Posts Tagged ‘korea’

Review, Black Knight on Netflix

Posted: May 21, 2023 by John Ruberry in culture, entertainment, media
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By John Ruberry

A little over a week ago Black Knight, a six-episode dystopian series set in Korea, began streaming on Netflix. 

It’s 2071, decades earlier a comet struck Earth. The Korean peninsula is now a dunes-covered desert, only one percent of the population survived the disaster. Earth’s atmosphere is poisonous. Most of landmass of Earth is underwater,

The government is a corporatist dictatorship. The corporation is the Cheonmyeong Group, led by Chairman Ryu (Nam Kyung-eub), but run by his evil son, Ryu Seok (Song Seung-heon). The Republic of Korea–presumably North Korea and the Kim family didn’t survive the blast–is led by a president (Jin Kyung), but Ryu Seok is really in charge. He’s a Rahm Emanuel-style “Never let a crisis go to waste” type. 

That tiny population is divided into four groups, castes really, and the top group is the Core, which consists of the Cheonmyeong Group and the top tier of the government, and a couple of middle classes, General and Special. But the majority of the survivors are classified as refugees, who for the most part scrape out a miserable survival in the ruins of the former city of Seoul.

The Core of course enjoy a luxurious existence. 

All but the refugees have coveted QR codes tattooed on a hand that allows them entrance into restricted areas–and to purchase desperately needed supplies, especially oxygen.

Is there a way out from the misery for the refugees? Yes, the legit path is to become a deliveryman, a truck driver for the Cheonmyeong Group, transporting those vital supplies. Think of Mad Max in The Road Warrior driving a semitrailer as the wheeled army of Humongous follows him around the Wasteland, only for a post-apocalypse Korean Amazon. The greatest of these deliverymen is 5-8 (Kim Woo-bin). In the post-apocalyptic Korea, deliveryman eschew their birthnames in exchange for the numbered district they service. By the way, there are some female deliverymen.

The other way for the refugees to escape their bleak lives is the criminal path–becoming Hunters. Once again, think of the mobile gangs of the Mad Max franchise. These Black Nights fire back–and 5-8 even electrocutes a pair of them who make the mistake of climbing onto his truck. 

Yoon Sa-wol (Kang You-seok) is a mischievous refugee teen who idolizes 5-8–he even plays a 5-8 computer game–and he and dreams of becoming a deliveryman. Sa-wol is illegally living with two sisters, one of them is Major Jung Seol (Esom). The sisters, I believe, are classified as Special, one notch down from Core.

Sa-wol is an orphan–so yes, he’s yet another “chosen one,” along the lines of Luke Skywalker, Harry Potter, and Frodo Baggins.

Predictably, the paths of 5-8, Seol, and Sa-wol cross. 5-8 has learned that he has much more to offer Korea than being a deliveryman, even one who is already a folk hero.

Black Knight is an enjoyable Netflix diversion. There is of course an abundance of action but also some subtle humor. For instance, 5-8, despite breathing poisoned air, still smokes cigarettes. 

More direct humor is offered by Sa-wol’s pals, with the unusual names of Dummy (Jung Eun-seong), Dumb-Dumb (Lee Sang-jin), and Useless (Lee Joo-seung), who live with a clever mechanic and inventor, Grandpa (Kim Eui-sung).

But if you are looking for a romantic storyline, look elsewhere. There are no love stories in Black Knight.

If you are a connoisseur of compelling cinematography and sharp CGI, then you’ll love Black Knight. 

And if you drive a delivery truck for UPS, a grocer, and especially Amazon, then let your imagination run wild and dream away as you watch, and presumably love, this series. 

Black Knight is rated TV-MA by Netflix for violence and smoking. It is available for viewing in Korean with subtitles, in English, and several other languages. I watched it in Korean.

John Ruberry regularly blogs at Marathon Pundit.

Hey Salon, Hollywood remaking South Korean movies is not racist

Posted: December 19, 2021 by John Ruberry in Uncategorized
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By John Ruberry

Every once in a while I come across an article on the internet that makes me want to scream in disbelief. Such as is the case with a piece on Salon by Carolyn Hinds with the headline, “Hollywood, please stop adapting K-dramas. It’s not just unnecessary, it’s racist.”

Wow, look who is woke.

While acknowledging adaptation of motion pictures from one culture to another is commonplace, Hinds, who begins one sentence with, “As a Black woman, cultural appropriation is behavior I’m all too familiar with,” unloads on the wave of Hollywood remaking South Korean movies. And she spews this awful offal, “Instead, I’m referring specifically to how Hollywood seems to be making a concerted effort to focus on South Korean – as well Japanese – content, for the sole purpose of remaking the stories to appeal to American audiences, i.e. white audience.”

But as Mark Levin so often responds on his radio show to a recording of some liberal, “Oh, shut up you idiot!”

Hinds calls the Asia-to-Hollywood artistic transfer “whitewashing.”

There are plans in Hollywood to remake the Korean thriller Parasite, a movie that I thoroughly enjoyed and one that I felt was deserving of its Best Picture Oscar. In her Salon piece Hinds brings up other movies from South Korea that were remade by Hollywood, including Oldboy, another fabulous film. The flat American version (or so I’ve heard, I haven’t seen it) was directed by Spike Lee. Il Mare was redone as The Lake House, which starred Keanu Reeves and Sandra Bullock. Moving beyond South Korea, Hinds notes that Martin Scorsese’s The Departed was inspired by a Hong Kong flick, Internal Affairs.

No society exists in a vacuum, not even North Korea, which is it should be. Culture crosses borders, as does science as well as political notions. The modern version of democracy comes from the European Enlightenment. The greatest form of government is utilized not just in the United States, but also in South Korea and Japan.

Another South Korean film I enjoyed is The Good, the Bad, the Weird, which as you probably guessed is a remake of Sergio Leone’s Spaghetti Western, The Good, the Bad, and the Ugly. And weird it is–instead of an American Civil War setting, this Western takes place in Japanese-occupied Manchuria in 1939. Hinds ignores this specific cultural transfer in her Salon piece. The soundtrack of The Good, The Bad, The Weird includes an instrumental rendition of the Animals’ 1965 hit “Don’t Let Me Be Misunderstood.” The original was recorded by Nina Simone, an African-American woman.

Moving on to television, do you know that there is a Korean version of the American television series, Designated Survivor?

What about Japan, which Hinds mentioned earlier. The stellar collective of writers here at Da Tech Guy is known as Da Magnificent Seven, a tip of the hat to the 1960 Western that starred Yul Brynner and many others. That film is an acknowledged remake of Akira Kurosawa’s The Seven Samurai. The first movie of Leone’s “Dollars Trilogy,” A Fistful of Dollars, is an unacknowledged remake of Kurosawa’s Yojimbo.

Kurosawa, who named John Ford as one of his major influences, filmed a Japanese warlord version of Shakespeare’s King Lear, a brilliant epic, Ran.

So now you know why I called Hinds an idiot.

Dan Bongino on his radio show often notes that the unhinged left run will run out of enemies, so it is doomed to devour itself.

Hey Hollywood: Remake more South Korean and Japanese movies.

Hey South Korea and Japan: Remake more Hollywood movies.

John Ruberry regularly blogs at Marathon Pundit.