[Movie 2011] War of the Arrows / Arrow, The Ultimate Weapon 최종병기 활

pechumori · July 24, 2015

War of the Arrows

By

SYNOPSIS

Set during the second Manchurian
invasion of Korea. On his sister’s wedding day, young archer Nam-Yi’s ( Hae-il
Park) village is destroyed and his sister Ja-in (Chae-won
Moon) kidnapped. With only a day to save Ja-in and avenge his village, Nam-Yi sets
out with the bow bequeathed to him by his father. Standing in Nam-Yi’s way is Jyu Shin-Ta ( Seung-yong
Ryoo), a fierce
warrior and leader of the elite enemy troop.

Epic Korean chase film races to finale.

The ingenuity of the plotting resides in the oppositions it establishes

KOFFIA Korean Film Festival: That title, at least, is no misnomer: you could have watched every archery event in the London Olympics and still not seen half as many shafts as are loosed here, in the course of 121 mostly breathless minutes. (The Korean title translates to 'Arrow: The Ultimate Weapon.’) Yet with the decision to subordinate characterisation to action, condensing this narrative to a succession of set-pieces—essentially, face-offs between various configurations of his cast—writer-director Kim Han-min manages to honour the conventions of both the historical epic and the modern-day action flick, in a way only John Woo (with the admittedly superior Red Cliff) has managed before.

That said, the set-up is unpromising: in seventeenth-century Korea, a new king has seized the throne, and the nobles of the former regime are being rounded up as traitors. One of these, a renowned archer, entrusts his daughter Ja-in to the care of her brother Nam-i—along with his bow—shortly before being killed himself. The pair are taken in by the family of a military official, whose son Seo-gun, 13 years later, requests Ja-in’s hand in marriage; slightly reluctantly, she consents. But their wedding day is disturbed by nothing less than the Second Manchu Invasion of Korea.

By now we’re over half-an-hour in, and there’s been little to distinguish this from any period-set Korean TV drama. Yet with the arrival of the Manchu forces, the film snaps abruptly into focus—perhaps because, by then, enough backstory has been laid out to allow the story finally to what become what it’s meant to be: a simple chase flick, albeit one of extraordinary pace and single-mindedness. Ja-in is seized, along with thousands of her countrymen, and marched across the border to a life of slavery in Manchuria; Nam-i, who evaded the round-up, sets out to get her back. Meanwhile, within the camp, Seo-gun is planning his own escape . . .

The ingenuity of the plotting resides in the oppositions it establishes. Ja-in has two protectors—her brother, and her husband-to-be—and two adversaries: the rather louche Manchurian prince who comes to covet her, and the general who oversees the transport of the prisoners. And while each of these characters’ actions serve to propel the narrative (Ja-in is no shrinking violet herself), except for a single scene—at the Manchu camp—they’re never in the same place at the same moment.

Rather, the action fragments into smaller and separate confrontations, until the final 40 minutes, which plays out as an extended cat-and-mouse game between Nam-i and the General (the astonishingly versatile character-actor Ryu Seung-ryong), who pursues him with a tenacity that would put The Terminator to shame.

The story sets up a few possibilities (like Ja-in’s own, innate talent with a bow) that fail to pay off as powerfully as they might. And, in the early stage, at least, a number of the action sequences seem overly indebted to the example of Michael Bay: a succession of rapid, at times almost subliminal edits (I counted nine in one five-second sequence), accompanied by lurching handheld camera, that ironically work against the tension, denying the viewer a clear sense of exactly the threat these characters are facing—or even where they are, physically, in relation to each other. But as the extraneous elements (and characters) fall away, and the narrative settles into a battle of wits between hunter and hunted, the editing finds its rhythm—aided in no small part by Kim Tae-seong’s mostly percussive score. The final act is consistently gripping, and more than a little exhausting.

Were it not for the occasional flashes of nationalism on display (the prisoners’ rebellion against their captors might as well be accompanied by the strains of 'Arirang’), the film would be entirely devoid of the politics that have disfigured a number of recent Eastern (and Russian) blockbusters. For the most part, its focus is confined strictly to the physical realm: questions of distance, velocity, geography. The result is the best chase flick since Kim Jee-woon’s The Good, The Bad and the Weird (2008), and one of the standout Asian titles of the past 12 months.
CREDIT: http://www.sbs.com.au/movies/movie/war-arrows

pechumori · July 25, 2015

Review: ‘War of the Arrows’

After humming along nicely for an hour, Korean costume spectacle "War of the Arrows" lets fly with a second half of nonstop action and excitement.

Richard Kuipers

After humming along nicely for an hour, Korean costume spectacle “War of the Arrows” lets fly with a second half of nonstop action and excitement. Toplining Park Hae-il (“The Host”) as an archer whose prowess puts Robin Hood to shame, this rip-roaring yarn has hit the bull’s-eye locally, with 7.4 million admissions since Aug. 11. Reissued Oct. 21 in a director’s cut, “Arrows” has now edged out “Sunny” as South Korea’s biggest domestic hit of 2011, and scored respectable numbers in limited U.S. release Oct. 7. Fests seeking high-energy crowdpleasers should check it out; ancillary will be robust.

Eliminating the ponderous plot development that frequently hampers South Korean period actioners, scripter-helmer Kim Han-min cracks the narrative whip right from the start. Attention-grabbing 1623-set prologue finds youngster Nam-yi (Lee Da-wit) and little sister Ja-in (Jeon Min-seo) narrowly escaping death when their father is branded a traitor and killed by rivals in the Chosun dynasty court.
Cut to 1636, and Nam-yi (Park Hae-il) and the beautiful Ja-in (Moon Chae-won) remain in the care of Kim Mu-seon (Lee Kyeong-yeong), a wealthy family friend whose slightly nerdy son, Seo-gun (Kim Mu-yeol), has asked Ja-in to marry him. As bad luck would have it, the couple’s wedding day coincides with the Manchu invasion of Korea, resulting in Ja-in and Seo-gun being captured and held prisoner near the Korea-Manchuria border.
Perfectly fine entertainment so far, the pic becomes full-on exhilarating when Nam-yi, who has evaded capture, determines to rescue his sister. Previously seen as a talented archer with no focus in life, Nam-yi springs brilliantly into action as some sort of superman with Ph.D-level knowledge of bow-and-arrow aerodynamics, plus the ability to hear enemy missiles and take split-second evasive action.
With these talents shown in dazzling p.o.v. and slo-mo images, Nam-yi picks off dozens of enemy soldiers en route to saving Ja-in from the lecherous advances of Manchu prince Doreukon (Park Gi-woong). But that’s just half the battle in getting Ja-in and Seo-gun to safety. Nam-yi’s cat-and-mouse game with fearsome Manchu warrior Jiusinta (Ryu Seung-ryong) and his uber-macho hit squad is supremely staged and packs real emotional punch when the final arrow hits its target.
A major change from his previous features, psychodrama “Handphone” and murder mystery “Paradise Broken,” helmer Kim marshals large-scale action with considerable flair. Thesping, much of it in the almost extinct Manchu language, is tops: Park shades his man-of-action heroics with warm notes of quiet contemplation, Ryu is all things rugged as the dominant heavy, and TV star Moon is terrific as the feisty girl with her own set of combat skills.

Topnotch cinematography by Kim Tae-seong (not to be confused with the composer of the same name here) includes thrilling chase scenes in misty forests and a riot of carnal colors in the randy royal’s boudoir. Excellent CGI blends seamlessly into the action, and the Manchu fighters look great in fur-lined heavy leather costumes. Other tech work is first-class.

credit: http://variety.com/2011/film/reviews/war-of-the-arrows-1117946517/

pechumori · July 26, 2015

Film Review: Arrow: The Ultimate Weapon

Arrow: The Ultimate Weapon is a 2011 South Korean historical war epic by Kim Han-Min. Also known as War of the Arrows, the film takes place during the Second Manchu Invasion of Korea, in the 1630s. Nam-Yi and Ja-In are brother and sister in Korea, adopted by the ruler of a northern locality in Korea after their father is killed for treason (likely being loyal to the previous regime).

Fast-forward several years, where both siblings have grown up. Both have trained as skilled archers, with Nam-Yi a true master of the martial art. His trademark skill is the ability to curve the path of the arrow around obstacles to hit targets at seemingly impossible angles. During Ja-In's wedding to the local ruler's son Seo-Goon, Manchurians invade the village, slaughtering many of the villagers (including Nam-Yi's and Ja-In's adoptive parents) and taking the rest as prisoners of war (including Ja-In and her new husband). Nam-Yi wages a one-man guerrilla war against the invaders, seeking to retrieve his sister and bring her back home to Korea.

Needs a Better Description

Arrow: The Ultimate Weapon provides examples of:

A Father to His Men: Jyuushinta is an antagonistic example.
Annoying Arrows: Generally averted. Most characters shot by arrows who don't die immediately are severely hobbled or crippled by their wounds. Nam-Yi plays this straight a couple of times, but that's because he's The Determinator (see below).
Some types of Manchu arrows also seem to overpenetrate, repeatedly going clean through a victim without killing them on the spot.
Archer Archetype: Nam-Yi, obviously.
Authority Equals Asskicking: Min-Soon, Nam-Yi's and Ja-In's adoptive father, takes up a sword to defend his village, killing multiple soldiers before being killed. Seo-Goon, his son, does even better, helping to free the village captives and rescue Ja-In.
Bad richard simmons
Nam-Yi obviously takes the cake, but Seo-Goon gets nearly as big a body count. Seo-Goon's father takes up arms to defend the village and takes down multiple Manchu soldiers.
Jyuushinta is almost as skilled an archer as Nam-Yi
Ja-In is a hell of an archer in her own right and resists the Manchu on multiple occasions. When the village is under attack, she's seen prepared to fight off the soldiers with a hair stick.
Badass Army: The Manchus. Upon their introduction, they slaughter the town's Joseon army garrison before the latter could land a single hit. For all their Rape, Pillage, and Burn routine and occasional missteps, they carry out their pursuit of the heroes with remarkable competence and daring, and repeatedly have them on the ropes by using group hunting tactics to surround and pin them down.
Bad Vibrations: When the mounted Manchu army is inbound, Nam-Yi is the first to realize it when he sees one of his arrows, stuck in a tree trunk, vibrating. As the army approaches, the vibrations get stronger and start rattling teacups in the village.
Berserk Button: Threaten to do any harm to Ja-In, and Nam-Yi and Seo-Goon will see that you barely live to regret it.
Big Damn Heroes: Done at least twice. Once by Nam-Yi, severing a bowstring and allowing Seo-Goon to charge and kill an enemy officer. Once by a tiger, saving Nam-Yi from Jyuushinta and his troops.
Camera Abuse: Possibly unintentional. In the scene at the river crossing, there are obvious droplets of water on the lens of the camera in certain shots.
Chekhov's Skill: Nam-Yi's ability to curve arrows around obstacles. To a lesser extent, his ability to make and use a Korean short draw device (used to fire arrows shorter than the draw length of the bow).
Combat Pragmatist: Nam-Yi relies on stealth, times his attacks patiently, and resorts to an assortment of very underhanded tactics to outmanoeuvre the bad guys throughout the film.
Colour-Coded for Your Convenience: In-Universe, the Manchurian commander knows that the same man (Nam-Yi) is behind the attacks on his soldiers because of the red-fletched arrows he shoots. Also serves a symbolic purpose, as many of the white-fletched Manchu arrows that Nam-Yi scavenges and uses become red from passing through a body.
Conservation of Ninjutsu: At the start of the film, Nam-Yi hits every target he aims for. As the number of Manchu he's facing diminishes, their accuracy improves while his starts to slip.
Crouching Moron, Hidden Badass: Gang-Du and Gap-Yeong, Nam-Yi's goofy hunting buddies, are surprisingly good fighters despite their role as comic relief.
The Determinator: Nam-Yi and, to a lesser extent, Seo-Goon are both wounded at one point or another in their dominant arms (Nam-Yi in his drawing arm, Seo-Goon in his sword arm), yet lose very little of their deadliness for it.
Deus ex Machina: The tiger. Particularly jarring, considering how otherwise gritty and straightforward the third act is.
Evil Cannot Comprehend Good: Nam-Yi hesitates to kill Jyuushinta, the Manchurian commander and Big Bad, because Jyuushinta is trying to keep one of his wounded men from falling down a cliff. When Jyuushinta confronts him about it later, he accuses Nam-Yi of doing so out of contempt.
Heroic Sacrifice: Nam-Yi's two hunting companions sacrifice themselves once one of them is injured, to delay the Manchu. At the end, Nam-Yi pulls an arrow out of his heart, knowing that he will die, in order to use the arrow to kill Jyuushinta.
Improbable Aiming Skills: Nam-Yi's ability to bend the trajectory of his arrows is unbelievably useful and unbelievably unbelievable.
Karmic Death: The Manchu prince routinely rapes one of the female prisoners every night on the army's way back to Manchu. When Ja-In resists, he attempts to break her. His unwillingness to accept help from his soldiers when struggling with her allows Nam-Yi to sneak up on him, leading to his eventual assassination.
No Arc in Archery: Played with. Most of the archers appear to aim at realistic angles for the targets at which they're aiming, but there are a few shots of bows aimed almost directly at faraway targets, and of arrows in flight suffering minimal drop.
Obligatory War Crime Scene: Most notably the scene where Jyuushinta's second-in-command, upon reaching the Yalu river, tells his civilian prisoners to run home if they wish. Then he orders his cavalrymen to hunt down the runners, apparently for sport.
One-Man Army; Nam-Yi is a more realistic example of this trope. It's his speed, aim and intelligence that allows him to silently murder scores of Manchurian soldiers, not superhuman strength or endurance.
Pre-Asskicking One-Liner: Ja-In says one, right before charging the Manchu prince with a skewer.
Ja-In: I am a warrior's daughter. I shall not beg for my life, nor shall I die in vain.
Those Two Guys: Kang-Du and Gap-Yong, Nam-Yi's hunting buddies. They help Nam-Yi and Seo-Goon on their incursion into Manchu territory.
Trick Arrow: Minor example. Nam-Yi at one point uses a short arrow while hunting, as well as to hobble one of the Manchu soldiers pursuing him. In real life, these shorter arrows were apparently used by snipers to prevent the arrows from being used by the enemy.
Villainous Valor: The Manchus. The latter parts of the movie is largely shown from Jyuushinta and his men's perspective, allowing us to see their sheer relentlessness in full. They use squad tactics to try and get the drop on Nam-Yi, back each other up on dangerous situations readily, and maintain near-perfect discipline despite being visibly shaken by their casualties. The movie makes a point on showing how they look after each other, since the Manchus were strategically outnumbered in real life and relied on Chinese/Mongol auxiliaries to bolster their ranks.
Vomit Indiscretion Shot: Nam Yi vomits all over Seo-Goon's face during their drunken brawl early in the film.
You Have Failed Me: Unspoken example. After Jyuushinta and his soldiers find out that the prince was assassinated, one of Jyuushinta's soldiers kills the guard in charge.
You Shall Not Pass: When many of the prisoners are being chased down and slaughtered at the Korea-Manchuria river crossing, Seo-Goon steps up to try and prevent any more soldiers from attacking the feeling prisoners. He succeeds, in Bad richard simmons fashion.
Zerg Rush: Done to the Manchu troops at the river crossing by the captured prisoners. When the Manchu prince congratulates his uncle for capturing more prisoners than they have soldiers, this was pretty much inevitable.
credit: http://tvtropes.org/pmwiki/pmwiki.php/Film/ArrowTheUltimateWeapon

pechumori · July 27, 2015

NYAFF 2012: War of the Arrows (최종병기 활, Choi-jong-byeong-gi Hwal) 2011

Part of MKC's coverage of the 11th New York Asian Film Festival.

It’s about time I threw my hat into the ring and chimed in on War of the Arrows, the top-grossing Korean film of 2011, which has met with positive reactions from all over the globe. Early in 2011, if you were familiar with the big films that were scheduled to come out throughout the year, you could be forgiven for expecting Sector 7 and The Front Line to dominate the charts during the summer months. In the end the former was a cataclysmic failure, likely because it was a terrible film, and the latter fell below expectations, it was a decent film but perhaps a little thin to play well given its subject matter. One film you may not have noticed, I know I didn’t, was War of the Arrows, a straightforward period action film with mid-level stars and no pretense about it.

The first thing that came to mind as I considered War of the Arrows was Apocalypto (2006), a film that may not have been to everyone’s tastes but nevertheless displayed a similar unstoppable drive as it followed a protagonist suddenly torn form his tight-knit society and forced to go on the run, defending himself every step of the way. I for one admired Mel Gibson’s last film as unlike his previous The Passion of the Christ (2004), there didn’t seem to be much subtext lurking beneath the simple plot. Instead, he concocted a breathless adventure film charged with the urgency of modern day.

Kim Han-min has done the exact same thing as he has crafted a consistently engaging action film that follows a simple premise concisely and effectively towards its conclusion. No high-concept thrills, 3D or IMAX here, just solid entertainment that never fails to deliver on its promise.

Nam-ji and his sister Ja-in, orphaned after the murder of their father, a talented archer and dissenter, live in a village in the charge of a trusted friend of their father’s. On the day that Ja-in weds his son Seo-goon, the village is brutally attacked by Manchurian soldiers and they are both taken hostage. Nam-ji, now a talented bowman in his own right, chases after the main army to free his sister, while a unrelenting battalion of elite warriors also attempt to track him down.

The film wastes no time putting itself into high gear as we are immediately thrown into a period action scene and director Han quickly shows us that this will not be your typical period potboiler. What drives the film is speed and power and when the first arrow crosses the screen to save our young protagonists from a snarling dog, it does so discreetly but its effect is one of tremendous might as it carries off the deadly animal with it as it exits the frame. The elite fighters, led by the menacing Jyu Sinta (Ryoo Seung-young, excellent as always), are not you average antagonists, they are dynamos of power, alacrity and cool, cold rationale. Their roars and fearlessness quicken the pulse. They plough forward even after getting hit, nothing can keep them down.

Nam-ji must be quick and crafty as he is ill-afforded any time to do anything else. As limited a role as it is, Park Hae-il incarnates him with an intensity and lightness of foot which effortlessly pulls us into his predicament. While not a weighty, dramatic role, Park’s performance has been justly praised and even been recognized with a bevy of industry awards at the 48th Daejong and 32nd Blue Dragon awards, among others.
The only real problems with the film are a misjudged encounter with a jungle animal and a brief climax that doesn’t pack the punch it thinks it does. These minor gripes aside, War of the Arrows remains one of the most successful summer films of 2011, harnessing a propulsive momentum that brings a familiar but clear story to vivid reality. A lean action film that knows where to focus its attention, Kim Han-min demonstrates that perhaps there is life in the Korean blockbuster afterall.

★★★★☆

NYAFF 2012 Preview
Vulgaria (低俗喜劇 - Hong Kong, 2012)
Nameless Gangster (범죄와의 전쟁, Bumchoiwaui Junjaeng) 2012
Couples (커플즈, Keo-peul-jeu) 2011
Honey PuPu (消失打看 - Taiwan, 2011)
Retrospective: A Legend in the Flesh - The Life and Career of Choi Min-sik
King of Pigs (돼지의 왕, Dwaejiui Wang) 2011
Doomsday Book (인류멸망보고서, In-lyoo-myeol-mang-bo-go-seo) 2012

credit: http://www.modernkoreancinema.com/2012/03/war-of-arrows-choi-jong-byeong-gi-hwal.html

pechumori · July 28, 2015

Article posted last July 10, 2013

Heroes! Villains! Archery! War of the Arrows!

The War of the Arrows takes place in Korea, in the 1600s. Siblings Nam-yi and Ja-in lost their father when they were children – he was assassinated for his loyalty to the king. Moments before he was killed, he told his son, Nam-yi, to protect Ja-in until the end, that he will be her father from now on. He tells them to seek refuge with a certain Lord Kim.
Kim welcomes them, and raises them as his own children, though they never get anything except ugly glares from Lady Kim.
Ja-in (Moon Chae-Won) is the daughter of an archer, and she’s quite handy with a bow and arrow herself.
Fast forward to Ja-in’s wedding day – music, beautiful clothes, happy guests, etc. Suddenly, the town is overrun by Manchurians on horseback. Panic! Everyone who is not killed on the spot is dragged away, with ropes around their necks, to be slaves in Manchuria (today’s northeastern China.) In the course of the Manchu invasion as many as 500,000 people were captured in Korea.
The Manchu horsemen look stylish, in an evil way, in their studded leather armour. A few sheepskins here and there add to a wild and savage look. Except for one guy with a forelock that made me think of Hitler, they have shaved heads under their hats, which just adds to their scary, unfriendly appearance.
We hear them long before we see them. There’s a low, rumbling sound, like the beginnings of an earthquake, or the awakening of a volcano. Tea trembles in a delicate cup. Imagine the terror when they gallop into sight!
Manchu invaders (also called Qing) led by Jyushinta (Ryoo Seung-yong) in the sheepskin.
Conveniently enough for the plot, Nam-yi (Park Hae-il) was out hunting because he did not approve of the wedding. (He left a beautiful pair of embroidered shoes on Ja-in’s doorstep, though.) Nam-yi saw the horsemen arrive but could not warn anyone in time. But at least he’s alive to carry out a one-man guerrilla war against the Manchus to rescue his sister (played by Moon Chae-Won).
Oh, did I mention that Nam-yi’s father was an excellent archer and that he taught his skills to both of his children? Nam-yi uses his father’s bow to pick off the Manchus, one man at a time. His main opponent, Jyushinta, is an archer himself, and is very impressed by Nam-yi’s skill, impressed to the point of obsession, you might even say. Jyushinta wants to meet this guy. That doesn’t mean that he won’t try to tear him limb from limb afterwards, though. Jyushinta’s arrowheads weigh half a pound. Very destructive projectiles! Jyushinta is played by Ryoo Seung-yong, who is in many of the films shown at this year’s Korean Film Festival.
At some point, Ja-in’s husband Seo-gun (Kim Mu-Yeol) escapes and joins Nam-yi. Turns out the Seo-gun is not the wimp Nam-yi thought that he was. Far from it! Still, Nam-yi gets most of the screen time, as well he should.
Nam-yi rides to the rescue!
War of the Arrows takes a bit of time to introduce the characters and their backgrounds – this did not bother me at all, though some people have said they found the first part of the film slow going.

Once the arrows start flying, though, things move really quickly and it’s very, very exciting. Every encounter is different and it never gets boring – which is more than I can say for many gun battles that I’ve seen. I’m not surprised that War of the Arrows was a big hit in Korea. I was hoping to see it (on a big screen, in a cinema) ever since I read about it in 2011, and now I have, thanks to the Korean Film Festival. (The film is also known as Arrow, the Ultimate Weapon.)

You can see War of the Arrows for yourselves, Wednesday July 10, 2013 at 4 p.m., in the Henry-Teuscher Auditorium at the Montreal Botanical Garden, 4101 Sherbrooke St. E., Montreal, QC H1X 2B2. Wednesday is the last day of the Montreal section of the Korean Film Festival.

War of the Arrows is directed by Kim Han-min, and stars Park Hae-il, Ryoo Seung-ryong, Moon Chae-Won and Kim Mu-Yeol. It’s 122 minutes long, in Korean, and (reconstituted) Manchurian with English subtitles.

The festival’s web site is koreanfilm.ca/montreal/

credit: http://montrealgazette.com/entertainment/movies/heroes-villains-archery-war-of-the-arrows

pechumori · July 29, 2015

[HanCinema's Film Review] "Arrow, The Ultimate Weapon"
2011/12/17

Kim Han-min's "Arrow, The Ultimate Weapon" quickly became Korea's most successful film of 2011, marching up the ranks to eventually bank 7,459,974 admissions. Since its release in September, Kim's historical action flick has been showered with local awards spanning all major categories. However once you get some of the stardust and glare out of your eyes, the film's success can be pinned down to its ability to be, quite simply, great entertainment.

The film takes place during the second Manchu invasion of Korea that occurred during the Joseon dynasty in 1636. The Manchu Qing Empire is invading Korea for the second time and within this Kim has created a local hero in Nam-Yi (Park Hae-il) to stand up against the invaders, save his sister (Ja-In played by Moon Chae-won) from her captors, and honour the memory of his slain father. He is the dark horse, the arrow in shadows, fighting against the odds with his legendary skills with the bow and his tenacious grip on duty and family honour.
There is nothing complicated here and the story's simplicity is mirrored in its structure. Act II takes a good 40 minutes to reach as the filmmakers clearly wanted to follow a more traditional path with introducing characters and events to the viewer. While watching it I had no issue with this or its pacing, but once I was submerged in Act II I began to feel that I was somehow cheated of quality action sequences. With the story being as simple as it is, Act I was a too indulgent and, in retrospect, added little to characters and the events that followed. The same backstory might have been presented through other cinematic/narrative techniques instead of eating up valuable screen time.
The most memorable scenes were when the Manchu general Jyuu Shin-Ta (Ryoo Seung-ryong) and his elite guards were perusing our hero through the woods and mountains to finally emerge in a field for the film's final showdown. Here is where the piece shines and its high entertainment value was found. The line between the hunter and the hunted is blurred as our hero demonstrates his mastery over the bow and the arrows he lets fly. I wish more screen time might have been given to moments and events such as this. These scenes are fluid and kinetic, adding suspense and excitement to the chase, as blood is shed and the conflict begins to narrow to a sharp and blood dripping point.
Normally when a hero possesses such remarkable skills there is some form of motif or montage accompanying it as a form of understanding. Here though, there is little that justifies our hero's incredible ability. He does wield the bow of his respected and valiant father, and with it the memory and honour of his family, but with such a film I felt like it needed more of hook to our hero, his quest, and mostly his skills. Instead the filmmakers focused on setting up events and motivations rather than justifying our hero's potency with the bow. This might just be a personal choice but in a film that focuses on the bow as a weapon, they might have dived more into not only how our protagonist gain such a proficiency, but also submerged us more in the whole mythology of the bow as a weapon/symbolic tool.
The film is visual pleasing, beside a certain CGI tiger, with Kim capturing the intensity and energy require to pull-off this form of action. Again, the first quarter of the film was rather flat in this regard but soon all is forgiven as the arrows begin to wiz by as the sound of notch arrows and taut bowstrings stretch your nerves and let loose. Close-ups of the bowmen are paired with long tracking shots of men running through forest and mountains, synthesising the type of combat that is being witnessed. The action is riveting and well shot, driving the film forward to its somewhat melodramatic final scenes. The costumes were also eye-catching and added a much-appreciated dimension to the characters and their roles. The menacing garb of the Manchu general and his elite warriors in particular caught my attention and empowered them with a visual prowess that raised them up as a force to be reckoned with.

"Arrow, The Ultimate Weapon" has achieved much and its success on circuit is testament to its high entertainment value. I would have preferred a different structure to the tale and a reweighting of some of the story's elements but for a cinematic spectacle it delivers where it counts.

- C.J. Wheeler

credit: http://www.hancinema.net/hancinema-s-film-review-arrow-the-ultimate-weapon-36448.html#$$nqqhjj&&pp4Gph7HEeW7SQqLpIzNaQ$$

[HanCinema's Film Review] "Arrow, The Ultimate Weapon" 2011/12/17 Read more at: http://tr.im/U3uX7

pechumori · July 30, 2015

[HanCinema's Hall of Fame] "Arrow, The Ultimate Weapon"
2013/11/02

In the Spotlight this Week: "Arrow, The Ultimate Weapon" by Kim Han-min

Finding historical shards embedded in modern myths makes for compelling cinema, those nuggety kernels of truth that somehow make the illusion of the dream that much more Real. In "Arrow, The Ultimate Weapon", director Kim Han-min's fourth world in his filmic multiverse, we are teleported back to a troubled time in Korea's history; specifically, the Second Manchu Invasion (1636 – 1637) where the Kingdom of Joseon was under heavy military and political pressures from their tiresome Qing neighbours. Many period yarns are prone to taking liberties (creative archeologically shortcuts) when conceptualising and producing stories attempting to navigate historical truths; comparatively, however, "Arrow" is the most popular recent addition to the genre that was able to successfully conceptualise the era without changing the course of history. Historically accurate or not, one piece of archival evidence that will be clear to future gravediggers is that this unearthed gem was a massive success (7.4 million admissions) that became the highest grossing Korean film of 2011 AD. And would have been top overall if it wasn't for Bay's epic third instalment (7.7 million) in the "Transformer" series.

"Arrow, The Ultimate Weapon" tells the heroic tale of one highly skilled marksman and his yielding of that power for the sake of those he holds dear. Nam-I (Park Hae-il) and his sister Ja-in (Moon Chae-won) were forced to flee from their home after royal guardsmen killed their father. Years later, as adults, the siblings find themselves on the verge of a family marriage, but the pesky Qing interfere and take Ja-in away from the happy future she was once on track for. Our bow-yielding hero skilfully tracks the Qing's army's progression, taking men out one by one until the head of the invading pack (Jyu Sinta played by Ryoo Seung-ryong) decides to put a stop to this rogue agent of chaos that's been plaguing his procession. The stakes are high and the action relentless as "Arrow" gorges on the aesthetic divinity of the arrow in flight, watching it warp under pressure as it heads towards, and in search of, justice and freedom. The film climaxes with an iconic duel between these expert bowman/strategists, a highly satisfying crescendo that was met with great praise by both the industry and audiences.
Kim's efforts in "Arrow" were heavily petted at a number of award ceremonies that same year including the 48th Grand Bell Awards (Best: Actor, New Actress, Visual Effects, and Sound); the 31st Korean Association of Film Critics (Best: Cinematography, Visual Effects); the 32nd Blue Dragon Awards (Best: Actor, Supporting Actor, New Actress; Technical Effects Award, and Box Office Audience Award); and the 9th Korean Culture and Entertainment Awards (Best: Actor, Actress; and Grand Prize for Acting). It was, indeed, a whirlwind of year for Kim's "Arrow" and its cast, a historical event that saw its name chiselled into the record books; books that currently have this fierce feature listed as the 16th highest grossing Korean film of all time

"Arrow, The Ultimate Weapon" is an action-packed and juicy gem of a film that struck a bow-bending balance and flew both long and true. It spent eleven weeks soaring around the top ten, and its commercial success even prompted a quickly released 'director's cut'. There is definitely something pleasurable here for everyone, and if the overall energy of the piece doesn't grab you directly, Nam-I's greater quest to save and honour his family will campaign honestly for your attention. Those who are perhaps somewhat unenthusiastic about diving into Korea's past through film will find "Arrow" an easy consort to break that barrier, a tight-lipped musing that still retains many of the time's truisms and spirit. Filmgoers that enjoyed "Arrow" will also be excited for Kim's next feature "Battle Of Myeongryang" which should be visible off our bow any day now, so get ready for history one way or another.

- C.J. Wheeler

credit: http://www.hancinema.net/hancinema-s-hall-of-fame-arrow-the-ultimate-weapon-62307.html#$$nqqhr2&&RCkv1h7IEeW8gwqLpIzNaQ$$

pechumori · July 31, 2015

Review: War of the Arrows

Set in 17th Century Korea, the film follows an archer trying to save his sister from the hands of the Manchu invader. But ends up being hunted by an elite squad.

War of the Arrows was the surprise South Korean box-office hit of the 2011 summer. Between the 3D blockbuster Sector 7 & the war drama Front Line, there was this simple action film coming (almost) from nowhere. Just a simple entertainment.

SIMPLICITY IS THE KEY
A simple story to deliver some nice action scenes, with little time left for discussion. It just needs some time at the beginning to introduce the characters, to establish their relationships, and then, it really starts moving forward. With man-hunting scenes, where one man is using his special bow to take down the best Manchu soldiers.
The film is really nothing more than what the plot says, with good guys trying to escape from the barbarian Manchu army, and these soldiers who loot, pillage and enslave everyone, for the pleasure of it. Obviously, there’s some violence, nothing too graphic, just enough to make you understand the Manchu are very bad.
Just the Manchu elite squad
THE WAY OF THE ARROW
The good idea of the film? To use the arrow as the main weapon. Because fight scenes rely on hide-and-seek mechanics, with characters forced to observe & understand their environment; are they the prey or the hunter? This simple question, the fact situation can change quickly helps creating engaging & efficient scenes.
On a side note, the film doesn’t develop the “arrow” philosophy used by these warriors. There are some attempts, but there’s something wrong. For example, at some point the main character says something like “killing is not the purpose of my bow“, yet, the only thing he’s been doing since the beginning… is killing. Hum. There are lots of wise (weird) statements like that, but with no further development.

STRAIGHTFORWARD ACTION FLICK

War of the Arrows is a simple pop-corn action film, with Manchu badasses hunting down good-hearted characters with lots of fight sequences set in the middle of Korean forests. Efficient, nice and original. It’s maybe the good time to start discovering director Kim Han-min’s previous films —5/10.

credit: http://www.wildgrounds.com/2011/12/13/thoughts-on-war-of-the-arrows/

pechumori · August 1, 2015

War of the Arrows: Busan Film Review

The Bottom Line

A superior historical epic and action movie from Korean director Kim Han-min.

Director/screenwriter

Kim Han-min

Cast

Park Hae il, Yu Seung Ryoung, Moon Chae-won

Korean director/screenwriter Kim Han-min brings archery to new cinematic heights in this period actioner.

War of the Arrows is one helluva chase movie. For most of its 122-minute running time, the hero is either chasing his sister’s abductors or the villains are chasing him. In between there’s an enemy invasion, running battles, steely confrontations and even a family quarrel. The key though is the movie’s weapon of choice — the bow and arrow. Compared with firearms and knives, archery is a much more cinematic way to slay characters. Director/screenwriter Kim Han-min uses straight action, speeded-up photography and CGI to track arrows on their flight to victims and cause courageous men to blanch as tree bark explodes from near misses. These arrows are the original smart bombs.

Kim’s historical action epic was Korea’s second-highest grossing release this year. The film is certainly exportable to all markets as its fight sequences are intelligently designed for maximum tension and the editing is masterful.

After a prologue 13 years earlier, the story takes place during the 1636 Mongolian invasion of Korea. Nam-Yi (Park Hae il) sets out with a single bow to rescue his sister Ja-in (Moon Chae-won), who is kidnapped by Manchurian soldiers, along with many villagers, on the day of her wedding to Wan-Han (Yu Seung Ryoung), himself an imperial soldier. Echoing in Nam-Yi’s head are his father’s last words when he commanded the youth to protect his sister at all times and at all costs.
Prior to her kidnapping, Nam-Yi had fallen into drunken despair over the fate of his father, slain as a traitor to the emperor, and the legacy he and his sister bear as a traitor’s heirs. But with her now in jeopardy, he is energized with purpose.
Soon enough the Manchu’s commander knows someone is on their tail. First there are the tale-tell red arrows on quivers found in so many soldiers’ bodies. Then there are the uncanny angles and deadly accuracy of his archery.
The film unfolds in several major sequences, all supremely well staged, shot and cut so suspense builds and builds. In the first one, Nam-Yi barely escapes the attack on the village. Later, he ambushes a group of soldiers to gain information from the last man still alive.
Then Wan-Han inspires a revolt of the enslaved people against their cruel captors with Nam-Yi arriving just in time to help. The two men and their companions track down the king’s party in whose encampment they will find Ja-in. Here they must use strategy and guile to overcome a vastly superior force in numbers.
There’s an extended chase through a forest that includes men shedding armor to jump across a wide ravine only to slam against and cling to slippery cliffs as arrows fly. Then comes a final confrontation on the plains where there is truly no place to hide.
The ingenuity of most of these sequences revolves around archery, at which both the heroes and villains excel. Everyone seeks just the right vantage point against his opponent, a difficult thing in a hilly forest where opportunities are fleeting. Then there’s the contrast between the bigger, heavier Manchu bows versus the lighter, more agile Korean ones.
The film is one cliffhanger after another and in that one instance a literal one. But Kim pulls a few punches in aiding his heroes’ momentary escapes, most memorably when a hungry tiger comes to Nam-Yi’s rescue. A couple of Nam-Yi’s comrades are played too much as buffoons, perhaps for comic relief but they don’t make credible soldiers. Otherwise, the missteps are few.
The characters are on the run from the opening shots so there’s no opportunity for deep-dish acting. Emotions here are primal.
The two male heroes make an interesting contrast with Yu Seung Ryoung gentleman soldier almost a pretty boy while Park Hae il’s super archer is bearded and gruff but capable of showing flashes of boyish fear. Moon Chae-won more than holds her own in this man’s movie as her character stands up to her captors and fights back no matter what.

War of the Arrows is a technical triumph as Kim Tae Seong’s photography blends well with the digital artistry while costumes, décor and locations bring ancient history to life.

Venue: Busan International Film Festival, Korean Cinema Today

credit: http://www.hollywoodreporter.com/review/war-arrows-busan-film-review-246477

pechumori · August 2, 2015

Film Review - 'War of the Arrows'

One thing I probably need to admit, up-front, is that I felt more than a little lost during portions of War of the Arrows. There were moments, especially early on, where I simply had no idea why any of this was happening.
Now, it's hardly the film-makers' fault that I'm not overly familiar with Korean history - and, the fact that I felt the need to do some of my own research into the historical period in which this film is set may even be a good thing, in the end. Thanks to this film, after all, I know have a basic understanding of the Joseon dynasty, and of the details surrounding the first and second Manchu invasion of Korea - none of which I was aware of before watching War of the Arrows. But, still, weaving a bit of this historical context into the film, itself, really wouldn't have killed them. It could have been something as simple as a bit of text, at the beginning, to set the scene for the unfamiliar audience. As it stands, it feels as though the film-makers simply assumed that the majority of the audience would be familiar with the time period.
To be fair, though, while this historical context may help you understand why all of this is happening, the lack of historical context wont make actually watching the events of the film playing out any less exciting. The heart of the film is, after all, a fairly straight-forward tale of rescue and revenge.
Nam-yi (Park Hae-il, and his younger sister Ja-in (Moon Chae-won), have had a rough life. As children, they were forced to watch as their father was declared a traitor and brutally slaughtered - along with everyone else they had ever known. In the chaos of the slaughter, the two are barely able to escape, themselves, carrying nothing but their father's prized bow. Eventually, they make their way to the home of their father's closest friend, Kim Mu-seon (Lee Kyeong-yeong). There, they are offered a safe haven, and are able to live out the next few years of their life in relative peace.
Years later, Nam-yi has become a skilled archer and hunter, but is largely unfocused - believing that there really isn't any future for the son of a declared traitor. Ja-in, on the other hand, intends to accept a marriage proposal from Seo-goon (Kim Mu-yeol), the son of their benefactor, in spite of her brother's protests. On the day of their wedding, though, a Manchurian horde, under the command of Prince Dorgon (Park Gi-woong), arrives - slaughtering anyone who puts up any resistance, and taking the rest prisoner. Nam-yi, who had been out hunting at the time, barely survives his own encounter with Manchurian soldiers - later returning to the village to find his benefactor among those killed, and his sister and her new husband missing. Taking up his father's bow, Nam-yi sets out to track down the invaders and rescue his sister. Though, as he pursues Prince Dorgon's forces, Nam-yi finds himself, in turn, pursued by a veteran Manchurian officer, Jyuushinta (Ryu Seung-ryong), and his own squad of elite soldiers.
So, like I said, a fairly straight-forward story - but, on which just happened to be placed in a historical context that I was very unfamiliar with. Nam-yi, with his almost super-human seeming ability to calculate the trajectory of the wind in order to fire off arrows that manage to curve around obstacles between him and his target, makes for a very effective hero, here. And, his quest to rescue his younger sister from a life of slavery is something that the audience can easily get behind.
There's also a very interesting parallel between Nam-yi and Jyuushinta, here. As the perspective begins to shift back and forth between the two, we end up with two entirely distinct plot-threads - with each being cast as the villain in the others story. To Nam-yi, Jyuushinta is clearly just one more obstacle between him and his sister. But, Jyuusinta is also a loyal soldier, who genuinely cares about the men under his command, and who takes their deaths personally. There's never any real doubt about exactly where the audience's sympathies are supposed to be directed - but, the attention given to Jyuushinta throughout the course of the film keeps it from being entirely black and white. It also doesn't hurt that Jyuushinta is a genuinely fascinating figure - intimidating, certainly, but never cruel, and more than willing to lead his men from the front. Some of his comrades, such as Prince Dorgon for example, may amount to little more than your standard generically evil caricatures, but Jyuushinta and the men under his direct command manage to be a bit more than that. It may be fair to say that much of the film's success rests on these two characters - but, that wouldn't be entirely fair to Ja-in and Seo-goon, who each contribute their own fair share of drama and excitement in their own respective roles.
The action sequences in War of the Arrows are the film's true high-light, though. Tense stand-offs, well-staged instances of guerilla warfare, and exciting chase sequences, all set-up to make good use of our hero's signature weapon - with occasional moments of more traditional sword-play to keep things interesting. CGI is only really used when necessary. Close up shots of arrows in slow-motion flight are typically well done - well enough that it didn't even occur to me to wonder whether they actually were CGI until after the film was over. One scene involving a CGI tiger, though, stands out as conspicuously bad. But, at least, it's only a short scene.

War of the Arrows is a fantastic action film. Sure, the film's historical setting confused me a little, but it also wasn't really important enough to the story being told to be a significant detriment - and, in the end, it inspired me to go ahead and learn a bit more about Korean history on my own, which was a nice bonus. The film is tense and exciting when it wants to be, and even manages to throw in a few moments of genuine emotional drama. War of the Arrows is definitely worth the time of any fan of Asian cinema.

4 stars for 'War of the Arrows' (out of 5)

credit: http://dallasmatier.hubpages.com/hub/Film-Review-War-of-the-Arrows

pechumori · August 3, 2015

War of the Arrows Review

By Ernest Hardy

Character development in writer-director Kim Han-Min’s thrilling War of the Arrows (Korea’s third highest grossing film this year) is economic, precise and efficient, grounding whirlwind action sequences in an emotional connection to the characters.

A lavish epic based on the second Manchu invasion of Korea, the film centers on the relationship between Nam-Yi (Park Hae-II), and his younger sister Ja-In (Moon Chae-Won), whose father, a master warrior, is branded a traitor to the country and killed before their eyes. The children are taken in by a family friend who raises them as his own, continuing their education in archery but unable to remove the stigma of their being the offspring of a disgraced man. The opportunity for redemption comes thirteen years later when the Manchu brutally invade their village, kidnapping Ja-In and killing or enslaving the rest of the village, with only Nam-Yi left to save them all. From that point the film kicks into high gear with a series of bare-knuckle, cat-and-mouse fight scenes.

The costumes, whether those of saloon girls or villainous soldiers, are gorgeous; the indoor sets and outdoor locations are all vibrantly shot. What makes the film work, though, is that Han-Min and his actors have fleshed out stock characters to human dimensions.

http://www.laweekly.com/film/war-of-the-arrows-review-2172242

pechumori · August 4, 2015

NYAFF Review: War of the Arrows

by Huber Vigilla

_{[For the month of July, we will be covering the New York Asian Film Festival and the (also New York-based) Japan Cuts Film Festival, which together form one of the largest showcases of Asian cinema in the world. For our NYAFF coverage, head over here. For Japan Cuts, here.]}

There's something engrossing about a a good old-fashioned action/adventure movie: the bravery, the risk, the moments of daring and derring-do. Even when it comes in a familiar package, even when you've seen similar characters and character trajectories, you can't deny the excitement or the energy of great action sequences.

In a way, that's what War of the Arrows is like (also known internationally as Arrow: The Ultimate Weapon). That may sound like faint praise, but it's not meant to be. War of the Arrows is highly engaging historical action blockbuster, and I can see why it was the top-grossing Korean film for 2011. Once it gets going, the movie goes badass and doesn't really let up.

War of the Arrows (Choejongbyeonggi Hwal | 최종병기 활)
Director: Kim Han-Min
Rating: R
Country: South Korea
I don't think I've seen an action movie where archery figures so prominently. Even in Robin Hood films, the focus shifts to swordsmanship. Bows and arrows are used as punctuation -- they underline some notion of skill and proficiency which is then demonstrated with a blade in the end. Maybe they opt for swords because they're a stronger presence on screen. (Nevermind that the draw weight on a traditional English longbow is between 90lbs to 100lbs; roughly 70lbs to 80lbs on a Korean bow.) A duel to the death with swords: okay. Even a gun fight: sure, that has a certain kind of machismo. Bows and arrows, though: ...what?
War of the Arrows has its share of swordplay, but it's really all about the archers. There's our hero, Nam-Yi (Hae-Il Park), who must rescue his people from the invading Chinese Qing army. They ruthlessly raid Nam-Yi's Korean border town during his sister's wedding. The leader of the Qing army oozes perverse villainy. He's an aristocratic loafer and rapist who dons a tiger skin cape beneath a banner of blue and gold. You want him dead as soon as he smiles.
Nam-Yi can dispense of regular mooks left and right, but his main adversaries are a cadre of Manchu master bowmen. The odds are stacked against him. He wears his regular clothing and travels by foot, the Manchu archers are on horseback and wear red studded-leather. Nam-Yi's also severely outgunned: the Chinese bows are much stronger, and they have heavy arrowheads that can pulverize wood and shatter bone. They even look more menacing, with tips like shovels crossed with axes.
The Manchu master bowmen occupy that odd yet familiar space in villainy: the specialist henchman. The main baddie might be pervy and megalomaniacal, maybe even cartoony in his or her displays of evil, but the specialist henchman is a consummate professional. The specialist isn't concerned with the spoils of war (in this case rape and Korean slaves) or in the glory of conquest; the specialist is like a skilled contract employee obsessed with getting a job done. The lead Machu archer has a certain admiration and envy for Nam-Yi, but only to a point.
These sorts of underdog battles make for great fights because they stress inventiveness, craftiness, and depth of skill rather than normal shows of strength. They're also about people pushing themselves beyond what they believe they're capable of; not just brains against brawn, but added brains and added brawn against all odds.
Think of some good fight scenes you've watched -- it's not always about how much a character overwhelms someone with brute force but how they adapt to the challenge and create a solution through lateral thinking or bending the rules. Nam-Yi can bend the flight path of his arrows just so, but he's got other tricks up his sleeve. There's a moment while battling the Manchu archers where Nam-Yi has only desperation on his side, but better that than nothing.
In fact, desperation becomes the mother of heroism in War of the Arrows. Nam-Yi's sister, Ja-In (Chae-Won Moon), also takes a stand when she comes face to face with the Qing leader. Rather than be broken and submit to him, she declares her identity as a warrior's daughter. If she dies, she will die fighting like her father. Her groom, Seo-Goon (Mu-Yeol Kim), steps up and understands his obligation to fight. His initial softness melts away, and, similarly, if he dies, he will die fighting. Other unlikely or reluctant heroes emerge, and they wind up being more effective than the guards who were crumpled by the Qing army during the wedding.
These moments of heroism all play into a larger assertion of Korean identity in the face of Chinese influence. I wish I was more familiar with the country's history with China during this time (roughly the 17th century), which I'd imagine would lend extra heft to these moments.

War of the Arrows's deliberate construction has real pay off. After its action-packed open, things seem somewhat carefree for much of the film's first half hour. There are even moments of slapstick. But once the Qings show up, we shift to historical action epic mode. No more laughs, no more quiet moments. It's all fight and flight and fight again. When the enslaved Koreans look back over the hills to their homeland, they'd much rather live and die there. And if they're going to die, they'll die heroes.

THE VERDICT: 78/100

7

credit: http://www.flixist.com/nyaff-review-war-of-the-arrows-210934.phtml

pechumori · August 5, 2015

War of the Arrows Movie Review

When it comes to ancient weapons, the bow trumps the sword for me every time. I know that is shocking, because if you know me, you know that I LOVE swordplay in a movie. But there’s a reason Robin Hood is my favorite legend of all time: it’s because the guy was a bad-richard simmons with a bow. So needless to say, I was very excited to hear about WAR OF THE ARROWS.

If you are not familiar with WAR OF THE ARROWS, here is the plot synopsis courtesy of the press release:
Set in 1636, the second Manchurian invasion of Korea rages chaos, as villages are attacked by overpowering Manchurian soldiers. The Manchurians kidnap childhood sweethearts, Ja-in and Seo-Goon, on their wedding day. In an effort to save his sister, Ja-in’s brother Nam-Yi sets out to defeat the enemy and save his sister and other Korean victims with only a single bow.
As epic historical pieces go, they just don’t get much better than WAR OF THE ARROWS. This movie has everything: action, drama, sorrow, humor...you name it. It is a highly energetic and entertaining film, for sure.
The scenery in this film is stunning, with plenty of wide-lens landscape shots. But what truly stands out is the diversity of landscapes the production chose to incorporate. My favorites though were the woodland scenes where over half of the film takes place. As I live in a wooded area myself, I almost felt like I was home!
The acting in WAR OF THE ARROWS is superb, with Hae-il Park playing the main character (the hero). Park does a great job with his emotional range, bringing a true depth to hero instead of just speed and brawn. I enjoyed Park in THE HOST (which I reviewed last year as well) and look forward to more of his films.
But the bow-and-arrow action in WAR OF THE ARROWS steals the show. The special effects team does some crazy-cool stuff in this film, and it is so ultimately worth the effort they put in. I especially love the ‘curving’ arrow shots that they introduced, much like the curving bullet shots from WANTED. This was a unique take on archery and made the film even more fun.
The bow battles are insane, bringing you right into the action. You can almost feel the scrape of the feathers as the arrows whiz by your head. And I can honestly say I’ve never seen a one-on-one archery battle, either. This is an original and intense sequence that will leave you breathless.

I don’t want to say too much more about the movie because there’s so much to enjoy within it. But I can almost guarantee that you will be entertained. If you’re a fan of martial-arts action or just action in general, you will love this film.

Score: 5/5

credit: http://reviews.boxofficebuz.com/review/war-of-the-arrows-movie-review

pechumori · August 6, 2015

Arrow, The Ultimate Weapon (AKA War of the Arrows) (최종병기 활) – ★★★☆☆

by Simon McEnteggart

Set in 1636 during the second Manchurian invasion of Korea, Arrow, The Ultimate Weapon (AKA War of the Arrows) (최종병기 활) tells the story of Nam-e (Park Hae-il (박 해일) and his sister Ja-in (Moon Chae-won (문채원). Forced to watch their minister father’s brutal assassination, the young Nam-e and Ja-in flee to a neighbouring settlement with their father’s prize weapon – a bow and set of arrows – as their only asset. As they become adults, both brother and sister are hardened to life, but Nam-e’s bitterness leads to the rejection of others. Ja-in on the other hand wishes to live a regular lifestyle, including marrying her sweetheart Seo-goon (Kim Moo-yeol (김무열).
On the day Ja-in and Seo-goon are to be wed, the settlement is attacked by a Manchurian battalion led by fearsome warrior Jyu Sinta (Ryoo Seung-ryong (류승룡). They slaughter any who resist and abduct the rest, forcing their captives to march north out of Korean territory – including Ja-in and Seo-goon.
Arrow is perhaps best described as Robin Hood meets Apocalypto (2006), as skilled archer Nam-e races against time to track down and save his sister and friends from the invaders. Screenwriter/director Kim Han-min (김한민) does a great job in establishing the characters through not only their childhood trauma, but also with a keen sense of comedy once in adulthood. The tension is palpable when the Manchurians attack during the wedding ceremony as the couple are ripped apart, villagers are butchered, babies are thrown down wells, and idyllic lifestyles are shattered. The first encounter between Nam-e and Jyu Sinta is also incredibly well introduced as the archer organically evolves from an annoyance to a threat.
Jyu Sinta and his warriors vow to kill Nam-e
In a film where chasing down the enemy is the focus of the story, Kim Han-min does a masterful job of making each scene as intense and thrilling as possible. The director employs a variety of techniques to this end, using various angles and styles to ramp up the tension to such a degree that the landscape becomes a character itself. As Nam-e comes close to completing his quest, and as the number of enemy soldiers decreases, the director puts a variety of obstacles in their paths that continually keeps the action thrilling and exhilarating.
Nam’e fights to save his sister and community
Unbeknownst to Nam-e, the group of abductees are split into two groups. As Nam-e follows the first group, Jyu Sinta’s battalion pursues Nam-e. The first, comprised mostly of males, is sent to a river crossing; the second, consisting mostly of young females, is sent to the Manchurian prince for his pleasure. A strong sense of nationalism arises in Arrow as the captives are tortured and humiliated. At the riverside, friends and allies are murdered for sport by the Manchurian forces. In a final moment of desperation, Seo-goon picks up a sword and fights for his people and proves his years of military service. Joined shortly after by Nam-e, they inspire a rebellion against their captors and destroy the dock, halting the forced immigration. Secondly, Ja-in is selected for the Prince’s pleasure. As he attempts to assault her, Ja-in picks up a sword and fights against her fate, cutting soldiers and the Prince alike. It’s incredibly refreshing to see such a strong female protagonist, as so often women are relegated to the role of ‘pretty-but-poor-and-needs-a-handsome-man.’ While Ja-in still requires saving, her character is established as a powerful woman who will fight to the last to protect her virtue, which by extension also serves as an allegory as the virtue of Korea. Nationalism is also invoked through the constant references to ‘tiger country’ and the presence of tigers as they are Korea’s national animal.
Ja-in fights for her (and Korea’s) virtue

Verdict:

Arrow is an incredibly enjoyable action/adventure film that rises above most other examples of the genre thanks to the ingenuity of director Kim Han-min, who offers refreshing takes on generic conventions. The addition of physical comedy also adds extra enjoyment to the viewing experience. However, Arrow doesn’t quite achieve the level of sophistication that premier examples of the genre, such as The Bourne Ultimatum (2007), provide. This is generally due to the fast paced nature of the film where the protagonists must go from A to B, which stifles character development. The cynical reviewer would no doubt call Arrow a ‘commercial’ film, a label that Kim Han-min openly detests, preferring instead ‘popular’ film. The director is correct – it is indeed popular (the highest grossing film of 2011) and fun, and is well worth watching.

★★★☆☆

credit: http://hangukyeonghwa.com/2011/11/06/arrow-the-ultimate-weapon-aka-war-of-the-arrows-최종병기-활-810/

pechumori · August 7, 2015

Arrow, the Ultimate Weapon – the historical background

by Philip Gowman

Kim Han-min’s Arrow the Ultimate Weapon is a high-energy historical action flick which will get the London Korean Film Festival 2011 off to a rip-roaring start. Without revealing too much about the plot, suffice it to say that enough baddies get what they deserve to make you feel reasonably good on emerging from the cinema. And there’s certainly enough frenetic running around involved to keep the adrenalin flowing for a couple of hours after the final credits roll.

Director Kim, whose previous features are Paradise Murdered and Handphone, wanted to try something more historical in his third film, and chose this interesting period in the early 17th century. In the Q&A following the special preview screening on 16 September he suggested that it would be difficult for foreigners to understand the complexities of the historical period involved – or maybe, more charitably, he didn’t have time to describe the details in the brief time allotted. So, what is the historical background to Arrow, and is there any relevance to us today?
The story opens with the vindictive attack on the house of a nobleman. It is 1623, the so-called “Restoration of Rectitude” when King Injo seized the throne from King Gwanghaegun. The nobleman under attack had served loyally under Gwanghaegun. The times were such that loyalty to the wrong man could get you killed. “Kill the Traitor!” shout the bloodthirsty assassins as they rampage through the nobleman’s house. And, “kill the traitor’s children!” It is the traitor’s children – who manage to escape to live under the protection of a relatively friendly family in Kaesong – who form the centrepiece of the story. But why were the family regarded as traitors?
The bloody feuds between different factions of the Confucian bureaucracy were a feature of Joseon history from the 16th Century onwards. The bloody literati purges which took place between 1498 and 1545 led many scholars to live quiet lives in the remote countryside rather than risk backing the wrong side at court. Topics for debate were different views about whether a true Confucian should dabble in “miscellaneous learning” such as agriculture and medicine or whether he should focus solely on the writings of an ancient Chinese sage who died more than 1,500 years previously; about whether one should support a dynasty (the Goryeo) that was on its last legs rather than being prepared to give support to a new one (the Joseon); and a particularly knotty problem about whether the Principle or the Material Force had greater prominence in the arcane hierarchy of Confucian metaphysics. In future centuries the argument would centre about the precise period of mourning appropriate for a deceased king who was not the eldest son. Arcane these arguments might seem, but they became intertwined with the clan and regional loyalties which were a feature of the Joseon court. In such an enclosed environment, any supporter of the opposite faction could be regarded as a traitor, particularly when he was on the losing side.
But in the context of Arrow the Ultimate Weapon, there were additional reasons why a courtier or scholar-official could be regarded as traitorous, and this was to do with the growing strength of the Manchu tribes.
King Gwanghaegun, who had effectively acted as regent during the devastating Japanese invasions (1592-98) once King Seonjo fled to Uiju on the border with Ming China, officially took the throne in 1608 on Seonjo’s death. Gwanghaegun had had a difficult task in rebuilding Korea – always the weaker nation squeezed between two stronger nations. The first task was to normalise relations with Japan, with the re-establishment of diplomatic relations in 1607.
More problematic were the relations with the nations North and West of the Korean peninsula. It was the time of the emergence of the Manchus who increasingly threatened the Ming Dynasty. Joseon Korea owed a debt of gratitude to the Ming, who had supported Korea through the Japanese invasions. But it was obvious who the rising power was: the vulgar Manchu hordes, who ultimately overthrew the Ming and established themselves as the Qing dynasty in 1644.
Gwanghaegun was a pragmatist and sought to maintain friendly relations with the Manchus, despite also paying tribute to the Ming. Loyalty to the Ming obliged him to send a force of 13,000 to aid their campaign against the Manchus in 1619. The Korean contingent, headed by Kang Hong-nip was given instructions to be circumspect about committing themselves to battle, and in the end they surrendered to the Qing forces. Gwanghaegun then negotiated a bilateral peace with the Manchus.
To the ultra-conservative neo-Confucian faction in Joseon Korea, this was a betrayal of the Ming, and dissatisfaction with Gwanghaegun, particularly his pragmatic approach to the Manchus, ultimately led to the coup by King Injo in 1623.
Injo’s policy was resolutely pro Ming and anti-Manchu. The inevitable Manchu invasion followed in 1627. A temporary peace treaty was negotiated by Kang Hong-nip in 1627, but King Injo hadn’t learned his lesson. Kang was imprisoned for being too pro-Manchu, and when Manchu leader Taizong was proclaimed Qing emperor in 1636 Injo neglected to send his congratulations, and then refused to meet Taizong’s ambassador who was sent to find out why.
Taizong’s response was immediate, leading an invasion army of 100,000 the same year to ensure Joseon accepted its status as a vassal state. Even as the superior Manchu forces surrounded King Injo’s castle in Namhan mountain fortress there were serious debates as to whether negotiating with the Manchus was traitorous or not. Realism – and lack of food – finally brought Injo literally to his knees, and he finally cow-towed to the Manchu ruler in January 1637.
Joseon Korea was forced to pay an annual tribute to the Manchu court, to agree to send troops to support Qing action against the Ming, and to give two hostages to ensure good behaviour – one of whom was the crown prince Sohyeon. But even after having paid so heavy a price, Injo still pursued an anti-Manchu policy, spying on Sohyeon, who was suspected of going native. In fact, Sohyeon’s cosying up to the Manchus was designed to minimise the number of occasions that Joseon was called upon to supply troops for the ongoing skirmishes against the Ming. His diplomacy was funded by the labours of Joseon prisoners of war, who farmed and traded with the Manchu to raise funds for their patriotic cause. But trading and fraternising with the enemy was not looked upon favourably by the hard-line neo-Confucians back home. When Sohyeon returned to Joseon in 1645 he didn’t last long: within two months he died of poison.
Returning to the film, it is during the 1636 invasion that the “traitor’s” daughter is seized and taken away to a life of servitude in Manchuria, along with hundreds of other prisoners of war.
As the Korean prisoners prepare cross over a river – presumably the Yalu river – into Manchurian territory one of their leaders reminds them that anyone who crosses the river will be regarded as a traitor. And when our heroes cross back into Korean territory they again remind themselves that they will be regarded as somehow tainted.
In a world where a Crown Prince taken as an unwilling hostage to the Manchu court could be regarded as traitorous, it is perhaps credible that the prisoners in the film felt obliged to resist crossing the river into Manchu territory even though they didn’t have much choice in the matter.
Of course, even in modern times, crossing the Yalu River into China can be regarded as an act of treason which can lead to you being sent to a detention camp — to be held at the Dear Leader’s pleasure if you get caught. It would be a stretch to regard this policy as resulting from the sort of feeling of cultural and racial superiority to the Manchus which was behind Joseon Korea’s rejection of Qing China. But much more than Republic of Korea south the DMZ, the Democratic People’s Republic of Korea inherits the isolationism inspired by the neo-Confucian Seoin faction which dominated the Joseon dynasty after King Injo’s coup of 1623.
So much for the history. How about the feelgood aspects of the film – because above all an action movie has to be about goodies against baddies. So, it falls to the plucky son of the assassinated official to try to rescue his sister from being ravaged by the evil Manchurian prince. Fortunately, he is an expert with the bow and arrow – a skill he was taught by his father. The tale is one of courageous, outnumbered Koreans winning out against enormous odds, outwitting and defeating the Chinese by their superior skills – and in the process earning the grudging respect of their foes: the baddies never expected such resilience or expertise from the craven Koreans (it will be remembered that King Injo moved his court to the safety of Ganghwa Island during the 1627 invasion rather than putting up a decent fight). Is this a message of hope for South Korea in the 21st century? A small nation with expert skills taking on, by their nimbleness and agility, the uncountable hordes of Chinese? There is no suggestion in Arrow the Ultimate Weapon that Joseon Korea can defeat Qing China; but tactical successes can win the grudging admiration of the Chinese.
Maybe that’s reading too much into the story. After all, this is just a well-made action flick. In the end, Arrow will soon be forgotten. Despite its box office success, it does not show the originality and invention of Korea’s more famous directors. But whenever I watch a Korean movie I’m on the lookout for what the film can tell me about Korea. This didn’t tell me all that much about Korea of today, but it inspired me to try to fit it into its historical context. As the director said in the Q&A, none of the events in the film actually happened, but he believed that the plot was essentially plausible. I’m not sure about the CGI tiger who only seemed to enjoy Manchu flesh, or the feasibility of leaping across a ravine and clinging on to the vertical rockface the other side without falling to one’s death; but enough elements of the plot fit into the historical framework that perhaps you can use the story as a starting point to explore an interesting period in Korea’s past.

credit: http://londonkoreanlinks.net/2011/09/29/arrow-the-ultimate-weapon-the-historical-background/

pechumori · August 8, 2015

Arrow: The Ultimate Weapon – A Review

December 19, 2011 by Arief_Zainal

OVERVIEW

13 years after the King Injo Revolt, the Chosun Dynasty is attacked by the Chung Dynasty of China. A young man named Na-mi leaves his demolished village to find his young sister, Ja-in, and her finance Su-koon, who were to wed on the very day of the attack. While on his mission to rescue her, he is being traced by Jushinta, a fierce Chung Warrior, and his band of malicious men who are out to stop him resulting in a fierce battle between two of the finest warriors unfolds.

DETAILED REVIEW

PRESENTATION: Presentation wise, the movie is nice. Though the sets used were mostly of natural making, some of the created sets looked good, although lacking in numbers. Close quarter actions were minimal as the movie focused more on the bows and the usage of arrows. Speaking of which, the archery action in this movie is rather good. I especially like the bending the arrow skill, which is like bending the bullet in Wanted and the tactical move they used in the movie which strengthens the idea of the bow as the ultimate weapon. The actors played their characters well although there are several that just makes you go “Huh?”. As with other Asian stories, there are scenes that you simply have to suspend your disbelief and simply enjoy it more as a whole.

STORY: Story wise, the movie did okay. The starting of the movie kind of gives you the hint of the ending, but grabs you right before you realize it and make you want to see more. The motivation for the characters are well defined in the movie and understandable, which helps connecting you with the characters.

OVERALL: Overall, Arrow is surprisingly an enjoyable movie. Sure, some of the actions are a bit on the unbelievable side but if you manage to look past that, it is a beautiful story of sacrifice and family love. Would I recommend it to everyone? Sure, but not to the kids.

credit: http://www.ariefzainal.com/2011/12/arrow-the-ultimate-weapon-a-review/

pechumori · August 10, 2015

Movie: Arrow: The Ultimate Weapon (2011)

1 second to spot the enemy
0.1 second to aim at the enemy
0.01 second to pierce the heart

Arrow: The Ultimate Weapon (2011) is a South Korean historical action movie set during the second Manchu invasion of Korea in 1636. According to history, nearly half-a-million people of the Joseon Dynasty had been taken captive by the Qing Dynasty (Manchurian) of China during this period.

Synopsis: During the second Manchu invasion of Korea, Seo-goon (Kim Mu-Yeol) and Ja-in (Moon Chae-won) are kidnapped by the Manchurian army on their wedding day from a village in Joseon Korea. Ja-in's brother Nam-yi (Park Hae-il), a skillful archer sets out to save her and other victims by hunting down the elite troop led by Jyu Shin-ta (Ryoo Seung-yong), a fierce Manchurian warrior. A fierce battle between two of the finest warriors from the Joseon Dynasty and Qing Dynasty unfolds.

The reasons why you should watch this movie:

1. Powerful main characters & cast [source]

Nam-yi: He is willing to do everything in his power to save his sister Ja-in from harm. Forced to take up his bow in an incredible fight against the enemies, his archery skills is put to its ultimate test.
Ja-in: On her wedding day, her village is demolished by the Qing troops and she is taken captive. Amidst life-threatening situations, she is able to stand strong with her intelligence and unwillingness to sacrifice her dignity before the enemies.
Jyu Shin-ta: He is the leader of the elite troop, Niru who regards his troop members as his own brothers. He is also a fierce warrior and a master in archery.
The entire cast gives solid performance that will definitely blow you away.

2. The philosophy behind the arrows [source]

Nam-yi's arrows: Only 1/3 of the traditional arrow size and weight, making it superior in velocity, force, and range. His arrows make it hard to detect the shooter's location, thus ideal for an ambush.
Jyu Shin-ta's arrows: 24 times heavier than the traditional arrow, tearing apart targets with just one shot.
The bow-and-arrows in action scenes will keep you in awe and you will have that heart-in-throat kind of feeling throughout the entire movie.

3. The usage of the Manchu language [source]

Director Kim Han-min introduces the Manchu language in order to portray a more realistic historical depiction of the 'Manchu War of 1636'.
Due to constant practice and learning, the actors were able to speak Manchu at a level not seen since the actual days of the Qing Dynasty. The heavy, masculine tone that the Manchu language exudes is especially well-carried out by Ryoo Seung-yong who acts as Jyu Shin-ta, a Manchu warrior.
The persistent efforts that both actors and film crew alike made to stay true to the Manchu language surely lends in favor of the movie's overall depiction of this period in history.

You really, really must watch this movie. Its impressive action sequences and historical details plus the few factors listed above will make you feel like you have stepped back in time to witness history for yourselves.

credit: http://www.joycescapade.com/2012/02/movie-arrow-ultimate-weapon-2011.html

all4movies · August 10, 2015

This is one of my favourite korean action movies.

I just finished rewatching it because the actor that plays the groom is in My Beautiful Bride, a riveting action drama that is currently running. If you like the movie, you will also like the drama, or vice versa.

pechumori · August 11, 2015

Hello @all4movies, "War of the Arrows" is one of my favorite films as well.

Yes, I've been seeing Kim Moo Yul's pictures in the news in connection with "My Beautiful Bride"

Arrow: The Ultimate Weapon Review

By Sam.Inglis

From the late 90′s to the mid 2000′s, South Korea went through a cinematic rebirth, with a new generation of directors and actors making it one of the major players in world cinema. However, but for those by bigger names like Park Chan-Wook, Kim Ji-Woon and Bong Joon-Ho, there have been few Korean movies released in the UK and US of late, and it has been generally recognised that the Korean new wave has had a relatively lean few years. Arrow: The Ultimate Weapon (which is the title this film is being promoted under, though the on screen English title at my screening was War of the Arrows), which opens the fifth London Korean Film Festival on November 3rd, won’t change that perception by itself, but it certainly speaks to a renewed energy.

Many of the action films I’ve seen from Korea in the last few years have been naked attempts to make American style films (Typhoon, anyone?), but Arrow is Korean through and through; steeped in history and tradition, it nevertheless delivers the goods with percussive and exciting action sequences. Director Kim Han-Min’s film is set in 1636, during the second Manchurian invasion of Korea, and follows three main characters. After arguing with his sister Ja-In (Moon Chae-Won) about the fact that she is to marry their childhood friend Seo-Gun (Kim Mu-Yeol), Nam-Yi (Park Hae-Il) leaves their village, by chance avoiding the Manchurian attack. Nam-Yi returns to find the village decimated, his sister and her new husband taken prisoner along with everyone else who isn’t dead, and he sets out – with his bow and arrow – to rescue Ja-In.
Perhaps it is that I lack the context (you’ll have to excuse me for not doing my reading on 17th century Korean history), but to me, and I suspect to many non-Korean audiences, for a film with a good 45 minutes of setup, Arrow feels a bit shallow. There is only quite a limited sense of the conflict between Korea and the Manchu, we’re told in the beginning that Nam-Yi and Ja-In’s father is a ‘traitor’, but it’s never very clear what that means, or who he’s a traitor to, and the manchu are largely played as cartoon villains by the screenplay (despite a charismatic turn from bastard-in-chief Ryoo Seung-Ryong). there is also a problem in that the relationships between Nam-Yi, Ja-In and Seo-Gun (whose name I’m not even certain we learn from the subtitles) should be the heart of the film, they ought to power the quest, but only Nam-Yi is very defined and Ja-In, despite a few good scenes in the second half of the film in which she shows herself to be pretty feisty, is largely a cipher. The investment is just never quite there, you understand at a gut level that Nam-Yi wants to save his sister, but the emotional weight is somewhat lacking.
So it’s flawed, but though I know that it is hard to care that much, because once Arrow takes off, first with the Manchurian invasion, and then with an outstanding set piece by the side of a river it becomes furiously exciting. The action, which makes up at least a third of the two hour running time, is outstanding. I have recently been given to complaining about Hollywood action movies because they have been reduced to a series of impressionistic shots that suggest violence is happening to someone, somewhere, but lack any sense of geography, of the space between people, and the way the action bridges that, and that this has been replaced by editing that appears to have been done by an army of crack smoking monkeys with scissors. The cutting in Arrow‘s action scenes is pacy and percussive, but the film never lacks a sense of space. This, obviously, is key to action scenes in which a bow and arrow is the main weapon; it’s all about spatial relationships and, aside from a few times when he wants an arrow to come at you (and the characters you’re watching) from nowhere, Kim Han-Min makes sure that this is always the focal point of his action sequences.
There is a visceral charge to the film. The action scenes are exciting and, though most involve a lot of the same beats (Nam-Yi holding his bow taut, the arrow flying towards the target, arrows through the neck) director Kim always finds a fresh angle for each scene. Two stick out in particular; the riverside segment has real drama to it, as it is the first time we see the captured Koreans defy the Manchu, and there’s also a brilliant and funny sword fight, and a chase that ends up with both Nam-Yi and his pursuers leaping across a ravine is incredibly thrilling (and even adds a little depth to both Nam-Yi and Ryoo’s character). There are memorable images throughout, most of them arising from the action. In a final stand off Kim again makes great use of space and stillness to accentuate the tension, while in an earlier rescue sequence there is an outstanding – practical – full body burn stunt that reminds you just why CGI isn’t the answer to all things.

The whole film looks and sounds great. Kim makes effective use of the forest locations, and brings a gritty look that is reminiscent of Michael Mann’s Last of the Mohicans, and the historical detail feels convincing. The sound is really the key though. A drum heavy score works brilliantly for the action scenes, but it is when the film quiets, and focuses on the sound of the bow; the string drawing taut, the whoosh of the arrow through the air, and the crunch as it hits, that Arrow is at its most effective.

There are a few problems; it would be nice to have a bit more character depth here, the film is a touch long at just over two hours, and the third act could easily be tightened by five or ten minutes, and there is a frustrating moment in which Kim, having painted Nam-Yi into a corner has to use an unconvincing deus ex machina to save him. These are relatively minor issues though, and I had tremendous fun watching this film. It’s a good lead off for the Korean Film Festival; accessible, exciting, mainstream, but without being so dumb that you can’t get caught up in the story, or so overcut you can’t see the action.

credit: http://www.frontrowreviews.co.uk/reviews/arrow-the-ultimate-weapon-review/11097

all4movies · August 11, 2015

@pechumori Wow, that was one of the most insightful and analytical deconstruction ever of War of Arrows. It's a bit high brow for me, and I much prefer mindlessly watching and enjoying an awesome action film without thinking too deeply about the plot lines and gaps. What's the fun in that? To each their own huh?

I enjoyed reading your comments though.

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[Movie 2011] War of the Arrows / Arrow, The Ultimate Weapon 최종병기 활

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