Madre

If you're familiar with Bong Joon-ho's works, then Mother comes without surprise at how he deftly weaves a story about mother's love into a mystery thriller that will keep you guessing every step of the way, with enough emotional firepower to twist a knot in your stomach when the truth gets played out. It's a standard three act structure here where the first hour establishes the strong family bonds between Mother (Kim Hye-Ja) and child Yoon Do-Joon (Won Bin), bordering quite close to being incestuous (but this is glossed over since we're dealing with a man-child here), before they key murder scene beocmes the catalyst for Mother to do some serious investigations work in order to prove her son's innocence, given that the perverted justice system provided that bad after-taste.

I particularly enjoyed the epilogue, which ties in with the inexplicable opening credits which made more sense once you've come full circle at the end. It's the classic mantra of two wrongs never making one right, and how in the protection of loved ones, one will resort to extreme measures that blind common, good sense, and become a "rather you than me" syndrome, which I believe every one of us are capable of if we find ourselves pushed to a corner with no where to run. Bong Joon-Ho is again at his element in unravelling the investigations process, which ties in black comedy with painful, dramatic moments, being evenly paced with heightened tension at appropriate moments.

And kudos of course must go to actress Kim Hye-Ja, who almost single-handedly carried the film on her own, since Won Bin disappears mid-way through. Her single mom, with so much affection for her son, just dazzles and makes it convincing that she's been that single pillar of strength and shelter for her son when he gets up to shenanigans brought about by no good company of his. It's not the first time Do-Joon got himself into a fix, given the strange mannerisms he's been taught to try and jog his memory, and Won Bin showcases his acting chops as the dim-witted boy whose disability gets frequently exploited, coming off as endearing at times, so much so that you're quick to judge and side with him as a victim of circumstances, being at the wrong place at the wrong time.

Mother is definitely recommended stuff, especially if you're a Bong Joon-Ho fan as he delivers yet another powerful film that will leave plenty of post-screening discussion.

Yoon Do-Joon has an intellectual disability. His friend is a bit of a trouble maker. His mother is always worried about him and protective to the extreme. A young girl is murdered and the lazy police of this small Korean town blame the obvious and helpless Yoon Do-Joon. The police interrogate him and make him sign a confession but Yoon Do-Joon is not really aware that he is signing his entry to prison. The mother, confident about her son's innocence will investigate the case and will go to any extent to free her son.

After the success of The Host (2006), Joon-ho Bong has crafted an intimate slow burning thriller with suspense elements that is contained in a small town, with small characters, but has a great scope. This movie is more similar to his first two movies, which I highly recommend. Hye-ja Kim is excellent as the mother. Her performance is understated but at the same time intense, cold and at the same time powerful. The cinematography is beautiful. The film moves along and builds slowly, more akin to the tempo of the small town we're visiting for the duration of the film, but the twists, turns, and suspense make it a highly rewarding and satisfying ride.

Was looking forward to this film after enjoying the director's earlier films, Memories of murder, The host n Snowpiercer. The film is about a mentally challenged kid who is also being overprotected by his single mother who is a specialist in herbs n acupuncture. The kid is arrested n charged with the murder of a young girl but the mother believes he is innocent n she goes out to prove his innocence. The best part about this film is the acting by the lady who played the mother. Another good aspect is the details. When the dead body of the girl is kept on the terrace of a dilapidated house for the whole town to see, we as viewers really wants to know the reason n the reason is explained towards the end well suiting. The direction n cinematography were brilliant. The only problem was the editing. Found it to be a bit slow n long.

As quirky and original as you'd expect from the South Koreans. MOTHER is a lengthy mystery film featuring an unusual storyline about a mother who seeks justice for her unfairly imprisoned son. Along the way, there's all the kind of bizarre supporting characters, atypical incident and genuinely surprising plot twists that you'd expect from a Korean film. This is a movie that keeps you watching throughout despite the slow pacing and lack of action.

The character development is excellent: fully natural, low key throughout, and thoroughly involving. Unsurprisingly, the actors selected to pay the various characters are just right for the part, particularly Hye-ja Kim who we only ever know as 'mother'. She's a unique choice of lead and fits the role perfectly. Won Bin, who made an excellent action hero in THE MAN FROM NOWHERE, is equally excellent here as the slow-witted son and he really gets his teeth into the part.

MOTHER may be a slow burner of a film, but it has a subtle way of truly involving the viewer in the storyline. The tension builds as the climax nears, and then the movie hits you with some moments of quiet devastation that prove a shock to the core. Fans expecting another pulse-pounding thriller like THE YELLOW SEA may be disappointed, but those with open minds will have a ball.

Bong manages to capture some of the poignancy of motherhood in his film Mother, which concerns an elderly single mother (played by Hye-ja Kim) and her son Yoon Do-joon (played by Bin Won). Do-joon is mentally disabled, he has a low intelligence and seems to have problems with his memory. His mother is absolutely devoted to her son. Bong throws light on that extraordinary capacity of some women to totally subjugate their own lives to those of their children, who live for the pep that they get seeing often unappreciative family members troughing their way through their latest offering.

Do-joon is framed up fairly early on by the police for a murder that they can't really be bothered to investigate thoroughly. So mum is on the case, you'd better believe it! This involves for example bringing in drinks for all the members of the detective bureau on a visit to the precinct. There's a lot of tragedy in the movie, but it's offset by a comedy that is at times is almost outrageous in it's manipulativeness, Bong's really being directly provocative at times (though not in a salacious sense)! There's a grand surreal scene at one point where he convinces you that a very minor character is going to perform a deeply uncanny suicide, and then something totally banal happens instead. One of my favourite scenes is a scene on a golf course where a shot dollys across to some action taking place in sugar-white bunkers, which would not be out of place in a Fellini movie.

Bong was playing with my emotions throughout, he set up affiliations between me and other characters only to subvert them or rebuild them later, he builds scenes to emotional explosiveness just for the sake of it. The film leaves you emotionally confused at times, Bong's smashing all the buttons on the telephone, and so you don't really know what number is being dialled. The effect is deliberate.

Bottom line I think it's a celebration of motherhood, but it's not sugar-coated, it's really warts and all. Congratulations Mr Bong!