The Host (aka: Gwoemul) — movie review
We all know that formaldehyde is used to preserve dead bodies, and is found everywhere from kleenex to rat poison and cigarettes. We know it’s probably not good for anyone’s health, but did you know the mutanagenic effects formaldehyde has on sealife? Well, with Korea’s big budget entry into the giant monster genre, The Host, you will.
Looking to skirt expensive disposal fees, a U.S. Army medical installation opts to dump its “dirty formaldehyde” supply down the drain. The unwanted fluid makes its way to the Han river, where over the next six years, it helps give rise to a huge calamari/frilled shark monster. No longer content with fishy nummins found in the river, the monster makes its way shore-side, scooping up any tasty humans in its path for both immediate and later consumption. The story of The Host focues on one family affected by the monster’s snack runs. Their youngest member was snatched up, and presumed dead, until a cell phone call revealed her situation. With a military crackdown and quarantine in place (for fear the monster is a carrier of a mutant virus) it’s up to the family to get their girl back.
The Host doesn’t really have any higher reason for being than simple entertainment. It’s more Godzilla 1998 than Gojira. You won’t come away from it with any greater concern for the environment, fear of military meddling, or anything of the like. You will, however, be awed. The Host’s special effects are remarkable. While Weta has been getting much of the fan-boy attention, the real artists worth lauding are San Francisco’s own The Orphanage. You see, Weta created the scannable maquette, but The Orphanage’s CG artists made it move. Frankly, The Host’s monster is one of the most convincing special effects creations ever to hit the screen.
What audiences may not be expecting is the sizable dose of humor The Host provides. It’s almost a horror-comedy hybrid. Much of the humor comes from the interactions of the constantly feuding family members (Kang-ho Song (Sympathy for Lady Vengeance), Hie-bong Byeon (Mission Sex Control), and Ah-sung Ko all deliver wonderful performances) but others come from some director Joon-ho Bong skillfully playing on audience expectations. Many many times in The Host scenes of shocking and comedic events come seemingly out of nowhere. In other places, he makes fun of the film’s “slower portions” with family members falling asleep on screen. It provides the film with a nice tone, but definitely not the one advertised.
But, for all the praise heaped on The Host, the film does sort of lose its way toward the ending. A few strange plot elements are introduced late in the game, as well as some rather strange logical inconsistencies. Furthermore, some of the more interesting characters are not spared the monster’s wrath, and those that do survive don’t have that much of a connection with audience. Lastly, none of the subsequent altercations match the tension, excitement, and energy found in the monster’s initial attack. That said, The Host is fresh, fun, and original. See it, before the inevitable American remake.
The Host (Gwoemul) has limited release in U.S. theatres on March 9, 2007.
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