Guta-yubalja-deul

A greatly fun movie with twists and turns. Had a good sense of when to turn serious and when to be funny. Not a dull moment within it.

A Bloody Aria is a disturbing look into the ongoing cycle of violence and bullying in Korea. It has no hero or even anti-hero, only protagonists and victims often one in the same. The story begins with a professor driving with a former student taking her to a remote destination with malintentions. A chain of events come into play bringing forth several other "country folk" characters that will lead to a tension filled explosion of violence linked to bullying and institutions such as the military.

The film is primarily a bleak revenge flick with offbeat characters and dark humor. The director conveys his views on violence in Korea through bullying and the circle that evolves from it. Filmed primarily in one location the story is still engaging for the simple fact you have no idea how these characters are going to react next. However, the film seems to think it's a little more clever than it is involving the twists that come into fruition. I figured one major twist out within the first 15 minutes of the film and the other large twist was hard to believe or at least hard to believably comprehend the character's actions and emotions. Some of the subplots such as the rat poison and introduction of a gun fall flat. I enjoyed the film despite its flaws and look forward to what this director brings next.

"Director Won takes a refreshingly different approach to what could have been a standard tale of city folks menaced by crazy bumpkins, mainly in that he serves up an off-key set of characters, none of whom really fit into the traditional roles viewers are used to. The film does not feature an obvious protagonist, or even an anti-hero, and although some of the characters are more vicious than others, it gradually becomes clear that all are victims in one way or another. Despite this, the characters are well drawn, and the viewer learns about them through a series of revelations which unfold in a surprising, though believable manner.

None of the relationships in the film are straightforward, with some of them emerging as being very twisted, and through this, Won ventures into some fairly complex moral territory, and explores the effects of institutions such as the army. The film is chiefly concerned with themes of bullying, which it actually deals with in quite a subtle manner and on several levels, dealing with both the aggressors and victims in a fluid way which eschews stereotyping or easy answers. The lines between right and wrong are not so much blurred as thrown out of the window, as the characters gradually become more and more animalistic, yet at the same time, somehow more human, giving the proceedings an almost tragic feel."

Well I enjoyed the first ten minutes, and that's the only positive I can take away from this film. It's Korean Vengeance cinema fused with Hollywood style Hillbilly fare, with the usual unoriginal plot that can be summed up in one sentence. A music professor and his female student on their way to Seoul get lost and stranded in the countryside; enter four crazy country bumpkins and yeah you pretty much know the rest.

On the plus side, the photography's excellent, and the performances are convincing. If you're into films like Hostel and Cabin Fever then you may like this. But if your new to Korean cinema, don't start here visit Old Boy.

This may sound like a predictable scenario, but this plot nudges the viewer in the wrong direction at every turn. Director Won Shin-young takes the well-known basic elements of the horror genre and twists them even further, setting us up for something great. The key is the disorienting sense of humor that accompanies even the most violent moments. Just as Bong-young teases his hapless victims, Won Shin-young plays with the audience, alternating moments of tension with humorous releases, making us feel both pleasantly and uncomfortably inappropriate, and making us feel uncomfortable. I'm playing cat and mouse with him. Because in the end, it comes down to who can be the most proud. The film's defining pastoral and animal images (a soaring bird of prey in the opening shot, or a later scene in which an insensitive thug slaughters another bird of prey with a baseball bat) hint at an important truth: is showing. Obey no one else as a brutal natural law. Most disturbingly, the final scene suggests that the characters who should best represent order and civilization may also be the most barbaric.