The Host () - IMDb
South Korea‟s transformation and its relationship with the. United States Released in , The Host is the third film of Bong Joon-ho. It arrived at the Prior to the end of World War II, Korea was under Japanese colonial rule and since the. It's now the year ; a man by the name of Park Gang-du owns a local snack movie is spaced out with scenes of the Park family discussing their relationship with .. Jump Scare: The monster roaring can be heard at the end of the credits. The Host is a South Korean monster film directed by Bong Joon-ho and starring Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doona and Go Ah- sung.
As she is in pretty much everything I've seen her in. I'm pretty comfortable saying that if she's bad in this it's because of decisions made by others around her more than her talent level. At any rate, this shall hopefully be her nadir, she'll get a paycheque and move forward to bigger and better things.
Firstly though, after having finally seen the film last evening, I have to say the amount of venom and hate aimed at it by critics is surprising given the project is clearly aimed at a very young audience and plays reasonably well overall.
Yes, it has been painful reading the reviews, but please note Saoirse has actually been greatly praised by many critics, including some of the most respected writing for the finest publications such as The New York Times.
I've watched all her live action films, and she is the most exciting and gifted young film actress I've ever seen. By age 15, she had already garnered one Oscar and two BAFTA nominations in addition to boatloads of other noms and wins from numerous critical and film organizations.
But saying her career path is somehow threatened by this film is not only completely daft but baseless. So, don't insult your readers by writing such drivel. I think there's arguments to be made about whether this is a blip in an otherwise spotless record, or indicative of her having a mid-level talent that's occasionally shined and occasionally will result in ridicule. That, of course, isn't the point of my piece above.
I'm reviewing her performance in this film as part of a greater whole and found it to be the most risible element in a sea of what could easily be laughable performances. She's the star, so she takes the brunt. I'm pleased she's good elsewhere, she's terrible here. I'm not wishing for it to end her career, and can only assume that this blip will do little to change her directory, yet this is a high enough profile dud that there are many that will think of her as an actress who has now been in a series of major flops.
Sure, this may allow her to do art films and lower budget pieces that we all can enjoy, but at the same time it would be silly not to realize that this film isn't going to take off the way the filmmakers had wanted it to following in the footsteps of the Twilight Franchise. Finally, good actors do bad things sometimes, and sometimes a pretty middling performer can be in something extraordinary and never achieve those heights again. William Hurt is in this thing, and while he's doing his level best, it's clear he too has very little to work with.
You know, the guy who for three consecutive years in the 80s had Oscar nominations winning oneanother in while working with Cronenberg, and now shows up as the old coot with a panache for reflective things and knowledge of produce. So, while I may fear that Ms. I wish her nothing but the best, while wishing this film had never been made. Gorber, don't write about her and even suggest she could be my words a mid-level talent. Many other well know critics have raved about her for that same performance, and even though this film is getting slammed, a number of reviewers have clearly praised her unique ability along with noting how she was able to do justice to a very tricky and difficult role.
I'm not a film critic, but I'm a devoted fan who watched over one-hundred films at the cinema this past year in addition to many others at home.
I saw a very elegant and intelligent actress last night with a beautiful and powerful screen presence.
The Host, Bong Joon-ho • Film Analysis • Senses of Cinema
But if you wish, I'll be very happy to provide specific excerpts from many critics who have a vastly different opinion than yours of her performance in The Host.
I don't wish to disrespect your website, but if need be I'll buttress my opinion by quoting many other informed sources.
And if you find examples of others agreeing with me, I'm meant to shut up? I'll note you're not putting this much effort into defending either the director also lauded by many in the pastor raging about how Max Irons is the actor of his generation. I'll let you enjoy your Ronan fanclub moment, and shall go into her next performance with an open mind. I hope you can say the same. You can write whatever you wish, but until and unless I'm knocked off this website I'll respond appropriately if I believe you're grossly incorrect about her.
Should you wish to site examples supporting your position, please bring it on, for I'll find ten positives at least to your one negative.
I'm not defending AN because I believe he's actually a better writer and individual who has developed interesting concepts rather than one who has consistently executed a script when wearing his director's hat.
I don't know why you brought up Max Irons. I'm not an idiot. His father is a great actor, but I did't see much last evening to convince me that he has a bright future in films. Just as an aside, if she can snag another nomination by next year as a result of her work in say The Grand Budapest Hotel or possibly How I Live Now, she'll become the youngest female two-time nominee in Oscar history.
No point in a back-and-forth, I'm pleased she has positive supporters. I shall reitterate - I'm not advocating for her career to be snuffed out at this stage because of one shitty performance.
You seem to be arguing she was excellent in this film, which I frankly find baffling, but so be it. Our latest Actress winner also previously nominated was in another teen-oriented film I despised last year.
As little as I liked HG, I found still something to admire in the lead performance. Not sure where the heightened anxiety is coming from "knocked off the website"? She was stunning in each. Yes, I look forward to watching these, as I said above. And, again, I'll do so with an open mind That's more than some film critics, way more than me. And, yes, Gorbasaurus, watch Atonement.
I love going to the theater because the experience is more fulfilling than watching a film at home. I enjoy watching a lot of foreign titles, indies and the better mainstream fare. We were lucky to have a lot of strong titles last year, but so far to date this year has been fairly weak, and unfortunately the popcorn season is nearing with its slate full of mostly mindless blockbuster films. But, there are always enough good titles to be found in the art house cinemas. A film like this can only be judged by what it is trying to achieve and by the standards of genre it exists in.
Given that Gorber hasn't seen any of the Twilight series, how can he possibly judge a film that is patently trying to appeal to the very same audience and stems from the same authorial source. Also, on that topic, I'd like to know why the idea of Stephenie Meyer having a brain is being questioned?
And why her status as an author is being brought up? Her books have sold over million copies - clearly, she has touched a cultural nerve that earns her the respect of being called both an author and understood as having a mind. Oh, and her name is spelt incorrectly, good job! Gorber's language, and his use of it to criticise, is also woefully imprecise. How does it compare to the best and the worst of the Twilight performances?
I could go on but, you get the drift I'm not sure there's a prerequisite to have watched the other films by the same author in order to judge this as satisfactory. What's awkward about spoiler, if you insist having one of the love interests ask another to come in to snog in order to "wake up" the inner voice of our lead character? If that's not awkward, I'd hate to see how you spent your prom Who gives a shit how it compares to Twilight's performances, the fact that you're connecting it to the films means that the marketeers have won over any semblance of treating this as a unique work.
I find the very idea that this is merely Twilight in a new setting very troubling, you clearly think its the basis for any critical discussion. I think you're wrong. Plus, million sold doesn't make it good, it makes it popular. But you of course must know that. Still, you pointed out my spelling mistake of her name that our editors also missed, corrected now, thanks for that.
And, yes, it is an absurd review. I'm glad you picked up on that. Even given the fact that you claim to be unfamiliar with her work something any true movie aficionado would be contemporary with considering her Oscar nomination and acclaimed performances in 3 or 4 high profile roles.
In The Host, I thought she was excellent, creating two completely different characters and bringing them to life - an achievement few other actors, especially one so young, could have done. The internal dialogue, which is an integral part of the plot, and which worked so well in novel form but is so incredibly tricky to portray on screen, was beyond her control and down to producers, editors and director.
Maybe you need to watch some of her movies - I'd start with her very first role when she was 11 again, for someone so young and making their movie debut, it was an exceptionally mature and gifted performance. Perhaps then you may have a more informed and positive opinion of her talent.
I guess Ronan's got some powerful blogger friends making the rounds. She's terrible in this film, I'd posit, and the fact that I went in without bias or expectation does little to discredit what I've written above. The film is already a bomb, critically vilified by many long after I wrote my piece.
Yet, to my own bemusement, there are those either holding the film up to be part of some great pantheon of works by Meyer, or arguing that Ronan can seemingly do no wrong.
You thought she was excellent, I thought she was terrible. A later new story reveals that he eventually dies of his wounds in hospital. This, however, means he initially survived, despite the last we saw of him being the monster pinning him by the arm, with him stabbing it.
The entire Park family. Nam-il gets special mention for dual wielding Molotov cocktailsthough. The American doctor explains in English to the Korean translator that the virus the monster was carrying wasn't real. Unfortunately for them, Gang-du understands a couple of the basic English words and realises what's been going on.
In a deleted scene, the doctor and the translator realize their mistake and continue in German. Bitch in Sheep's Clothing: The American doctor operating on Gang-du sems empathetic, but as Gang-du begins to protest and explain that no one ever listens him, the doctor caresses his patient's face, but instead of drying the man's tears and telling him that the situation is in safe hands, he proceeds to tell his interpreter that the virus has spread, even though he knows that there's no virus.
The creature is killed, but at the cost of Hyun-seo's, Hee-bong's, Se-jin's and many other lives. The protagonist, Gang-du ends up taking in the orphan boy Se-joo as his son, and has finally matured. The creature backfilps its way along the undersides of bridges, alternately gripping with its feet and its prehensile tail. Gang-du, over and over and over again. Gang-du throws a beer can at the monster to feed it when he first sees it. Later in the movie it's the last thing it regurgitates.
Bring My Brown Pants: Happens to Se-joo at one point in the movie. Gang-du gives beer to his daughter and can't afford a decent phone for her, but he loves her very much all the same. Poor Gang-du never catches a break throughout the movie. He's never been allowed to do anything useful with his life because he's not particularly bright and unceremoniously dozes off every so often, his wife left him, his siblings don't respect him, his daughter is abducted by a monster, and nobody believes him when he realizes she's still alive, he's targeted for carrying a virus which turns out not to be real, he's had tissue samples taken from him and a needle rammed into his head, and when you think things don't get any worse for him, his father and his daughter are killed by the monster on separate occasions.
By "No", I Mean "Yes": Gang-du trying to explain to the police officer that Hyun-seo is still alive: The officer remarks that he's talking in circles. Hyun-seo is alive, damn it. Cell Phones Are Useless: Hyun-seo's cellphone battery is dying, and, being in the sewer, she has no way to recharge it. When first encountering the creature, Gang-du throws a soda can at it to lure it out. It eats it and the whole crowd joins in and starts throwing food.
A little later, the creature is regurgitating dozens of human bodies and skeletons it's been eating. The last item to fall out is Gang-du's soda can. Nam-joo's archery Gang-du's signpost. Hee-bong pays off Director Cho with all the money Gang-du had been saving up to buy Hyun-seo a new phone. Nam-joo, a bronze medal archer. She seems to be Hyun-seo's favourite relative, judging by the photograph of them together at the end. Hyun-seo is taken by the monster to its sleeping area in the sewers, where it occasionally excretes the skeletal remains of its victims.
She manages to survive by hiding inside a pipe for an extended period, which is just big enough for a child and later another child to fit inside. Purposefully invoked in the initial attack scene. Death of a Child: The film doesn't drag its feet developing the monster, but gives enough introduction time to the characters so that you care about them, and are genuinely shocked about the deaths of Hee-bong and Hyun-seo.
While searching for Hyun-seo, the monster charges straight at her, rams into her and sends her flying hard into a wall. Nam-il drops himself off of a highway bridge to escape, hurts himself on the riverbank below, gives a last-ditch text to Nam-joo and passes out. However, he's not dead.
Does This Remind You of Anything? The Door Slams You: When Donald and Gang-du try to save the group of people in the trailer, they finally get the chain off and floods of people burst out through the doors, nearly crushing them both.
Hee-bong does this to Gang-du and Nam-il when they all realize that Nam-joo isn't in the escape van with them. Dressing as the Enemy: The Parks try to disguise themselves as medical staff to escape from quarantine. Unfortunately, Gang-du's blond hair blows their cover. Around the beginning, a businessman is jumping off a bridge, and catches a glimpse of the creature just before he jumps. Gang-du has bleached blond hair with black roots, to show that he's not very bright.
He eventually gets rid of the blond highlights as he becomes a more responsible parent. The father, Hee-bong is a single parent who has to work hard to keep his family afloat, sometimes unintentionally having caused Parental Neglect ; the eldest son Gang-du is clumsy, absent-minded, socially inept and a slight narcoleptic due to protein deficiency as a child, who does a few questionable things like giving his daughter beer; the other son Nam-il is an alcoholic anarchist; and the daughter, Nam-joo, while a high achiever, chokes under pressure.
The film's portrayal of America is ultimately ambivalent: Word of God says: The sequel is apparently going to target the People's Republic of China, who deny the creature's existence. Se-joo and Se-jin appear at the beginning. Se-joo tries to steal candy from the stand at the beginning, after Gang-du, who was currently tending it, had fallen asleep on the job yet again, but Se-jin stops him before Hee-bong comes along and drives them both away.
Gang-du tries to go on a Roaring Rampage of Revenge after recovering Hyun-seo's dead body, but he trips and falls. Fortunately his siblings have his back. Nam-il also charges after the creature with a Molotov cocktail, but he falls over as well. Again, Nam-joo and the hobo from earlier are there to help him. Gang-du's blond highlights are gone by the end of the film and so is the scruffy hairstyle, as a sign of his maturing responsibility as a parent. The creature's death, which involves being shot directly in the eye with a flaming arrow.
Nam-Joo also pulls off an Unflinching Walk in this scene. In a deleted scene, Gang-du tears out another of its eyes.
Foolish Sibling, Responsible Sibling: Gang-du and his younger sister Nam-joo. Nam-joo is a high-achieving archer, while Gang-du isn't even smart or ambitious enough to do more than work at his father's snack stand.
Nam-il isn't much better off than Nam-joo, being an alcoholic and former political protester, but even he looks down on Gang-du. Early in the film, Hyun-seo complains about her outdated phone. It seems amusing at first, but then later she tries calling Gang-du and her phone is almost out of battery.
While in quarantine, Gang-du is told that he shouldn't eat anything until the next morning because he's been affected with the virus.
Late that night, he gets hungry and eats some tinned seafood, and nothing happens. This is a hint towards the fact that the virus is a lie.
In Gang-du's first scene, he wakes with a start thinking he heard Hyun-seo calling him, but in fact he heard a different girl calling to her own father.
‘The Host’ (2006): Review
This foreshadows a moment a little later in the film when Gang-du, trying to drag Hyun-seo away from the monster, trips over his own feet and falls flat on the ground, and when he gets up, he accidentally grabs another little girl's hand. Hyun-seo, who is absent from the family for most of the film, is the Realist. The Park family rolling around the floor wailing for Hyun-seo in an over-the-top fashion is already pretty funny, but while this is going on, a woman is being reprimanded for not parking her car correctly.
Nam-il gets a bottle broken on his head by a hobo. When the monster goes to eat Hyun-seo and Se-joo, it cuts to black while Hyun-seo's scream echoes. During the initial rampage, quite a few people try to hide in a large trailer. The monster then busts into the trailer. All you see are bloody arms scrabbling at the locked door at the other end, and blood seeping through the floor of the trailer. Half the Man He Used to Be: What happened to Mr.
Yoon's body after he jumped into the river. When the monster first attacks, we see a girl playing with a bobby pin listening to orchestral music with headphones completely oblivious to the mayhem around her. When someone runs by her, she turns around and gets taken away by the monster.
Gang-du's lack of protein when he was young, due to Parental Neglectturned him into something of a narcoleptic. Nam-il gets annoyed with this while the family is sheltering in the gymnasium and starts prodding Gang-du with his foot, but Gang-du doesn't stir. Se-joo, who is ridiculously cute. One of whom is a Deliberately Cute Child. Seriously, there's a montage of him discussing what kind of food he'd like to eat while generally being adorable.
The idea of a giant monster carrying an even-more-dangerous disease was originally used in The Beast from 20, Fathoms. The movie generally plays on ALL the good and bad kaiju movies Godzilla spawned, and even seems to have similar political commentary to Gojira. When Hyun-seo runs up the monster's back and grabs the clothes rope to climb up it He becomes a Crouching Moron, Hidden Badass on occasion though.
Gang-du gets increasingly skilled with a stop sign. He even gets the killshot by impaling it in the mouth with the end of a broken sign. But also followed through on during said aversion. Jerkass Has a Point: Nam-joo considers that they abandon Gang-du and go after the monster themselves. While it is callous of them to abandon their brother, who can't help being the way he is, he does soon accidentally get their father killed by the monster.
The monster roaring can be heard at the end of the credits. Gang-du is always tripping over something. Tragically, it gets his daughter taken by the monster. Nam-il is just as clumsy, even though he criticizes Gang-du for his own clumsiness. Gang-du is sensitive, immature and impulsive. The US surgeon operating on him even gives him a patronising pat on the head after trying to find out what's wrong with him and then choosing not to listen to anything. An American soldier bravely steps up to help people escape the monster and tries to fight it off, getting mauled in the process.
This was probably included to soften the anti-American message, although even when he saves Gang-du he doesn't seem to push him out of the way on purpose. Mighty Whitey and Mellow Yellow: Said American soldier, named Donald White, has a Korean girlfriend. The only thing they're able to do is paralyse the monster with "Agent Yellow".
In the end, it takes the collective efforts of the Park siblings to bring it down. Both Gang-du and Hyun-seo's mothers.