Superman by James Gunn reminds us of the daring tonal work of an Oscar -winning director
It’s been a long time since I have seen the “Barking Dogs Don’t” by Bong Joon Ho, but I have frequently watched “Memories of Murder” by director Bong over the years, and I cannot think of many films which effortlessly and, above all, sincerely go from suspense to sorrow at physical comedy in terrori and their racing time. It is an alternately funny and scary film that ends with one of the most unforgettable end blows in the history of cinema. It is effective for many reasons, but his refusal to obey the conventions of serial killers makes him sing.
Regarding the upheaval of rigid formulas, the director Bong established a crazy bar with his follow -up film, “The Host”. It is a giant monster film with an ecological message, but this last element, so often overestimated to ensure that inexpensive seats understand the dangers of interference in things that humanity must leave alone, has taken a rear seat in one of the most strangely convincing family dramas ever attempted in a film featuring a beast of the size of Godzilla.
I was in guard for the subversive trends of director Bong, but he ended me with the scene where the family of the park comes to pay tribute to Young Park Hyun-Seo. At the beginning, surviving parks are overwhelmed by sorrow, and director Bong has the actors to play with all the sorrow. It is an incredibly moving sequence, but then it just continues. Finally, the parks collapsed on the ground and twist in agony, how much we howl to the very real, but extraordinarily funny exhibition of extreme anxiety. Park Hyun-Seo is alive, it turns out that the rest of the film finds the parks that can be reached in an inventive way which brings the public to its feet.
Throughout “Superman”, I couldn’t shake the feeling that I was watching something like a superhero film by Bong Joon Ho, and that, as well as the fact that the film is absolutely great in its own right, delighted me without end. I have lost the account how many times Marvel Studios has spoken of their latest latex epic as a comic strip “Three Days of the Condor” or other (Peyton Reed delivered a pleasant riff “What Up?” Riff with “Ant-Man and the wasp”), but DNA (and even less craft) is simply not there. While Gunn quoted “Godzilla minus one” of Takashi Yamazaki, he has not yet invoked the director Bong. It is perhaps because his studio, Warner Bros., would like to forget “Mickey 17” of director Bong, who bombed last March. Or maybe Gunn did not think of director Bong at all!
I just know that I have done the twice I saw it, and in times like these, I will double my exaltation even if it is purely imaginary.
