From the late 50s and into the 70s, more than 90,000 of the Koreans resident in Japan emigrated to North Korea, a country that promised them affluence, justice and an end to discrimination. KAZOKU NO KUNI tells the story of one of their number, who returns for just a short period. For the first time in 25 years, Sonho is reunited with his family in Tokyo after being allowed to undergo an operation there. Sonho’s younger sister Rie is at the centre of the film and is not hard to recognise as the director’s alter-ego. In her documentaries DEAR PYONGYANG and SONA, THE OTHER MYSELF, Yang Yonghi told the story of her own life: at just six years of age, she had to experience how her three older brothers left the family forever, headed for Pyongyang.
Based on the director's own experience, Our Homeland follows a Korean family living in Japan, of which the father (Masane Tsukayama) decided to take North Korean nationality because of his ... . You can read more in Google, Youtube, Wiki
Manolo P (es) wrote: Dolan begins his career as a filmmaker with his right foot. For his young age and experience as director and actor, he clearly leaves evidenced a clean and elaborated work with this excellent film. "J'ai tu ma mre" is autobiographically narrated by Humbert, (Xavier Dolan) who is a 16-year-old who has to deal with the difficult relationship between him and his mother, which is increasingly degraded, submerging into a stage full of quarrels, arguments, cries, compassion and "love", if that's what it can be called, because behind this word, Dolan provides a discourse of what he thinks about the subject. To this is added the difficult stage that he goes through due to his lack of maturity and the search for his identity. The tragedy that he writes, directs and interprets at such a young age, manages to position himself in a mention in Cannes, as well as in other festivals which he really deserves. The character he plays, qualified as empty, immature, rebellious and foolish is very well built, and this does not throw the film to the edge because it is possible to detect all the speech behind each actor and each of their performances because hanks to tat, the film is well constituted, going beyond the "hipster" and " indie " styles which today reign in the minds of young directors, mainly European and Canadian, in which ambitious resources and other quite risky are used as it is the mixture of artistic resources such as photographs, music, lights and painting. The film is far from being bad, but quite the contrary, because the story is biting, it is petulant and manages to inspect very deeply the painful feelings of the current teenage generations, filling spaces that sometimes we do not understand.The film is full of honesty and the character Smart-House of which Dolan seems to be already engaged, makes the audience meticulously judge the characters, especially the young man and his mother, as well as their relationship, since although it is highly contradictory, this is no more than the answer to how the human being behaves in that sense, having a good penetration in the psychology of the protagonists that is reflected in such talented dialogue, in which it can be perceived the perfect balance within the language that has a subtle humor, and a more than satisfactory drama that although it does not move at all, it is really very intense and discovering. 86/100
Nicola W (au) wrote: Not bad but I found it slightly boring. Maybe cos I have no interest in drug smugglers and their lives. Rhys Ifans is great as always. Tells the story of Harold Marks pretty well
Jim F (gb) wrote: Im not happy with Rhys Ifans as Howard Marks here. Many times he just made the great man appear a bit gormless / clueless. Also had i not read the book, i might have struggled to follow the events as they are linked together as a movie. But it was a good watch. Could have done it better
bill s (nl) wrote: The kids might find this funny but adults not so much.
Eat M (gb) wrote: Well made but ridiculously unbelievable.
Ed Fucking H (us) wrote: Ummm not really sure why so many people have been bashing this film, but it was actually pretty good. Not outstanding or anything, but at least slightly above average, even if I don't buy Mickey Rourke as an Injun for a second. It does have some pretty good characters, a good story, good pacing, good performances and a good line up. Nothing really surprised me either but this was still an easy way to kill 80 minutes. Worth a watch.
Marky B (ru) wrote: best british movies ever, best cast & soundtrack Great directing
thomas m (ca) wrote: There are dragons - and Christian Bale seemingly doing a preemptive impersonation of Ray "i've come to kill your monster" Winstone..Its Shit! It really is.. Not awful - not offensive shit, just your common, didn't try very hard with that one did you.. come on least you can do is make an effort and bury it - Shit..
Martin G (de) wrote: Film d'horreur / science fiction autralien de srie B. Bien que les personnages/acteurs n'ont pas vraiment de charisme , l'histoire est tout de mme pas trops mal. On nous plonge tout de suite dans l'histoire, pas de mise en situation. Un bon effort sans tre un grand film , loin de la
Mike K (ag) wrote: One of the greatest on-screen villians: Ramrod. B+
Randy L (us) wrote: i found out that the last scene is in fact improvised and its worth the entire movie. excruciating. ben gazzara is some kind of sleazy god. they are all untouchable.
Reid V (kr) wrote: While not as polished as the films of Leone or Corbucci, it still has much to offer. An intriguing revenge thriller/dysfunctional buddy flick in which Cleef and Law are selfish bastards whose paths happen to cross. Petroni paints a opaque picture of a world where justice is subjective. If Leone is the Godfather of spaghetti westerns, then Petroni is the inspired uncle. He doesn't hit all the right notes but certainly has the lifeblood of the genre running through his veins. Also, Ennio Morricone (who I am sure has scored every Italian western ever) impresses again with an outlandish score that somehow seems to work perfectly for the film. All in all, an underrated and smart italian western.
Laurent P (br) wrote: Vaut surtout pour la prestation de Nicholas Hoult en arriviste psychopathe, le reste manquant un peu de profondeur...