In this regard, I must disagree with those who saw as a left-wing message-making that pointedly criticized the Park Geun-hye regime for maintaining its pro-nuclear stance: had it been really that, it would probably have been a much better film, less hysterical and more thoughtful.
Some critics were obviously disappointed to find in an unabashedly commercial film operating within the perimeters of the Asian action genre, minus the spurts of dark, realistic violence and artistic temperament in his previous works.
Of course, I wouldn't look too closely at the logic behind Uhm's rendering of the time slippage phenomenon: the aftermath of years of "filching" food and other items by the temporally stranded children, which would have left a massive amount of "footprints"-- some of which could have fairly explosive consequences, if one were to apply the strict standards of a hard SF-- upon the "normal" world, is never even depicted in the film.Needless to say, would not have worked as well as it did without its strong cast.
Here in the States, The Mummy is a disappointment. It opened in second place with $32.2 million—less than made out the gate, a pretty soft start for a film that cost $125 million, and hardly the Iron Man-sized foundation hit that a shared universe all but requires. (Fun side note: Cruise was once in consideration to play Tony Stark, before Robert Downey Jr. took the role instead.) So if domestic returns were all that mattered, the Dark Universe would be as dead as a mummified Egyptian princess. But looking beyond America, to the rest of the world depicted on that spinning Universal logo, tells a different story. On a global scale, The Mummy is doing just fine: It scared up $141.8 million across 63 international markets this weekend, making it Cruise’s best worldwide debut ever. If that ends up outweighing the tepid reception Stateside (including and a lukewarm B- CinemaScore from select audiences), we could still see Crowe recruiting a come 2019.
Happy Viewing and Re-viewing,Yuhn Mi-kuk
, the third film written and directed by An Byung-ki ( and , both starring , a no-show this time around and sorely missed), the only self-acknowledged horror film enthusiast among South Korean directors, was one of the dismal '04 Summer horror offerings but has nonetheless managed to snag remake rights (Hollywood seems to have forgotten the concept of "original screenplay" altogether.
Director Shin Jung-won (previously an art director for ), working with a trifle messy but inventive screenplay by Lee Chang-shi and Hwang In-ho, steers the latter part of the film toward an inter-dimensional (?) romance between the living gangster Im Chang-jung and the dead ghost Im Eun-gyung.
The brain-exploding theological/metaphysical questions generated by have already compelled some American critics to compare it to the cinematic works of Luis Bunuel and Carl Dreyer: yet the same film features possibly the most emotionally harrowing and physically unnerving child-possessed-by-evil-spirit sequences since (1973), a stupefyingly audacious (and darkly hilarious) zombie attack sequence worthy of George Romero's original trilogy.