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Director: Bong Joon-ho Starring: Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam, Lee Jung-eun, Chang Hyae-jin Running Time: 132 minutes

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The long anticipated Parasite from acclaimed director Bong Joon-ho has arrived on Irish big screens right at the end of what has turned out to be an incredible run of Oscar contenders. While in many ways the Academy Awards could well be regarded as an over inflated industry award, it is difficult not to get caught up in all of the fuss surrounding what is unquestionably the most notable event of the year in film. Similarly, while it might make more sense to maintain objectivity when reviewing films, it’s often challenging to suspend your own excitement for films that you’ve been personally routing for. On it’s own merit, I had been eagerly anticipating the release of Parasite for months. As someone who was first introduced to the now well-established perceptive craft of Bong Joon-ho since The Host in 2006, I was even more delighted that his latest work seemed to be getting the level of international traction that many South Korean films in the last year have undeservedly lacked. Casting memory back through the last couple of years, there seems to have been at least one highly impressive hit coming out of the country every year. In 2016 there was Train to Busan, a frantic and kinetic zombie movie tracking the desperation of a father and daughter to escape a lethal viral outbreak. In 2017 there was Park Chan-wook’s The Handmaiden, a stylish period thriller that picked up the BAFTA for Best Film Not In The English Language. Then there was Lee Chang-dong’s Burning in 2018, a slow burning psychological mystery. All of these features could more than match the weight of any Oscar winning Hollywood films in recent years, but many were regrettably limited to selected art house screenings.

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Director: Kim Jee-woon Starring: Song Kang-ho, Gong Yoo, Han Ji-min, Um Tae-goo Running time: 140 minutes


Twists and turns are prerequisites of the spy thriller and at times, it can be difficult to get into a film that telegraphs its surprises by the very genre. Many attempt to pull it off by being so convuluted in their plotting that firm grips on what makes sense, what doesn’t and whose side who is on become harder to maintain. Though with a talented filmmaker like Kim Jee-woon, the director of I Saw the Devil and The Good, The Bad and the Weird and one or the most well regarded names in Korean cinema, a film like The Age of Shadows can provide those thrills handily and more besides.

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