PM Post #10 |
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Black Belt 10th Dan
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Always A fatal love story centered on ex-boxer Chul-min(So Ji-sub) and telephone operator Jung-hwa(Han Hyo-joo).He has closed his heart to the world and she remains spirited despite slowly losing her vision. Eliminating the so-called silent style of long shots and long takes and appealing to soul and spirit, this could be deemed Song Il-gon’s declaration of transformation from an auteur director to a popular director. Those who were mesmerized by Song’s [Flower Island] and [Magician] may be somewhat disappointed. As suggested by the trite title, the movie is full of old clichés. But what makes it extraordinary despite its cliches is the director’s characteristic unconventional directing style and dramatic twists in detail that reveals moderation and omission. [Always] takes small steps towards the climax without excessive use of words and action. Chul-min’s climactic scene trumps the explosiveness of [Rough Cut]. The director also adds class to the film through the remarkable visuals and sound design, sensuous but not superficial. As a result, this film is distinct from overwhelmingly common melodramas and successfully emerges as an‘uncommon common’drama. So Ji-sub and Han Hyo-joo are perfect in their roles. The commercial expression as‘ So-joo couple’ is no exaggeration http://www.biff.kr/ |
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| Hitman-Reloaded | Sep 16 2011, 11:56 AM Post #11 |
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TRAILER
Edited by Hitman-Reloaded, Sep 21 2011, 11:30 AM.
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| Hitman-Reloaded | Sep 21 2011, 11:26 AM Post #12 |
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| Hitman-Reloaded | Sep 21 2011, 11:27 AM Post #13 |
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OFFICIAL SITE http://www.2011onlyu.co.kr/ |
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| Hitman-Reloaded | Oct 7 2011, 12:31 PM Post #14 |
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Always: Film Review The Bottom Line Song Il-gon invests heavily in clichés but the pay-off may be a slew of bad reviews by Kirk Honeycutt Korean director Song Il-gon goes for all-out melodrama in his soap operatic "Always." Song Il-gon’s Always is a seriously sentimental movie. The intent here is not to avoid the clichés of sentimentality but to embrace them boldly. This is one of the few contemporary movies D.W. Griffith could easily embrace: He would recognize every element from the orphan and the blind girl to her puppy and the sick turtle. While Always made a curious choice as a curtain-raiser for the 16th edition of the Busan International Film Festival, it may have been a smart move as the film reps a chance for local hero So Ji-sub to run the gamut of emotions if not from A to Z certainly to mid-alphabet. He thus keeps the talented-as-she-is-pretty Han Hyo-joo from stealing the show. The feel-good factor will get the festival off to a festive start, but reviewers may not be kind so the film will need So’s star power to sell this overripe melodrama in Asian markets. Han plays a telemarketer growing blind at an alarming rate, but her impairment does present the opportunity for a pretty decent “meet cute”: She slides into a parking garage attendant’s booth, assuming the occupant to be the old man usually there. Instead, well into her effusive greeting, she discovers a much younger though sullen occupant. This is So’s character, an ex-boxer whose past has rendered him non-communicative. Despite the new occupant, the girl stays to “watch” a soap opera on a small TV set, asking the attendant questions about the heroine’s clothing and shoes. A few more nights of such viewings draw the reclusive man out of his shell. When she asks what he looks like, he reluctantly concedes, “People say I look manly.” When she asks about his past, the night — which happens to be their first date — goes badly but at her door he reluctantly concedes to have been “a really bad boy.” A rather implausible event in both their pasts connected them long before, but this is one of the movie’s twists that urge on a narration that threatens to stall as Song sends them off to frolic in fields and the boxer to buy his girl a puppy. (To be fair, it’s a practical gift as he intends the puppy to become her seeing-eye dog.) Now the melodrama comes hot and heavy. She needs an immediate eye operation if she will ever see again. The only way he can raise the dough is through mortal combat in an illegal Bangkok fight club. An old adversary, criminal thugs, a fight to the death followed by a brutal mugging rush the story to a second-act climax that gives way to a languid and syrupy “two years later” third act. Signaling his every intention to revel in conventions he avoided in the past, Song Il-gon, who co-wrote the script with No Hong-jin, cues the strings for one scene and lays in a tinkling piano over another. Once an auteurist trained at the National Academy of Film in Loz, Poland, Song saw his films hit the festival circuit but get shunned in commercial houses. For this outing, he throws down a gauntlet to audiences. His craft is undeniable. He invests every filmmaking and emotional trick he can in the relentless clichés. And his two actors do achieve a potent chemistry in their scenes together (which comprise over two-thirds of the movie). The director means for you to gasp at the audacity of the dramatic coincidences and clichés. Call this the Revenge of the Auteurist. You see, he seems to say, I can make a thoroughly commercial movie and even give it some heart. An artificial heart, to be sure, but you can’t have everything. So Ji-sub delivers an assured low-key, natural performance without a single wink at the audience. The story logically allows him to show off his pectorals, athleticism and thespian skills. Han Hyo-joo is sweetness personified, a young woman who won’t allow a handicap dampen her vivaciousness. But there is no impetus, either with the characters or their behavior, to get beneath the glossy surface. The film refuses to look at anything that triggers the heightened emotions on shameless display. There is no deep investigation into cultural mores, social themes or ironies the filmmaker could easily have explored Rather the film is stitched together from old (very old) movies while its lyrical visual style comes from TV commercials. You can imagine the director brushing aside the criticism he knows he will attract. There are not clichés, he might say, but timeless themes. Venue: Busan International Film Festival Production company: HB Entertainment in association with 51k Cast: So Ji-sub, Han Hyo-joo Director: Song Il-gon Screenwriters: No Hong-jin, Song Il-gon Producer: Moon Bomi Director of photography: Hong Kyung-pyo Production designer: Kim Hyun-ok Music: Bang Jun-suk Costume designer: Ki Kyang-mi Editor: Nam Na-young Sales: Showbox/Mediaplex Inc. No rating, 106 minutes http://www.hollywoodreporter.com/ |
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| Hitman-Reloaded | Oct 7 2011, 12:36 PM Post #15 |
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Always O-jik-geu-dae-man (South Korea) By Russell Edwards A Showbox/Mediaplex presentation of a HB Entertainment production in association with 51K, Inchoen Film Commission. (International sales: Showbox, Seoul.) Produced by Moon Bo-mi, Lee Sung-hun. Directed by Song Il-gon. Screenplay, No Hong-jin, Song. With: So Ji-sub, Han Hyo-joo, Kang Shin-il, Park Cheol-min, Wi Seung-bae, Oh Kwang-rok. (Korean, Mandarin dialogue) To enjoy "Always," Song II-gon's romancer about a has-been boxer and a visually impaired woman, Korean meller fans will need to focus their attention on the film's strong perfs and turn a blind eye to its cliches and continuity errors. Model-turned-thesp So Ji-sub ("Rough Cut") and tube actress Han Hyo-joo give robust yet tender performances, but are ill served by the helmer's careless style. Busan fest opener's late October release will garner respectable if unspectacular local biz; other Asian territories may show interest, but the film is too poorly structured to travel far offshore. In a contrived meet-cute, blind beauty Jung-hwa (Han) stumbles into the parking lot booth where her grandfather used to work as a night watchman, and instead finds new employee and ex-boxer Chul-min (So). Unperturbed that her grandpa has switched jobs without telling her, Jung-hwa begins tuning in to TV soaps and sharing food with Chul-min instead. The sweet romance progresses favorably (underlined by Bang Jun-suk's treacly score) until Jung-hwa asks her suitor about his past. Chul-min suddenly turns surly, but the viewer is treated to a flashback revealing his past as a brutal debt collector who did jail time after leaning too heavily on a client (Oh Kwang-rok). Jung-hwa has her secrets, too, but the drama of how she lost her sight is withheld until the third act. As the two grow closer, Chul-min once again becomes a contender on Seoul's fight scene. When the reformed boxer learns Jung-hwa's blindness is curable, he agrees to an illicit fight in order to secure the $30,000 required for her eye operation. Pic moves briefly to Thailand for Chul-min's unlawful bout, but travels too far beyond the boundaries of coincidence-laden reality to sustain credibility. While some of the film's problems stem from Song and No Hong-jin's unpolished script, there are also continuity issues that suggest overall directorial carelessness. That "Always" is also peppered with fine scenes indicates Song is more attentive to poetic gestures than to the overall smoothness of his narrative's trajectory. Thesps remain committed regardless. So is a bit young to be cast as a has-been boxer, but still delivers heft as well as beefcake, and he nails Chul-min's pivotal moment of transformation from thug to repentant do-gooder. Like many actors portraying blindness, Han affects a glazed-eye look, but manages to imbue her cuter-than-cute character with a touching veneer. Lenser Hong Kyung-pyo ("Mother," "The Good the Bad the Weird") makes effective use of the Red camera, which seems to have become the Korean industry standard. Production values are good enough, though the film's major fight scene could have done more to distinguish the clandestine Thai boxing cage from a Seoul soundstage. Sound design is rich, but the obvious tapping of Jung-hwa's cane grates well before it can be recognized as a deliberate effort to foreshadow a similar noise in the pic's finale. Camera (color, widescreen, HD), Hong Kyung-pyo; editor, Nam Na-young; music, Bang Jun-suk; production designer, Kim Hyun-ok; sound (Dolby Digital), Kim Suk-won, Park Jin-hong. Reviewed at Busan Film Festival (opener), Oct. 6, 2011. Running time: 106 MIN. http://www.variety.com/ |
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