Korean Movies :: Reviews & Information ::

yanzhuo

Originally posted by whitedove at 30-6-2004 12:05 PM:
eh, Kim Rae Won pergi mengajar kat sekolah wife dia? hmm, nampak macam plot My Wife Is 18 la pulak, lakonan Ekin Cheng & Charlene Choi...:stp:

[ Last edited by whitedove on 1-7-2004 at 02:5 ...

yup...cerite nye same..

katt

Reviews on page 1 (in order of postings):
Il Mare
My Sassy Girl

Reviews on page 2 (in order of postings):
The Classic
Il Mare
My Tutor Friend
My Wife is a Gangster (2)
...ing
Oseam
JSA: Joint Security Area (3)

Reviews on page 3 (in order of postings):
Il Mare (spoiler)
...ing
Addicted (2)
Love: Impossible (aka Ditto & Sympathy)
Slave Love

Reviews on page 4 (in order of postings):
Slave Love (2)
Crazy First Love
卛ng
Addicted
Samaria
Musa
My Little Bride
Farewell My Darling
The Day a Pig Fell Into the Well
The Gingko Bed Lovers' Concerto
Christmas in August
Windstruck (2)

Movie News on page 4:
Old Boy
Tae Guk Gi
Everyone Has a Secret
FACE
Three, Monster
Oseam


More reviews here:
Korean drama series ::: Reviews unlimited ::: >>> click here.

katt

Director: Jang Heong-su
Cast: Lee Byung-hun, Choi Ji-woo, Choo Sang-Mi & Kim Hyo-jin




2004-08-11
When is a remake a remake, and does it even matter? Jang Hyeon-su's "Everybody Has Secrets" is a smart, witty and well-cast romantic comedy. It's not a great film, but it's an enjoyable one, and - to western eyes - a major improvement on his rambling comedy "Ray-Ban." It's also the first official remake of a western film by a Korean director.

But so what? The original 2000 film, "About Adam," an Anglo-Irish production written and directed by Gerard Stembridge, was essentially an uncredited remake of a 1968 Italian film, "Theorem," directed by homosexual Marxist poet-turned-filmmaker Pier Paolo Pasolini and starring the then-iconic British actor Terence Stamp in the Lee Byeong-heon role.

Pasolini's film, which exploited the new sexual freedoms of '60s cinema, was both a love letter to Stamp's youthful, acquiline beauty and a hate letter to the corrupt Italian bourgeoisie. Stembridge's film was a thoroughly heterosexual, apolitical comedy tailored to the social aspirations of a city (Dublin) that had recently reinvented itself. Jang's movie attempts to expand the sexual borders of the Korean romantic-comedy genre while reflecting the contemporary aspirations of upper-middle-class, urbanised Koreans.

In a heightened, irreal way, all three films feel "right." In "Secrets," writers Kim Yeong-chan and Kim Heui-jae stay close to "Adam" but tweak the script with Korean characteristics and behavioural mannerisms.

Despite all the talk of today's "global village" and "multi-culturalism," audiences still have deeply implanted sensors about whether a film feels right. Whether it's an official remake or not is largely the concern of film critics and copyright lawyers.  

Audiences simply don't care, and are unlikely to have seen the original film anyway. Most westerners who flocked to see "The Magnificent Seven" or "Fistful of Dollars" had never even seen Akira Kurosawa's "Seven Samurai" or "Yojimbo"; they went because the movies had local stars and were original spins on a familiar genre. And how many Americans had seen the Japanese "Ring" before running to the Hollywood remake? About as many as the number of Koreans who've seen "About Adam."

The best remakes, whether "official" or not, have been true to the cultures and times in which they're set. Bollywood regularly plunders Hollywood storylines for raw material and mashes them down into star-led musical fantasies aimed at rural Indian audiences. Hong Kong has long flourished on Sino-cised versions of non-native genres (spy films, gangster movies, Japanese chambara films) that feel right, first and foremost, for Cantonese audiences.

Will the many planned Hollywood remakes of Korean films - if they ever appear - feel right? If made by Americans and with big-name stars, probably. But if, after all the newspaper headlines, the remakes never happen, there will be a good reason why: they just didn't feel "right."

Source: CINE21, http://www.cine21.co.kr/kisa/sec ... 40811182307027.html
Copied from www.leebyunghun.com, the main board

katt

7/30/04 - The movie "Three, Monster" directed by Park Chan Wook is invited to participated in the "Venezia mezzanotte" unit of the 61st Venice International Film Festival held on 9/1. The movie is co-produced by Japan-Korea-Hong Kong. Lee Byung Hun, Kim Hye Jung, Im Won Hee, and Yum Jung Ah act in the Korean portion of the movie.  In addition to "Three, Monster", two other movies "Raging Years (directed by Im Kwon Taek)" and "Empty House (directed by Kim Ki Duk)" also received the invitations.



News credit to CindyW88 at soompi.com

JUSTcircle

everyone have a secret uh best ker? nak tau gak!!

katt

Taegukgi (Taegeukgi)

Director: Kang Je-gyu
Cast: Jang Dong Gun, Won Bin, Lee Eun Joo
2004

Being the director of a watershed hit like Shiri (1999) can give you some strong advantages when making your next film. It gives you the ability to attract top-name actors and crew. It becomes much easier to raise large sums of money from investors. Park Chan-wook (JSA) and Kwak Kyung-taek (Friend) chose to shoot smaller, more personal works after their record-breaking hits, but Kang Je-gyu took full advantage of his position and aimed for the stars. Taegukgi, which premiered close to five years after Shiri, ranks as the most expensive Korean film ever at $12.8 million and features perhaps the two hottest male stars in Korea. (Won Bin, when asked why he agreed to star in the film, is reported to have said, "You'd have to be an idiot to turn it down, wouldn't you?"  )



Its title named after the South Korean flag, Taegukgi tells the story of two brothers from Seoul who are forcibly conscripted into the army shortly after the outbreak of the Korean War in June 1950. The older brother, played by Jang Dong-gun, decides that he must try to win a Medal of Honor in order to secure the discharge of his bookish younger brother, played by Won Bin. As the war progresses from the outskirts of Busan to the northern reaches of the peninsula, however, Jang's character grows distant and starts losing himself in the passions of war.

Certainly this film is unique in Korean film history for its large scale, its battle sequences and the intricate reconstruction of war-torn Seoul and Pyongyang. The crew deserves praise for the tremendous amount of effort they put into the look and feel of the movie. I found it particularly interesting to see a reconstruction of the street Jongno in pre-war Seoul.

The scenes of war shown here are quite impressive, but ironically they also contain one of the film's biggest disappointments. Presumably to give the audience a feeling of excitement, the director shakes his camera violently back and forth in all of the fight scenes. The result is that we can barely see the elaborate explosions and effects, robbing the film of its greatest asset. Viewers who go to see this in the theater are strongly advised not to sit in the front rows, in order to avoid getting nausea from the lurching camera (not to mention the very gory scenes of battle carnage).

In general, one gets the sense that this film could have been crafted into a far more moving and eye-opening account of the most destructive event in Korea's history. For much of Taegukgi's extensive running time we are focused on the melodramatic discord that springs from the older brother's decision to sacrifice himself. This personal story dominates the film to the extent that, in some ways, the war is merely an elaborate backdrop. The film also makes little effort to say anything new about the conflict. North Korean soldiers are portrayed as crazed fanatics (no JSA-style humanism here), while the Chinese are just a teeming horde. It does try to show the ruthlessness of Southern as well as Northern forces (which provides for some well-acted cameos by Kim Soo-ro and Kim Hae-gon), but this is hardly new. Ten years ago, Im Kwon-taek's Taebaek Mountains portrayed the damage wrought by violent anti-communism with far more conviction.

In the end analysis, Taegukgi is a commercial blockbuster with little to say, but a keen sense of how to attract local viewers with spectacle and melodrama. As I write this, it is playing on a record 450 screens across Korea and it has become the first film ever to sell 2 million tickets in five days. With a long box-office run virtually guaranteed, it appears that Kang Je-gyu will continue to be able to call the shots for his future productions.      (Reviewed by Darcy Paquet)

Source: http://www.koreanfilm.org/kfilm04.html#taegukgi

katt

Into the Mirror (Geoulsogeuro)



Director: Kim Sung-ho
Cast: Yu Ji-tae, Kim Myung-min, Kim Hye-na
2003

Mirror, mirror, on the wall: which is the scariest horror film of them all? Well, not Into the Mirror. But that turns out not to be a problem, after all.

A mirror is an object that has been a part of human civilizations for many millennia, once reserved only for ceremonial or religious purposes. Today, a mirror is, like a clock or a ball-point pen, so closely integrated into our everyday lives that we are no longer conscious about its presence. At the same time, reflections in the mirror still hold, and always will hold, a certain uneasy fascination for the imaginative, the sensitive and the paranoid among us, as the myth of "Bloody Mary," for instance, attests to. Needless to say, filmmakers have exploited our fear of and attraction to the mirror image throughout the history of cinema, from Jean Cocteau's sublime Beauty and the Beast (1946), to John Carpenter's wacky Prince of Darkness (1987), in which the Devil tries to crawl his way out of the "alternative dimension" via a lady's compact mirror, to Sam Raimi's sublimely wacky Evil Dead (1981), where Bruce Campbell plunges his hand into a mirror, horribly but poetically transformed into a pool of blood.



Into the Mirror, supported by the New Directors in Focus program at the Pusan Film Festival in its early development stage, is an intriguing debut film by Kim Sung-ho, a former architect whose deft manipulation of the spatial and optic dimensions of the film results in its unique and memorable look and atmosphere, overlaid with a layer of modernist austerity.

Yu Ji-tae (Old Boy, Attack the Gas Station) plays U Young-min, a cop-turned-security chief at a department store, investigating a series of inexplicable suicides. Young-min, unable to look into a mirror since he had mistakenly caused his partner's death, becomes convinced that the victims were somehow dispatched by a presence inside the mirror. In the course of investigation, he encounters the mentally disturbed Ji-hyeon (Kim Hye-na, Flower Island), who is equally obsessed with the mirror. Meanwhile, Young-min's skeptical former colleague Hyeon-su (Kim Myeong-min from Sorum) begins to regard him as the prime suspect.

Keeping the film's plot almost self-consciously generic, Director Kim, DP Jeong Han-cheol (Yesterday), production designer Lee Hyeong-ju (L'Abri) and the rest of the staff instead focus on extracting suspense, tension and even a sense of magic out of the various scenes involving mirrors as well as the main characters' relationships with their "reflected selves." There are several genuinely impressive set pieces in the film that showcase the filmmakers' ingenuity and skills, such as the "infinitely reproduced reflections" scene depicting Chief Kim's (Jeong Eun-pyo, Break Out, Bet on My Disco) demise.

Smart, complex and a tad chilly, Into the Mirror is one of those rare Korean films that do not feature family dinners, young girls chit-chatting on cell phones, the inebriated men hailing taxicabs or bathroom antics. Its characters firmly remain within the perimeters of genre types (A disgraced cop, a mystery woman who holds the key to the puzzle, a money-grubbing capitalist who ignores the warning from the hero, and so on).

Not that the cast is not terrific. Kim Myeong-min plays a straight cop, but with his peculiar, almost reptilian intensity intact. The if-he-does-not-appear-in-it-it's-not-a-Korean-film super-veteran Ki Joo-bong has one of his most substantial roles in recent years, essaying a petty tycoon, driven and covetous, but not shrewd enough to recognize his true enemies behind their sheep-skin disguise. Kim Myeong-su, the North Korean superior in Joint Security Area, has a grand time portraying another hissable villain, dripping mock sincerity while fixing his predatory gaze on his victims. I was taken aback to learn from the director that the department store guard, who strangely resembles Ki Joo-bong's CEO, is in fact played by his real-life brother Ki Guk-seo. The "subliminal mirror effect" generated by this casting really worked on this reviewer: the result is wonderfully uncanny. On the other hand, Yu Ji-tae is somewhat disappointing, not quite persuasive as a man immobilized by guilt and self-imposed isolation, although he has a nice breakdown scene that seamlessly merges into a moment of effective psychological terror.

I must warn that some viewers may be befuddled or annoyed by the twist and turns of the narrative, as well as by the film's climactic abandonment of its Ring-like horror premise (which was a red herring to begin with) and transmutation into an almost science fictional, metaphysical fantasy. Still, Into the Mirror is a fine example of the intelligent, thought-provoking cinema fantastique, which one relishes, like Orange Blossom Muscat port, not for its fulfilling taste, but for its distinctive flavor.      (Reviewed by Kyu Hyun  Kim)

Source: http://www.koreanfilm.org/kfilm03.html#mirror
Review 2: http://www.kfccinema.com/reviews ... /intothemirror.html

katt

The Way Home (Jiburo...)



Director: Lee Jeong-hyang
Cast: Eul-boon Kim, Seong-ho Yu, Hyo-hee Dong, Kyung-hyun Min, Eun-kyung Yim
2002

With the unexpected box-office success of her second feature, Lee Jeong-hyang has now earned the title of Korea's most commercially successful woman director. Although the widespread popularity of her debut film Art Museum by the Zoo can in part be attributed to star actress Shim Eun-ha, her latest work The Way Home offers nothing more in star power than a 7-year old boy and a 77-year old grandmother. Based purely on its strengths in storytelling this film has become a popular and beloved feature in its home country.



The Way Home opens with a single mother who, faced with financial troubles, decides to leave her seven-year son with his mute grandmother in the countryside. Having run away from home at a young age, the mother introduces the two to each other for the first time and then leaves for the city. The boy is furious at this upheaval in his life, taking out his frustrations by misbehaving and making wild demands of his grandmother.

The film was shot in a remote village of only eight households, with amateur actors taking all the roles save that of the young boy. Kim Ul-boon, the woman who plays the grandmother, was scouted from another village when the director spotted her walking down the road. Having never seen a movie before in her life, she nonetheless proved to be a talented and devoted actress, and she has since become a minor celebrity.

Apart from being a mainly personal story, The Way Home also highlights the world of difference that exists between rural and urban Korea. Without being preachy, the film manages to highlight some of the aspects of rural life that have been lost in the course of development. The film's main strength remains its storytelling, however. Although the plot contains few surprises, it develops in such natural fashion that it doesn't feel like a story is being told at all.

I admit I was shocked to see how well this film performed at the box-office when it was released in April. When you watch it, it seems to contain not a trace of commercialism, yet it managed to outperform both Hollywood blockbusters and star-studded local movies to land at #1 in the box-office. A small chunk of hope for those who support modestly-packaged films.     (Reviewed by Darcy Paquet)

Source: http://www.koreanfilm.org/kfilm02.html#wayhome
Review 2: http://www.kfccinema.com/reviews/drama/wayhome/wayhome.html

Asiafever

Nice review Katt. Thanks...

Asiafever

Movie yang ada SSH dan JDB tu sudah ada dalam pasaran ke?

madzarox

biler taekugi nk kuar dvd??

kEk_KeL@d|

Originally posted by katt at 7-9-2004 11:43 PM:
The Way Home (Jiburo...)



Director: Lee Jeong-hyang
Cast: Eul-boon Kim, Seong-ho Yu,  ...

yg ni ada tayang kat local cinema kan?

Asiafever

Originally posted by Asiafever at 10-9-2004 12:37 PM:
Movie yang ada SSH dan JDB tu sudah ada dalam pasaran ke?

Movie yang dipanggil The Guy Was Cool tu dah ada kat S&M tapi cuma ada Chinese subtitle lah......

kEk_KeL@d|

huh! penat aku selak2 carik thread nih..

aku tendang naik atas dulu..

jap2 gi nak letak review cite baru yg aku nengok... :bgrin:

kEk_KeL@d|

Pelakon :
Yoon Jung Sook: Han Ji Hye (Summer Scent)
Kwon Hyuk Joon: Lee Dong Gun (Let抯 go to School, Sang Do)

Watak pembantu:
Kwon Sun Ah (kakak Hyuk Joon)
Jung Chan (Hyuk Joon抯 colleague and best friend)
Moon Ga Young (Hyuk Joon抯 ex-girlfriend)
Hyuk Joon抯 grandfather
Jung Sook抯 mother



Drama ini mengenai Kwon Hyuk Joon (Lee Dong Gun) yang telah ditunangkan sejak kecil dengan Yoon Jung Sook (Han Ji Hye), iaitu semasa JS dilahirkan lagi, semasa itu HJ berumur 10 tahun. HJ datang dari keluarga berpengaruh Andong Kwon, di mana dia merupakan cucu sulung yang juga pewaris ke 36 keluarga itu. Sementara JS pula, ditunangkan dengan HJ kerana ikatan di antara datuknya dgn datuk HJ. setelah 18 tahun berlalu, HJ kini merupakan seorang pendakwaraya yang berjaya di Seoul sementara JS pula membesar sbg gadis yang suka bersukaria ke pusat hiburan,seorang yang tidak matang dan akan menjalani peperiksaan untuk memasuki universiti, bersama2 4 orang rakannya yang diapanggil 'Puteri Berlima'. Pada mulanya, kedua-dua mereka tidak mahu berkahwin seperti yang dikehendaki datuk HJ. (HJ sangat sayang dan menghormati datuknya). Namun setelah berbagai perkara ditempuhi,di antaranya tentangan drpd kakak HJ, Sun Ah yang menentang kerana JS datang drpd keluarga yang miskin dan berpendapat  tidak padan utk menyertai keluarga Kwon, akhirnya perkahwinan berjaya juga dilangsungkan.

Seterusnya kisah ini berkisar tentang bagaimana perhubungan di antara pasangan suami isteri muda ini berkembang.

Walaupun tidak mencintai JS, tetapi HJ tetap menerima JS sebagai isterinya. dan sudah tentulah dia 'pening kepala' dengan gelagat isteri mudanya itu yang kurang matang dan memerlukan dia untuk membimbing isterinya. sementara JS pula, drpd anak gadis yg gemar bersukaria, kehidupannya serta merta berubah apabila menjadi isteri HJ di mana dia merupakan suri rumah sepenuh masa. dia juga terpaksa menempuhi cabaran sebagai isteri kpd HJ, di mana sbg pewaris kpd keluarga Kwon, berbagai2 aturcara dan adat istiadat keluarga yang perlu dipatuhi dan dipelajari, di samping mahu menyesuaikan diri sebagai isteri seorang pendakwaraya spt HJ.JS juga menerima cabaran daripada kakak HJ yang tidak sukakannya, sebaliknya Sun Ah lebih suka jika HJ berkahwin dgn bekas teman wanitanya, Ga Yong.

Berbagai2 peristiwa berlaku diantara kedua2nya. Di awal perkahwinan, mereka sering bertengkar, di mana JS dgn pemikirannya sendiri dan Hj pula yang sudah 10 thn hidup sendirian. HJ sering menyalahkan isterinya kerana bersikap tidak matang sementara JS pula menyalahkan suaminya kerana tidak menyedari kesalahannya sendiri.

Ho Jun
Seorang pendakwaraya muda yg sedang meningkat naik. Tinggal di kota Seoul yang serba moden namun pada masa yg sama seorang yg sgt menghormati org tua dan memikul sepenuhnya tanggungjawabnya sebagai pewaris keluarga Kwon. Tidak seperti drama Korea di mana wataknya selalu menentang pilihan ibu bapa, HJ menerima jodoh yang telah ditetapkan datuknya. walaupon tidak menyintai JS pada awalnya. dia tetap menerima JS di dalam idupnya.sebagai suami yang bertanggungjawab dia sentiasa mengingatkan dirinya ialah suami orang, walaupon bekas teman wanitanya yg baru pulang dr luar negara kembali menagih cintanya, namun dia tidak pernah curang kepada isterinya. Sebagai org yg lebih berusia dr isterinya, dia juga sentiasa membimbing isterinya itu. marah tu marah jugak, tapi sayang pon sayang jugak.

Joong Sook
Selepas menamatkan sekolah tinggi, dia terus dikahwinkan dengan HJ. daripada seorg yg tidak serius dan hanya suka berhibur, dia berusaha menjadi isteri yang baik kepada HJ. dia juga menghadapi tekanan di awal perkahwinan mereka kerana sukar utk menyesuaikan hidup sebagai suri rumah, tambahan pula kerjaya suaminya yang sibuk itu menyebabkan dia sering ditinggalkan seorang diri di rumah.JS juga sebagai isteri kepada pewaris keluarga KWon, banyak perkara yang harus dipelajari terutamanya 'orang2 tua' keluarga Kwon yang mahukan menantu cucu yang sempurna.

Drama ini merupakan sebuah drama ringan, serta menghiburkan. namun pada masa yang sama nilai yang diterapkan adalah bertepatan dgn nilai kehidupan, yang boleh kita ambil sebagai panduan.

HJ, walaupun tidak mencintai isterinya pada mulanya dan JS, yg terlebih dahulu jatuh cinta kpd HJ, mereka berdua sama2 berusaha untuk mengekalkan kesejahteraan rumahtangga mereka. walaupon menyedari yg bekas teman wanita HJ cuba melakukan pelbagai perkara utk menggagalkan rumahtangga mereka namun dia tetap percayakan suaminya.

Berbeza dgn kebanyakan drama yang menerapkan unsur kebebasan, terutamanya dalam segi menentukan jodoh, drama ini menampilkan watak yang amat patuh pada penentuan yg ditetapkan oleh orang tua dan pada masa yg sama tetap beroleh bahagia.


bagi saya, setiap episod amat menghiburkan, kelakar, romantik tetapi realistik.dr episod satu lagi dan once anda menontonnya, anda tidak akan sabar2 utk ke episod seterusnya. tade watak yg betul2 jahat dlm drama ini. so kita pon tadelah kene tension2 menanti bila si jahat akan menerima balasan. jalan ceritanya amat ringan, tapi mudah diterima dan mmg sesuatu yang berlaku dalam kehidupan kita. overall saya memang puas hati dgn Sweet 18.
Lakonan kedua hero dan heroin juga mantap, dan ada chemistry.
dari 5 bintang, erm... nak bagi 5 bintang pon boleh kut... ehehehe... so, my recommendation is highly recommended.selamat menonton.

kEk_KeL@d|

Introduction:
This is my very first review done on spcnet.tv so I though I抎 start with a drama I felt was really outstanding. The concept of a pre-arranged marriage between an older man and a very young girl is not a new one and has been explored before in the Hong Kong movie 慚y Wife is 18

katt

A Bittersweet Life

Actors: Lee Byung Hun, Kim Young Chul, Hwang Jeong Min, Shin Min Ah

Director: Kim Jee Woon

A Bittersweet Life opens with a gorgeous black and white image of a willow tree tossing in the breeze. As color slowly starts to bleed into the frame, we hear a voiceover by the main character Sun-woo: "On a clear spring day, a disciple looked at some branches blowing in the wind, and asked, 'Master, is it the branches that are moving, or the wind?' Without even looking to where his pupil was pointing, the teacher smiled and said, 'That which moves is neither the branches nor the wind, it is your heart and mind.'"



Sun-woo (Lee Byung-heon) is a man whose heart and mind remain closed to wind, rain, or disruptive emotions. For the past seven years he has served his gangster boss with unflinching exactitude. He manages an upscale bar called La Dolce Vita (which echoes the film's original Korean title), and he despatches people who get in the boss's way with skill and efficiency. The boss (Kim Young-cheol) trusts him so much that he asks Sun-woo to look after his mistress (Shin Min-ah), and to kill her if she is being unfaithful.

A Bittersweet Life posits what might happen if, after all those years, a frozen pysche such as Sun-woo's should suddenly start to melt. This would seem at first to be an overly romantic notion to throw into a Korean-style noir film, where the violence is gut-wrenching and the hero feels no qualms about putting his gun to a man's forehead and pulling the trigger. But the emotions that seep into Sun-woo's mind unleash a recklessness in him, that will later transform into fury once he senses that he has been betrayed.

The familiar stylistic traits of director Kim Jee-woon, seen before in A Tale of Two Sisters (2003), The Foul King (2000), and The Quiet Family (1998), can be spotted here in abundance, and yet he has never made a movie quite like this one. It feels nihilistic at times, and as in Old Boy -- which will surely be compared to this film countless times -- the violence is strong and innovative enough to become a topic of conversation. Mixed in with the cruelty is a bit of absurd, black humor in the middle reels, but not enough to lessen the heavy feel of the work as a whole. The end result is a visually stylish, cool film that is both very commercial (even though it underperformed in both Korea and Japan), and also complex enough to make it hard to pin down.

One way to approach this film is to simply revel in the details. I love the way Lee Byung-heon savors the last bites of his dessert before going downstairs to beat the pulp out of some rival gangsters who have wondered onto his turf. Perhaps in defiance of Korean critics who, after watching A Tale of Two Sisters, accused Kim of having a foot fetish, the director introduces his striking lead actress Shin Min-ah with a huge shot of her bare feet. I love the way Shin Min-ah's home is decorated (production designer Ryu Seong-hee is Korea's most famous; she also worked on Memories of Murder and Old Boy). And finally, I love the ending, even if I can't speak about it here. If the ending of A Tale of Two Sisters disappoints, the final shots of this film make up a sweet, indelible set of images.      (Darcy Paquet)

Source & credits: http://www.koreanfilm.org/kfilm05.html#bittersweet

Originally posted by sara at 29-6-2004 02:48 PM
cast: Kim Rae Won, Moon Geun Young
rating: ***




cerita ni ok lah..kelakar tengok masa Kim Rae Won  ...

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buat pengetahuan sumer aku dulu pernah keje kat s&m tu...tempat korang beli cd korea tu....masa aku keje tu aku ada ttengok 1 cite korea sebijik cam cite my little bride tu.tapi dia dalam bentuk drama 16 vcd n tajuknya little 18 bride.pelakonnya ialah second hero dlm lovers in paris dan socond heroin dlm summer scent...citer dia best sgtttttttt!!!!!!!1kelakar giler.tahap kelakar dia lebih kurang cam full house la.....jln cite dia cam my little bride la tapi dia lebih kelakar lagi..masa aku jadi promoter kat situ ada pelanggan komen citer tu adalah citer korea yang paling best yg penah dia tengok..korang dapat bayangksn x betapa bestnya citer tu..so apa tunggu lagi..belilah kat s&m tu sbb harganya murah je..tak silap aku lebih kurang rm 80... selamat menonton......

mayutaka

Hi!!!

How about " TOO BEAUTIFUL TO LIE " ...anyone???

adikkeluangman_

My Little Bride & My Tutor Friend dah kuar dalam DVD.