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Korean Movie Reviews for 2. The year 2. 01. 6 is one filled with anticipation for Korean cinema fans. With an unusually large number of high- profile directors getting ready to release new films, the level of local and international interest is already quite high. Inspired by Sarah Waters' novel Fingersmith, and set in the colonial era of the 1. Cannes - - the first Korean film to receive that honor since 2. Also invited to Cannes in a high- profile out of competition slot was Na Hong- jin's creepy The Wailing, a film that for several years has been generating buzz among those who have read the screenplay.

And not to be overlooked is Kim Jee- woon, whose colonial- era The Age of Shadows starring Song Kang- ho is scheduled for a release in the second half of the year. Although 2. 01. 5's Assassination was the first major commercial success for films set during this dark historical era, the trend only seems to be gaining strength. Two lower- budget films from early 2. Spirits' Homecoming and Dong- ju: The Portrait of a Poet, provoked much discussion and performed much better at the box- office than anyone anticipated. With more films like Ryoo Seung- wan's Battleship Island slated for 2.

Such criticism might be justified, but on rare occasions, something truly unusual does still slip through the cracks. A quick look at the synopsis of Sori: Voice From the Heart confirms this.

Although officially it's just an ordinary telecommunications satellite, in reality it's no such thing. Equipped with cutting- edge AI and voice recognition technology, it has been secretly tasked with tracking all phone conversations taking place down on earth. But eventually, the self- aware satellite figures out that the conversations it records are being used to target drone strikes in which innocent civilians are among the dead and wounded. Tormented, Sori decides to go AWOL. For over a decade, he has been wandering the country in search of her. Everyone he knows insists that she was killed in a tragic subway fire in Daegu, even though her body was never recovered. Sori needs Hae- gwan's help to move around on land, particularly given that the machine's ultimate goal is to go to the Middle East.

Hae- gwan, for his part, realizes that Sori's technology could help him find his daughter. The two become an unlikely team, searching across Korea and into past telephone records for a woman who seems to have vanished into thin air. But unbeknownst to them, various figures from the NSA, NASA and Korean intelligence services are searching desperately for the missing satellite. Sori: Voice From the Heart is a film filled with surprises. One of the surprises is that a story so eccentric and outlandish should end up working so well. It's true that sometimes, such as in the climactic sequence, the film spins a bit out of control.

Scenes involving US or Korean intelligence figures can also feel silly at times. Nonetheless, for all its shifts in tone, the emotions in this film feel real.

That sense of authenticity comes from the fact that the filmmakers are pushing boundaries from a creative standpoint, and also because second- time director Lee Ho- jae (The Scam) proves willing to tackle difficult emotional issues, such as grief and loss, in a direct way. There's a genuine beating heart at the center of this film. Of course, those familiar with actor Lee Sung- min (Broken, Venus Talk), who after a long career as a supporting actor is now emerging into the spotlight, might be less surprised. Lee has tremendous range as an actor, including numerous roles as calculating villains (The Piper, A Violent Prosecutor), but he seems most effective in roles like this where he portrays an ordinary person dealing with ordinary (if very tragic) life experiences. When you look at all the pieces that make up Sori: Voice From the Heart, it seems inconceivable that they might all fit together to make a coherent movie. But somehow, director Lee manages to keep everything from flying apart, and the result is a truly original and engaging story. The police and various new agencies attempt to unlock the mystery behind the circumstances in which a number of people, including Hye- ri's cameraman assistant Seok- hoon (Lee Hyun- wook, The Target), were brutally murdered at an isolated island, leaving Hye- ri as the only living witness.

The key evidence is the interview footage left in Seok- hoon's camcorder, smashed but recovered later. As the main body of the film reconstructs the investigating reporter's attempts to penetrate the veil of secrecy that seems to permeate the island community, we learn that the island's main source of income, a salt harvesting business owned by the Heo family (Choi Il- hwa, New World, as the serpentine father and Ryoo Joon- yeol, Socialphobia, as the callous, violent son) might have been practicing modern- day slave labor. Hye- ri repeatedly approaches one of the salt- field workers, Sang- ho (Bai Song- woo, Veteran), who seems to be mentally disadvantaged and shows signs of severe physical abuse, and tries to get him to acknowledge on camera the horrid treatment he has been subject to. However, a check with Sang- ho's missing- person status leads to a shocking revelation for which neither Hye- ri nor Seok- hoon is prepared. No Tomorrow is loosely based on an actual case in which a Cholla Province saltern owner was accused in 2. Co- written and directed by Lee Ji- Seung, who had previously helmed the low- rent revenge thriller Azooma (2.

No Tomorrow starts off like a work- print for a . Except for occasional, air- clearing shots of beautiful beachfronts and surfs, everything Seok- hoon films looks suitably cruddy, grimy and oppressive: soon, the found footage gimmick becomes, what can I say, boring and exhausting, stripping the film of any emotional connection. As for the plot twist, while it does rescue the film to a certain degree from sinking into the swamp of torpor, it again reveals director Lee's inability to fully work out moral calculus of his project (as was the case with Azooma, one of those ethical- dilemmas- be- damned Korean thrillers that think they are scoring . It did not seem to have occurred to him that screwing the film's trajectory like that in effect degrades the meaning of Hye- ri's hard work in the first half, reducing her to a pawn in the filmmaker's one- upmanship against the viewer's expectations. As it stands, the film is fundamentally uninvolving, not because its agendas are murky, but because its characterization is so thin. Bae Song- woo is also fine as the beaten- down Sang- ho, taking care to dial down his patented reptilian bad- guy ticks and reaching for the viewer's pity, if not sympathy. Unfortunately, Bae's presence reminds us of his memorably villainous turn in Bedevilled (2.

No Tomorrow is not a complete wash, but is (again) unable to overcome one of the frustrating contradictions of the contemporary Korean thriller cinema: their post- Memories of Murder obsession with . Korean screenwriters shooting for crime/topical thrillers, in my view, should stop worrying about .

Swimming at a pace far beyond any of his competitors, he is South Korea's greatest hope for medal glory in the upcoming Olympics. But underneath his cocky, self- assured exterior is a volatility and lack of judgement that causes conflict with his coach, and threatens his success. The boy, Joon- ho, shows some talent for swimming, but in competitions he continually places 4th. Desperate to improve her son's performance and open up a path to a swimming scholarship, the mother seeks out Gwang- soo, despite his reputation for being unreasonably harsh to his students. It's a story about parents, teachers and children, and more generally about the pressure placed on young children to succeed. How much pain and misery is worth enduring for a shot at success? And what is the line that separates pressure from abuse?

The fact that it is produced and financed by the National Human Rights Commission of Korea only reinforces this first impression.

Yearly Box Office Results. Total Grosses of all Movies Released in 2. Previous Year. Next Year > Rank. Movie Title (click to view)Studio. Total Gross / Theaters.

Opening / Theaters. Open. Close. 1Rogue One: A Star Wars Story. BV$5. 32,1. 77,3. Finding Dory. BV$4. Captain America: Civil War. BV$4. 08,0. 84,3.

The Secret Life of Pets. Uni. 3. 68,3. 84,3. The Jungle Book (2. BV$3. 64,0. 01,1. Deadpool. Fox$3. 63,0. Zootopia. BV$3. 41,2. Batman v Superman: Dawn of Justice.

WB$3. 30,3. 60,1. Suicide Squad. WB$3. Sing. Uni. 2. 70,3. Moana. BV$2. 48,7. Fantastic Beasts and Where To Find Them. WB$2. 34,0. 37,5. Doctor Strange. BV$2.

Hidden Figures. Fox$1. Jason Bourne. Uni. Star Trek Beyond. Par. 1. 58,8. 48,3. X- Men: Apocalypse.

Fox$1. 55,4. 42,4. Trolls. Fox$1. 53,7. La La Land. LG/S$1. Kung Fu Panda 3. Fox$1.

Ghostbusters (2. 01. Sony$1. 28,3. 50,5. Central Intelligence. WB (NL)$1. 27,4. 40,8.

The Legend of Tarzan. WB$1. 26,6. 43,0. Sully. WB$1. 25,0.

Bad Moms. STX$1. 13,2. The Angry Birds Movie. Sony$1. 07,5. 09,3. Independence Day: Resurgence.

Fox$1. 03,1. 44,2. The Conjuring 2. WB (NL)$1. Arrival. Par. 1. 00,5. Passengers (2. 01.

Sony$1. 00,0. 14,6. Sausage Party. Sony$9. The Magnificent Seven (2. Sony$9. 3,4. 32,6. Ride Along 2. Uni. Don't Breathe. SGem$8.

Miss Peregrine's Home for Peculiar Children. Fox$8. 7,2. 42,8. The Accountant. WB$8. Teenage Mutant Ninja Turtles: Out of the Shadows.

Par. 8. 2,0. 51,6. The Purge: Election Year.

Uni. 7. 9,2. 13,3. Alice Through the Looking Glass. BV$7. 7,0. 41,3. 81. Pete's Dragon (2. BV$7. 6,2. 33,1. 51. Watch The Hole Movie Jesus (2017). The Girl on the Train (2. Uni. 7. 5,3. 95,0.

Boo! A Madea Halloween. LGF$7. 3,2. 06,3. Storks. WB$7. 2,6. Cloverfield Lane.

Par. 7. 2,0. 82,9. Lights Out. WB (NL)$6. Hacksaw Ridge. LGF$6. The Divergent Series: Allegiant.

LG/S$6. 6,1. 84,0. Now You See Me 2. LG/S$6. 5,0. 75,5.

Ice Age: Collision Course. Fox$6. 4,0. 63,0. The Boss. Uni. 6. London Has Fallen. Focus$6. 2,5. 24,2. Miracles from Heaven.

Tri. S$6. 1,7. 05,1. Deepwater Horizon. LG/S$6. 1,4. 33,5. Why Him? Fox$6. 0,3. My Big Fat Greek Wedding 2. Uni. 5. 9,6. 89,6. Jack Reacher: Never Go Back.

Par. 5. 8,6. 97,0. Fences. Par. 5. 7,6. Me Before You. WB (NL)$5. The BFGBV$5. 5,4. Neighbors 2: Sorority Rising. Uni. 5. 5,4. 55,7.

The Shallows. Sony$5. Office Christmas Party. Par. 5. 4,7. 67,4. Assassin's Creed. Fox$5. 4,6. 47,9. Barbershop: The Next Cut.

WB (NL)$5. 4,0. 30,0. Hours: The Secret Soldiers of Benghazi. Par. 5. 2,8. 53,2.

Lion. Wein. 5. 1,7. The Huntsman: Winter's War. Uni. 4. 8,3. 90,1. Kubo and the Two Strings.

Focus$4. 8,0. 23,0. Manchester by the Sea. RAtt. 4. 7,6. 95,3.

Warcraft. Uni. 4. How to Be Single. WB (NL)$4. 6,8. 43,5. Mike and Dave Need Wedding Dates. Fox$4. 6,0. 09,6.

War Dogs. WB$4. 3,0. Almost Christmas. Uni. 4. 2,0. 65,1. Money Monster. Tri. S$4. 1,0. 12,0. 75. Allied. Par. 4. 0,0. Nerve. LGF$3. 8,5.

Risen. Sony$3. 6,8. The Nice Guys. WB$3. The Boy (2. 01. 6)STX$3.

Dirty Grandpa. LGF$3. Ouija: Origin of Evil. Uni. 3. 5,1. 44,5. The 5th Wave. Sony$3. Inferno. Sony$3. 4,3. Mother's Day. ORF$3. Patriots Day. LGF$3.

Gods of Egypt. LG/S$3. Collateral Beauty. WB (NL)$3. 1,0. 16,0. Hail, Caesar! Uni. When the Bough Breaks.

SGem$2. 9,7. 47,6. Zoolander 2. Par. Moonlight (2. 01. A2. 4$2. 7,8. 54,9. The Finest Hours. BV$2. 7,5. 69,5. 58. Florence Foster Jenkins.

Par. 2. 7,3. 83,7. Hell or High Water. LGF$2. 7,0. 07,8. The Forest. Focus$2. Ben- Hur (2. 01. 6)Par. The Witch. A2. 4$2. Bridget Jones's Baby.

Uni. 2. 4,2. 52,4. Kevin Hart: What Now? Uni. 2. 3,5. 91,0.

Summary of 7. 36 Movies on Chart: Totals: $1. Averages: $1. 5,4. Previous Year. Next Year > #1–1.

Note: RELEASE DATE shows all movies that opened in a given time period and their total grosses. WIDE RELEASES shows only movies released in 6.

LIMITED RELEASES shows only movies released in less than 6. CALENDAR GROSSES shows all movies playing during the indicated time period, both new and holdover, and their grosses (or estimated grosses) during that time period.

Movies released outside the indicated time period are shown in italics. Click here for a full explanation of the various box office sectionsback to. Yearly Index Page.