A Big Swing Is Not Always Enough
In the case of the epic monster movie Hope , it might even be too much.
Hope, the latest film from South Korean horror director Na Hong-jin, is presented as a grand, otherworldly spectacle. As the most expensive Korean movie ever made, it marks Na's first project in over a decade, following his critically acclaimed The Wailing. The film's promotional efforts include a large-scale rollout in the United States, showcasing it on premium-format screens—a rare treatment for international productions.
Hope spans 156 minutes and features a complex plot centered around an alien invasion near Korea's Demilitarized Zone. The director has hinted at a sequel, with the narrative remaining open-ended. Yet, despite the film's ambitious scale, I found myself wishing for a more modest approach. The opening hour, though filled with action, horror, and comedy, never hints at the larger ambitions hinted at by the marketing.
The story follows Bum-seok, a somewhat clumsy police officer (played by Hwang Jung-min), who is tasked by local hunters to investigate a cow carcass with unusual claw marks. As Bum-seok returns to the town of Hope Harbor, his fear of an escaped zoo animal grows as he discovers widespread destruction. Na uses a shaky camera and an anxious protagonist to build tension, drawing comparisons to solid creature features like Tremors, Eight Legged Freaks, and Crawl.
The film's influences are clear, particularly Bong Joon-ho's The Host, which blends a giant creature invasion with themes of bureaucratic bumbling and capitalistic excess. Hope's budget is reported to be nearly $75 million, substantial for South Korean cinema but not excessive for a project of this scale. However, as the action progresses, the heavy reliance on CGI-rendered monsters becomes apparent, struggling to match the crisp visuals of the rest of the film.
Na's vision is grand, evident in the slow-motion gunplay and CGI-rendered creatures. While I understand the appeal of these effects, I believe the director could have benefited from a more restrained approach, allowing the audience's imagination to fill in some of the gaps. Unfortunately, the film leaves little room for explanation, despite its lengthy runtime.
The first hundred minutes provide an entertaining monster thriller, reminiscent of quality Hollywood productions, but the lack of exposition and a satisfying conclusion may leave some audiences feeling underwhelmed.
Written by urgent.news from The Atlantic's reporting — not their text. Machine-written — may contain errors; check the original before relying on it.
