Korean action par excellence in Jung Byung-gil's eye-popping, mind-blowing VILLAINESS

TrustMovies suspects that you might have to go back as far as Luc Besson's La Femme Nikita to find an apt comparison to the new South Korean action flick THE VILLAINESS. What an opening sequence this movie has! This is eight minutes or more of pre-title action and mayhem so violent, funny and enthralling that it barely gives you time to catch your breath. And then the movie gets even better: richer, stranger, funnier and more exciting.

As directed and co-written by Jung Byung-gil (shown below), the film offers up a heroine named Sook-hee who is so daunting in her fury and commitment to revenge and justice that she'll have you rooting for her in no time flat.

As with so many of these action/mayhem movies, especially the Korean variety, the themes includes love, trust, betrayal, and parent-child relations, among other things. And, being Korean, yes, the movie is very dark. This one, in fact, may be among the darkest I've seen. (Don't let that smile on the director's face fool you. He has surprises and disappointments in store here that you would never find in an American action movie.) As for the action itself, it's A-1 and often pretty damned original, too. In the first half, we get a samurai sword-fight while on motorcycles, and the finale finds our heroine chasing a bus while driving atop the hood of her car and then proceeds into full-out, gasp-inducing chaos.

Behind it all is the Korean state/government, and while this movie may take place in South Korea, we still get a good strong whiff of a police state. Why not, given this little country's long and fraught history?

Sook-hee, played quite well by Kim Ok-bin (above, of The Front Line and Thirst) makes a strong and genuinely laudable heroine, and by the time we and she have reached the final frame of the film, the smile that appears on her bloody-but-unbowed face makes the movie's title radiate with appropriate anger, irony and sadness.

The men around Sook-hee are hardly her match, though they do try -- especially the sweet, smitten State-employed handler (Sung Jun) who falls in love with her, as well as the blast-from-the-past who suddenly reappears in her life, as a surprise "target" on her second wedding day (the latter is played by the notable Shin Ha-kyun, above).

Three of the women with whom our heroine works in the "agency" also register strongly: the sweet new recruit who becomes Sook-hee's friend, the older agency diva who is soon her nemesis, and especially the ice-queen agency head (Kim Seo-hyeong, above) for whom trust is a dirty word.

At 124 minutes, the movie does ran a tad too long (though this is relatively short for a Korean film, where audiences demand their money's worth, in quantity as well as quality). The filmmaker also packs his tale with flash-backs that fill in some of the blanks in our understanding of Sook-hee's life.

Even if you're not a fan of this kind of film, The Villainess may well win you over (or at least wear you down into "uncle"-crying submission). If you are a fan, better stick it on your "must-see" list now.

From WELL GO USA Entertainment, the movie opens this Friday, August 25, in New York City at the IFC Center, and in Los Angeles at AMC's Dine-In Sunset 5. A limited national release will follow in September. Click here and scroll down to see all currently scheduled cities and theaters.

Rick Famuyiwa's DOPE is smart, funny entertainment--with a necessary message

You'll know you're in good hands almost immediately as DOPE begins, sporting a bevy of definitions for the title word: drugs, a dumb person, and something that's good (as opposed to wack -- or maybe it's whack -- which is bad). That last definition may take you back to the parlance of the 1980s, a time period much treasured by the movie's leading young man, Malcolm (played with a fine combination of budding everything -- from sex appeal to intelligence to, yes, even maturity -- by Shameik Moore. Malcolm wasn't around in those "halcyon" 80s days, but he loves the music of that period, which has inspired him and his friends to create some more of it. The movie was written and directed by Rick Famuyiwa (the filmmaker is shown below), who, back in 1999 gave us the overpraised but still worthwhile The Wood. After several movies in between, Dope proves his best so far and by far.

Above all Dope is an entertainment -- not a bad level to which to aspire, particularly when the outcome is as entertaining as it is in this case. Mr. Famuyiwa's screenplay -- his dialog, narration, pacing, events depicted and in particular his understanding of the way the world works in the black ghettos of Los Angeles (the movie is set in Inglewood, California, a city TrustMovies lived in back in the late 1940s and early 50s and recalls rather fondly) -- is smart, often witty and whenever it gets preachy, it does so in a way that should make you smile, if not outright laugh. As a director, Famuyiwa seems to be trying some new stylistic tricks, most of which work pretty well. His speedy cutting between scenes, occasionally going back to show us what was left out, or substituting a bit of fantasy for reality all seem in service to telling his story in the most appropriate, cliche-free way.

The key to the movie's success lies in Famuyiwa's focusing on kids who are geeks and nerds, rather than the usual street kids with problems we most often see in movies about blacks and other "minorities." This allows us to enjoy a kind of "revenge of the nerds, black-style." For most white audiences, this will mean the opportunity to identify with these kids more easily than usual. The movie's keenest insight, however, may be that, to succeed, our hero must be both "street" and not. How he does this -- involving a successful pillar of the black community who acts as adviser and mentor to the kids (played with exquisite nuance by Roger Guenveur Smith) -- proves Dope's ace-in-the-hole, grounding the film in a sad reality, even as it teases and entertains us into such high spirits.

The supporting cast includes the likes of  Kimberly Elise as Malcolm's mom, Tony Revolori (above, right and everyone's favorite bellhop from The Grand Budapest Hotel), Zoë Kravitz (below, right) as the apple of Malcolm's eye, and Kiersey Clemons (above, left) as the lesbian high-schooler and gal pal, Diggy. As strong as the movie is concerning its hero, it is equally weak regarding most of the subsidiary characters, who are, for the most part, one dimensional. This does not destroy the film by any means but it makes it a long way from great. Yet, as I say, it's a smart entertainment, as well as a look at an under-served portion of the black community. And that, these days, is nothing to sneeze at.

From Universal Pictures and running 104 minutes, Dope hit the streets on DVD/Blu-ray/Digital HD yesterday, October 13--for rental or purchase.

The best deal online: Watch Clark Gregg's terrific TRUST ME on iTunes for just one buck!

Normally I don't hawk deals like this -- but iTunes' offer to let you see one of this year's best films for just one dollar -- Clark Gregg's TRUST ME -- is too good to pass up.  This funny, moving, strange and original look at Hollywood's underside, as well as a rather thoughtful, even profound, inquiry into why so many of us so desperately crave the place and what it produces, is a rich and wonderful piece of work. My original review of the film appears here (should you need to read more), so today I'll just highlight this worthwhile opportunity. The movie's cast is aces -- particularly Mr Gregg and his co-star, Saxon Sharbino, who gives an unforgettable performance. Trust Me is available at this great price for one week only, beginning tomorrow, September 30. Click here to get started....

Korean movies come to BAMcinématek this weekend -- briefly but buoyantly, as usual

Lovers of films from South Korea (and when we say Korean film, South is what we mean) should be lining up this weekend, February 22-24, as the Brooklyn Academy of Music, in partnership with CJ Entertainment, presents BAMcinématek's 11th annual New York Korean Film Festival.

Why are these recent Korean movies (and by that, I mean over roughly the past decade) so damn good? That's a question TrustMovies asks himself periodically, usually after seeing a bunch of 'em in a row -- whether at a festival such as this, or via Netfix streaming (which offers a wonderfully diverse number of recent Korean movies), or when a film opens theatrically (as with last week's The Berlin File, shown above).

The answer is tri-part: Most Korean movies are simply made so well that, from a commercial standpoint, they're aces (they've got all the trimmings down pat: cinematography, lighting, design -- not to mention acting, writing and direction -- and they are put together with style to spare); they manage to include -- even the most mainstream of these movies -- subjects that take in politics, economics, sociology, history, and the way we're all living now; and finally, their filmmakers seem to excel in every genre -- from rom-coms (Cyrano Agency) to ultra-dark thrillers (No Mercy, shown above), war movies (The Front Line or My Way) to historical epics (Masquerade, shown in this fest), monster movies (The Host, Chawz) to gorgeously appointed, soap-opera sleaze (that tasty remake of The Housemaid, shown below) and beyond.

What about art films? Well, I've left out that category in the paragraph above, mostly because every film I see come out of Korea appears to be in some way an "art film." Lord knows, they are made artfully enough, with that special combination of the unique and the juicy to engage most moviegoers. And they have such energy! (For one of the supreme examples of a movie that is original, while mashing up several genres to make you laugh, gasp and finally cry, I would recommend you rent, from Netflix or Greencine, a film called Save the Green Planet. A decade old now, there has still never been anything quite like this one.)

So what's on tap in this year's New York Korean fest? Eight films, including one US premiere and three NY premieres, the latter including the Kim Ki-duk’s controversial Venice prizewinner Pieta (above, which opens the fest) to Deranged, the uber-scary thriller (that closes it, below). You can see the entire schedule by clicking here -- then click on each individual movie to learn more and/or buy tickets.

The two films I've been able to screen early could not be more dissimilar -- except in their quality and entertainment value. I recommend both of them highly. (If I have time I'll watch and cover the other two screeners I received and report on them here.)

Deranged, a terrific title (and one that, given how descrip-tive it is, has not been much used in movie-land) is one of those epidemic movies (think last year's Contagion, but about ten times better), in which what is going on, when revealed, is yucky as hell but a lot more fun. The film moves like a house afire, never leting up, and the family we grow closest to during the proceedings proves surprising in several ways.

Once again, as with so many Korean films, we're in the land of sleaze, though exactly where that sleaze is coming from we don't learn for quite some time. Here are politicians, police, media, the medical establishment, drug companies, and a bunch of everyday people (below) who are suddenly doing some very weird stuff.

Water figures into things, from the drought going on across the country to the need for liquid once the plague's effects come into play. The movie works as a satisfying thriller, a science-gone-bonkers warning, and yet another testament to the unbelievable power of greed. Deranged screens once only at BAMcinématek, this Sunday, February 24, at 7pm. Click here for tickets.

At the other end of the Korean spectrum lies the gorgeous historical spectacle and box-office bonanza (in its home country) Masquerade, which tells a sort-of-based-on-fact tale, with a lot of help from Mark Twain's Prince & the Pauper. In it, a low-level actor/magician
/entertainer who bears a striking resemblance to the current emperor (and make use of this in his "show") is recruited to replace the more prestigious guy, when an assassination attempt looks likely. Complication ensue, but they are tweaked just enough to avoid out-and-out cliche, which proves awfully entertaining (this is a skill that so many Korean movie-makers seem to have up their sleeves).

The film, directed by Choo Chang-min (this is the first of his I've seen), offers all the pomp and splendor of royalty, the necessary political and social underpinnings, and... romance! Really, what more do you want in a historical pot-boiler?  Starring Lee Byung-hun -- the utterly gorgeous leading man from Three Extremes; The Good, The Bad, The Weird; I Saw the Devil and those dumb-fun G.I. Joe movies -- and a cast of ace actors who know just what to do, the film ignites repeatedly, and offers, humor, history, love and tears in about equal measure (the penultimate scene involving the "pauper" and the real King's bodyguard is simply wonderful). Once you've seen it, you'll understand why it's one of the box-office record-breakers in Korean film history.

General Information you might need:
Tickets: General Admission: $13
BAM Cinema Club Members: $8,
BAM Cinema Club Movie Moguls: Free
Seniors & Students (25 and under with a valid ID, Mon—Thu): $9
Bargain matinees (Mon—Thu before 5pm & Fri—Sun before 3pm no holidays): $9
BAM Howard Gilman Opera House, BAM Rose Cinemas, and BAMcafé are located in the Peter Jay Sharp building at
30 Lafayette Avenue (between St Felix Street and Ashland Place) in the Fort Greene neighborhood of Brooklyn. BAM
Harvey Theater is located two blocks from the main building at 651 Fulton Street (between Ashland and Rockwell
Places). Both locations house Greenlight Bookstore at BAM kiosks. BAM Fisher, located at 321 Ashland Place, is the
newest addition to the BAM campus and houses the Judith and Alan Fishman Space and Rita K. Hillman Studio.
BAM Rose Cinemas is Brooklyn’s only movie house dedicated to first-run independent and foreign film and repertory
programming. BAMcafé, operated by Great Performances, is open for dining prior to BAM Howard Gilman Opera
House evening performances. BAMcafé also features an eclectic mix of spoken word and live music for BAMcafé
Live on select Friday and Saturday nights with a special BAMcafé Live menu available starting at 8pm.
Subway: 2, 3, 4, 5, Q, B to Atlantic Avenue – Barclays Center (2, 3, 4, 5 to Nevins St for Harvey Theater)
D, N, R to Pacific Street; G to Fulton Street; C to Lafayette Avenue
Train: Long Island Railroad to Atlantic Terminal – Barclays Center
Bus: B25, B26, B41, B45, B52, B63, B67 all stop within three blocks of BAM
Car: Commercial parking lots are located adjacent to BAM
For ticket and BAMbus information, call BAM Ticket Services at 718.636.4100, or visit BAM.org.