Tae-poong

A secret cargo of nuclear detonators is pilfered in a daring, bloody attack by ruthless, nation-less pirate Sin. Naturally, this potentially damaging and frightening attack is covered up by the American 'Defence Intelligence Agency', but not before the South Koreans set their own man on trying to uncover the identity of the thieves and their intentions. South Korea is wary in the politically fractious 21st-century Asia-Pacific region of being caught in nuclear crossfire, especially when Japan, China, America, Russia are all vying for supremacy… Thus begins an international game of cat-and-mouse as the volatile Sin (heart-throb and superstar Dong-Kun Jang) is tracked by crack, noble Navy officer Kang Sejong (Jung-Jae Lee) over hill and dale and Kang discovers Sin's plot to unleash a nuclear Armageddon on South Korea, using a super-typhoon to transport his payload. Why is Sin set on this terrifying course? As two heart-breaking flashbacks show, he and his North Korean family attempted to flee to the South in the 1980s, but were turned away and thrown to the unforgiving Chinese and North Koreans; victims in the capricious, unsympathetic diplomacy-game. Sin pledges revenge, but not before he's grown into a wiry, hugely capable soldier with a stern group of paramilitary types around him. Kang is (at first glance) the polar opposite to the tattooed and straggly-haired Sin: clean-cut, calm and proud of his homeland.

As we watch these two alpha-male Nimrods strafe and finally lay into each other, their battle might be understood as an unintentionally funny homo-erotic courtship. When they can no longer contain their raging lust and rip into each in self-consciously spectacular finale, their knife-fight will either be very moving or provoke laughter, since their knives almost become phallic in their symbolism, and the final act of seppuku is almost masturbatory.

Some might find that viewpoint unnecessarily crude and mean-spirited, but the film relies too much on hardware to either engage or entertain its audience. The most expensive South Korean movie ever made ($15 million, or something), this purports to be a serious, if populist attempt to reveal the unknown victims of the North-South divide. However, it's another example of the admittedly very shrewd and successful Korean film industry engaging in commercial one-upmanship, with each new blockbuster being more expensive, more impressive, more accomplished than the first. Typhoon obviously has an eye on the international market given that a good deal of the dialogue is spoken (stiltedly) in English and that the production-values recall a Jerry Bruckheimer or Tony Scott venture. The plot, save the historical context, is also a facsimile of innumerable race-against-time action films which you've seen a hundred of times before.

This would be just another dumb, lumbering spectacle, were it not for the commitment to the material that cast and crew show. This style of film-making is now utterly familiar from South Korea, and Typhoon owes an enormous debt of gratitude to Shiri and Taegukgi, with the threat of devastation and recall of the terrible violence between the North and South Korea. I'm getting a little bored of Dong-Kun Jang's acting style, which basically requires him to act bug-eyed and hysterical, but I suppose this won't change anytime soon, since he's making a mint out of it. Jung-Jae Lee is more subdued but equally disappointing; his facial expressions are quite limited. (Credit to them, however, the poor script hardly offers them much acting range.) Director Kyung-Taek Kwak has this type of male-melodrama down pat, having honed it in the terrific Friend and clichéd but moving Champion. Kwak tries to broaden his male-centric universe by introducing Sin's long suffering sister, who has only ever know suffering. Indeed, her history of sex slavery and drug addiction are likely to get one righteously angry, but not for long because Kwak's un-ending emphasis on the brother-and-sister's misery verges on self-parody. Likewise, the burgeoning 'understanding' between Sin and Kang, but their resolve to complete their separate missions, makes for a lack of real frisson, real hate.

Typhoon, from an unsympathetic Western perspective is just a faceless, expensive behemoth that begs for big office (and got it). I found its greatest failing not the constant dramatic overkill and over-emphasis (which at least kept me watching) but rather it's pedestrian direction. Kwak over-relies on his sets, special effects and production team, all of whom obviously put in the hours, but his action scenes are quite unexciting, especially when compared to the Bourne films, which beg comparison given the globe-trotting and the murky past the characters must dredge up. One knife fight is much like another, as is an explosion, a car chase. Even the final, desperate assault on the hurricane-lashed ship is tinged with tedium since its such a familiar scenario. Typhoon skirts boredom on too many occasions.

The film is not helped by poor editing and pacing, which contrives to leave us with a month-long gap in the story at one point, and a bathetic score which drowns out all the action. The film's only real interest is its staunch standpoint that South and North Korea should be left to resolve their problems unmolested by China, Japan or America, and it also provides a slightly compelling international backdrop. The film's use of real locations and constant hopping across Asia help ground it in a relatively realistic context: South Korea surrounded by real countries. Thankfully, the film-makers don't resort to using especially recognisable landmarks so the film doesn't feel too much like a travelogue.

Basically, the budget, stars and political standpoint make this something like essential viewing for fans of Korean cinema, but they should take warning this is hardly the industry at its best. Viewers in search of both fun and gritty politics should ('scuse the stupid metaphor) avoid it like a raging hurricane.

Like "The Brotherhood of War (Tae Guk Gi)" and "Silmido" this movie touches upon the most sensitive and emotional issue for Koreans while demonstrating an upgrade of the Korean film industry which has been exploding especially since "Swiri" was released in 1998.

Great actors and actress, great performance and the script, but one of the few shortcomings was some background music which was not perfectly consistent with the theme of the movie. For those who are not familiar with the North-South issues, this movie may be confusing to categorize just as an action movie or one with more in-depth interpretation of the political issues.

What viewers should notice though is that these days the South Korean filmmakers enjoy making controversial movies (such as those mentioned above), which reflects their cultural, artistic and political maturity; South Koreans or Americans are very often bad guys and North Koreans are often good guys or poor victims, left with no better choices. In other words, less and less stereotyping.

In the scene where Sin (Jang Dong-Kun) meets his elder sister for the first time in 20 years... I'm telling you, their performance was simply amazing, especially Lee Mi-Yeon's. I even felt sorry for those who don't understand Korean perfectly, having only to depend upon the English subtitles which in no way convey the full meaning and nuance of the totally different Asian language. Obviously they speak in the movie with a very strong (but, of course, perfect) North-Korean accent (this is very impressive too), that particular scene was too outstanding to categorize the entire movie into any single genre.

Depending on the DVD editions, in the last fighting scene between Sin and Kang where Sin says, "...the f***ed up thing is that we understand each other."(English subtitle) What it really means is their ironical situation that they speak the same language (Korean) even though they are enemies.

With better and more consistent background music (and some other improvements not really worth mentioning), I would've given it a 9. (This does not mean that the entire background music sucked. I'm only pointing out those in the car chase and fighting/shooting scenes)

If you like your typical American movie, with your typical over-the-top-ness & your typical unnecessary love scenes: go by the commentary above..

I have to agree in that is very much a Korean movie; the acting is solid, the lines make sense and the scenes aren't dragged out too long.

The movie in a nutshell: A boy bittered by the massacre of his family grows up into a modern day pirate, aiming to destruct 'the evil south'. Queue lots of killing, an amazing amount of Russians, your fair share of beautiful scenery and torn emotions as the two leads' understanding of each other grows.

This new film by Kwak Kyung-Taek is dubbed a blockbuster, having used up the most expensive budget in Korean cinema history. The money does show up on screen and the locations are nice and exotic. But the movie is somewhat disappointing in other respects.

The first hour is very boring, one that had me restless. The music sounded like something from an expensive video game and many scenes dragged on far too long. After witnessing the most uninspired car chase I've seen in a while, I was ready to give up on this movie. However, Lee Mi-Yeon managed to save the film single handedly with an incredible performance. It's a shame she's on screen for such a short time but with her introduction, the film suddenly finds energy and was entertaining from then on. The film could have used some better characterization and more interaction between the two protagonists. It is mostly the flawed screenplay that is the blame here concerning our lack of emotional attachment to the main characters not the actors themselves; they both do a suitable job. More of Lee Mi-Yeon could have always helped as well. As it is, this movie delivers somewhat as entertainment but it could have been much better.

One scene that will remain in my mind from this film is when the two protagonists meet at the train station. This is one of the few times when the music complemented the scene and the result is truly cinematic. Only at this turning point does the movie find its mark but when it does, it's more than watchable.

Many of the tearjerkers and romantic dramas by Korean film-makers have definitely been appealing to many Asian movie fans. Winter Sonata, Autumn Fairy Tale, Lovers in Paris, First Kiss, just to name a few. Koran actors and actresses appeared in those movies have enthusiastically been accepted in Japan, Hongkong, China, Singapore and in other Asian countries. Jiwoo Choi, Yongjun Bae, Hyegyo Song, Bin Won, Jeongeun Kim, Shinyang Park, Jaewook Ahn, Byunghun Lee are such celebrities, or rather, idols in those countries.

Bun it's quite a different story in the U.S., where 'a man carrying a big stick' is respected. They don't go much for some ticklish romantic episodes played by Asian performers.

Typhoon is an answer to this situation. It has daring hoopla, alertness, conspiracy, betrayal, red-blooded revenge and heartbreaking family tragedy stemming from the tragedy of divided two Koreas. For Dongkun Jang, a North Korean escapee as a child, politics has no meaning at all. His parents were killed when his family were escaping from North Korea to South Korea seeking freedom, by way of China. He and his sister survived the massacre by the North Koreans, but separated---separated for 20 years. All he wants is to find his sister and save her from the hand of North Korean and Chinese 'bandits'. Any means justifies the end for him. He would gladly steal secret weapon from South Korea and the U.S. to trade his sister with it.

His wrath and fury was well and timely expressed in his retort to his opponent: "Comrade, have you ever eaten human flesh?" Jungjae Lee, South Korean navy officer, has a mission to stop him and retrieve the weapon from his hand. Inevitably, the two has the fate to tackle with each other. But Jungjae Lee feels for him and says: "Tonight we will fight to the death, but in another life I would have liked to have been his friend." All the emotions and feelings are melted down to the electrifying scene when Dongkun Jang finally meets his sister and shouts: "(20 years ago) Didn't I tell you to just stay where you were!" Tight and tighter embraces follow.

Fast change of sequences, realistic plot, almost zero-defect photography, compact movements of actors, especially those by Dongkun Jang and Jungjae Lee. Hey, you both are great, Jang and Lee! Not many goofs could be found in this film.