My Sassy Girl

Gyeon-woo is a single Korean college student, still not very sure of what he wants to become in the future. One night, on his way back home, he meets an extremely beautiful girl, but who is also completely drunk. Because the girl talked to Gyeon-woo before falling unconscious, the people surrounding them begin to think that the girl is Gyeon-woo`s girlfriend. Having no other choice than helping the girl, he decides to leave her in a motel, since he doesn't know were she lives. The next morning Gyeon-woo gets a call from this mysterious girl who is very angry about him and wants to know everything that happened the past night. She tells him to meet her right now at the exit of the metro. Gyeon-woo thinking about this, decides to go see the girl. From that night, Gyeon-woo and the girl will become good friends, in a strange sense. As the relation progresses, Gyeon-woo begins to discover how crazy the girls really is, with all her wacky behaviors, angry attitude and always wanting him to please her the way she wants, even if it mean that Gyeon-woo will pass for a complete idiot in public places or gets beaten by the girl. But even if Gyeon-woo suffer, physically and mentally, he really thinks that this beautiful girl will have some sorrow in her and he really wants to help her to get better. But at what price?

Why do I hate teen movies so much? Because of their uninteresting crappy love story and their unbelievable typical characters (you know that the supposed ugly girl is a perfect super babe when she takes off her glasses). Also because I can't support all the clichés and stereotypes that these kinds of movies like to exploit so much. It's just not funny to me anymore. Of course, because in most cases, cinematography wise, these movies mean absolutely nothing, for me they have almost no artistic values, I just found them a complete waste of time.

But why do I love "My Sassy girl" so much? Because of that unpredictable and enjoyable love story and that the two characters in the movie were awesome and touching, especially that memorable and beautiful Korean girl. Also, that the humor was always right on time, not trying stupid sex jokes or stupid humor, unlike other movie of its genre right now and that visually the movie was surprisingly very well done.

Okay, I know what you are thinking right now, "He said love story, this is a freaking chick flick then!" No not at all…well okay, this movie has a lot of material to please more to a female audience but trust me, just once. I really don't like these kind of movies and drama makes me sleepy, but I was really touched by this sweet romantic story. The story looks simple and yes it is, but there are a lot of things going on during the movie that you will probably miss some of the subtle details the first time you watch it. These details are not essential to the comprehension of the story but it makes a second viewing even more fun. The first part of the story concentrates more on the development of the characters, it really gave us the time to know them and begin to feel attach to the two main characters. Feeling sorry for Gyeon-woo when he gets beaten or humiliated by the girl, but also that a guy can't stay indifferent by that sweet little face that girl can make when she wants to be taken care of. The story is really only about the two main characters and I can't tell you anymore about it because it will spoil the development of their relationship

Here is a romantic comedy for the ages. It's unique in its own way, yet still comfortably familiar as the characters gain our feelings. The unique style of the film cannot be accurately described in words. One must see the expressions on the characters's faces and hear their delivery to truly appreciate it. All one needs to know is that this film has personality, and its brand of comedy and romance will leave a lasting impression.

My Sassy Girl had me laughing and talking to the screen due to its outrageous comedy, it had my epathy for the main characters and their relationship, and it left me with that certain sense of romanticism. It's one of those romances where I come out and for a whole day I am truly a hopeless romantic. Besides the colorful personalities of the leads, the other major aspect of this film that stuck with me was the final message in the film. I refrain to say it here for the chance that it will ruin the ending for those who haven't seen it, but the finale of the film brings everything together and reiterates a certain romantic concept that I think, deep down, we all hope is true.

This film begs no detailed analysis. Truly memorable characters in a unique relationship - that is what this film is about. When you watch it, it will all just come to you - exactly what makes the film what it is. Just sit back and the film will entertain you along the way and finally leave you with lasting memories and feelings that will keep you reflecting on the film for a long time.

Fighter in the Wind

Masutatsu Oyama (Choi Baedal) took on all challengers, resulting in fights with 270 different people. The vast majority of these were defeated with one punch! A fight never lasted more than three minutes, and most rarely lasted more than a few seconds. His fighting principle was simple — if he got through to you, that was it.If he hit you, you broke. If you blocked a rib punch, your arm was broken or dislocated. If you didn't block, your rib was broken. He became known as the Godhand, a living manifestation of the Japanese warriors' maxim ichi geki, hissatsu (one strike, certain death). To him, this was the true aim of technique in karate. The fancy footwork and intricate techniques were secondary (though he was also known for the power of his head kicks).

The story of Choi Baedal (Masutatsu Oyama) is told in FIGHTER IN THE WIND, as a young man from Korea who stows away on a steamer to Japan to become an aviator. During World War II and the years of occupation in postwar Japan, Choi faces many hardships as a Korean in a foreign land. Following the war, Choi's martial arts teacher is killed by local yakuza, which resolves him to take the path to mastering karate. Choi leaves civilization and goes off to train in the mountains. After completing his training, he leaves the mountains to challenge all dojos to become the supreme martial artist in Japan.In FIGHTER IN THE WIND, Choi's life-history details have been glossed over in favor of a popcorn movie, full of romance, action, and melodrama. The story of Choi Baedal is told using the Hong Kong action movie template: A young man is humiliated by his enemies; his teacher is killed, forcing the young Choi to make a life-altering decision to train to be one of the greatest fighters to ever live, using Miyamoto Musashi's (Japan's legendary swordsman) philosohy as his guide. He completes his grueling training to avenge the death of his teacher. FIGHTER IN THE WIND is an excellent blend of Hong Kong type action with the overly soapy melodramatic Korean filmmaking style. The combination proves to be potent entertainment.The film takes dramatic license in telling the karate master's tale. Dong-kun Yang does a very fine job in portraying Choi Baedal. And Masaya Kato turns in a nice performance as Choi's life-long enemy, from the war years up to the point where Choi must face Kato to determine who is the best in Japan. While FIGHTER IN THE WIND is not history by the books, it is full of sentimentality that makes the story bigger than life, and perfectly fitting for a man who must physically battle other men, while fighting oppression and racial discrimination.While the movie isn't a true biography, per se, it does capture Choi's spirit and reenacts his achievements in martial arts with filmmaking aplomb. The direction by Yun-ho Yang is up to the task of tempering the sentiment with hard-hitting karate action. Some people may not like the staccato like editing or changing camera speeds or the use of slow motion, but they effectively keep the movie breezing along at a nice clip. The fights are not long and drawn out but fitting the description of Choi, as noted in the preface above. The film contains some excellent martial arts choreography and cinematography, reminiscent of work by Sammo Hung and Masaki Kobayashi.The film's main conceit is the use of reporters and a pair of comic radio announcers to act as a Greek chorus, providing insight and updates to Choi's progress as he takes on one master after another. Director Yang does a superb job in pulling everything together. This popcorn movie doesn't let facts get in the way of good storytelling. Ok-hyun Shin's cinematography also stands out. FIGHTER IN THE WIND is one of the best martial arts movies to come out in a while, at least since Ong Bak, but with better acting and plotting overall. FIGHTER IN THE WIND is dramatic without getting too sappy; sentimental without being too corny; and it has some terrific choreography that matches the melodrama needed to tell the story of a man who challenges the world and wins. FIGHTER IN THE WIND is grand filmmaking and entertainment without shame! You'll laugh and cry and be dumbstruck by some awesome martial arts.

Jeet Kune Do

Jun Fan/Jeet Kune Do is the term used to describe Bruce Lee’s method of teaching, training and fighting as it existed during his lifetime! Bruce Lee’s Chinese name is Lee Jun Fan, therefore Jun Fan Gung Fu is the term used to describe Bruce Lee’s method of martial art when he first arrived in the United States. This is what is commonly referred to as the Seattle period, as he was living and teaching in Seattle, Washington at the time.
From there he later moved to Oakland, California, where he was content to continue teaching Jun Fan Gung Fu until an altercation with another Chinese martial artist forced him to re-examine his methods! He won the fight, but he was unusually winded after it was over, and he felt that it had taken him much too long to bring the opponent down! He felt that this was partially due to a lack of conditioning on his part, and also his insistence upon adhering to his extremely effective but still somewhat classical method, Jun Fan Gung Fu! He started looking into various methods of physical conditioning and also other practical combat methods.
He found that there were many theories and movements from fencing that could also apply to the empty hand. He also looked into boxing for footwork, hand techniques, body mechanics and evasive skills. In an early letter to one of his assistant instructors, he described a method he was developing involving Wing Chun Gung Fu, fencing and boxing, also stating that “this will be it”!
This “it” that he referred to became known as Jeet Kune Do, which is Chinese for “Way of The Intercepting Fist”. His new method of fighting was based on three essential elements: (1) simplicity, (2) directness and (3) non-classical attitude in training and fighting. Jeet Kune Do reached the height of it’s development during the L. A. Chinatown period, where Bruce Lee’s last kwoon was located!

In this article, I will discuss some of the most important principles of combat from Jun Fan/Jeet Kune Do. First I would like to talk about economy of structure. All techniques used in Jun Fan/Jeet Kune Do involve taking the most direct route to the target with no wasted motion or energy. There is no chambering or retraction of the arm before the delivery of a punch, and no chambering of the leg before the delivery of a kick. Some might ask where the power comes from. It comes from the whole body!
A prime example of this would be Bruce Lee’s famous “one inch punch” which he so often demonstrated to those who doubted the potential of a short range strike! He would start with his fist a mere inch away from a focus glove held against his demonstration partner’s chest. With a sudden jolt of power like a surge of electricity went through his body, he would punch into the glove and send his partner flying back several feet. Often the person would fall down and even roll a few times from the impact! This is a prime example of using the entire body to generate striking force, not just the arm!
With the application of proper body mechanics, it is not necessary to draw back the arm before delivery of a strike. This negates the necessity of chambering the fist before delivering a punch. Without the chamber, or any preparatory retraction of the hand, it is much harder for an opponent to see a strike coming! Bruce Lee once said that you should be able to strike from wherever the tool (he referred to the hands and feet as the “tools of the trade”) may happen to be without repositioning. This goes a long way toward assuring that you land the strike successfully!
The same principles apply to the delivery of a kick. In Jun Fan/Jeet Kune Do, there is no chambering of the leg before the delivery of a kick. The idea is for the foot to go straight from where it is to the target without any preparatory repositioning. This makes it much harder to see coming and much harder to block, parry or intercept! Where does the power come from? Proper use of the waist, hips and correct footwork for the range of execution. Due to this directness, Jun Fan/Jeet Kune Do kicks are extremely fast and deceptive!

A Good Lawyer's Wife

A good wife, a cheating husband, a very sexy family drama… Hojung (Moon Sori) is a former dancer now settled down to taking care of her precocious 7 year old adopted son Sooin and her eccentric alcoholic father-in-law and a secretive mother-in-law. Her husband Youngjak (Hwang Jungmin), however, is hardly home, too busy with his law pratice, drinking, and seeing his young mistress, Yeon, a former model. Hojung stays youthful and fit by practicing dance at the local school and bicycling while running her errands. She mostly accepts Youngjak's infidelity but she is getting more and more sexually frustrated to the point that she can't find her G-Spot. When a teenage boy living next door becomes infatuated with Hojung, she is at first curious but then drawn to his attention. Youngjak is not in love with the sexually-free Yeon but when she becomes pregnant, his guilt drives him to spend more time with her. Then circumstances unfold force Hojung and Youngjak to actions and lead to decisions surprising and unexpected. The father-in-law's liver fails and he enters the hospital with a month to live. Youngjak is out of town with Yeon and on their way back there is an accident. Hojung's liaisons with the teenage boy are found out by the boy's father, and another tragedy occurs. The family is never the same… I highly recommend this movie because its really cool!

Sex is Zero

Eun Sik is 28 years old and has recently started school at the university. He is a member of the Cha Ryu group and practices with them daily, through painful endurance training. He meets the much younger and gorgeous Eun Hyo, for whom he holds a completely one-sided attraction. Eun Sik's amazingly unlucky, and a host of embarrassing situations happen to him. Through all of this, him and his insanely horny group of friends help make one of the most memorable sex comedies, complete with both hilarious and somewhat dramatic moments.

It's really hard not to laugh at "Sex is Zero". One of the main things this movie has going for it is the fact that it throws everything you can expect in a sex comedy at you at a fast pace, which of course includes: Boobs, masturbation, eating stuff you shouldn't, getting caught masturbating, oral sex and masturbating with friends. While a few jokes in the film are hit or miss, the majority of the running time is immensely enjoyable.
The strength of this movie lies in it's characters, but that's also one of it's weaknesses. What this means is that, while Eun Sik and his friends are hilarious and likable, it's hard to get any feeling from some of the women, especially the lead girl, Eun Hyo. Throughout the film, it becomes increasingly hard to care about her, as she seemed virtually heartless through many moments. It could be said that this was the kind of character she was trying to portray, but it doesn't come off like that. To be fair, she cleans her act up near the end of the film, forced as it may seem.
It's hard not to feel bad for Eun Sik, but he's so damn stupid sometimes you want to kill him. While the emotions and jokes he conveys are funny and believable, his would-be significant other never seems to reciprocate anything but loathing. Not to spoil anything, but the films finale is disappointing. Let's just say it manages to end things the way every teen film does, dramatic interlude notwithstanding.
Yun Je Gyun doesn't really direct this film with any special flair worth mentioning. At times it comes off as cold, as if it was just a job that needed to be done quickly and efficiently. While it is efficiently produced, and looks great, there doesn't seem to be as much heart as there is in a film like My Sassy Girl, which manages to be funny and compassionate in regards to its characters and the viewer. While it's not fair to compare the two, as they are completely different films at the opposite end of the spectrum, it's just a matter of the feeling you get from the direction, as Korean films have seemed to be a very warm lot.
The choice of music in the film is very 80s, like a throwback to sex comedies before it. It's just too bad they chose the eardrum tearing out "We got the beat" as the opening song and as one to include on the menu.

Overall the film mixes fairly well, with the proper doses of gorgeous Korean girls taking it off for you, scrawny effeminate guys shrieking and your daily overdose of internet porn masturbation. It's just that the film falls flat in a few areas and has a hard time getting the kid across the street to help pick it up. The dramatic section is a bit odd, and the finale is a tad cliched, but watch this once or twice with a few friends and you'll laugh your ass off.