{"id":111,"date":"2026-05-17T22:35:23","date_gmt":"2026-05-17T22:35:23","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=111"},"modified":"2026-05-17T22:35:23","modified_gmt":"2026-05-17T22:35:23","slug":"hope-review-na-hong-jins-overlong-creature-feature-is-a-guns-blazing-riot-of-bawdy-humor-bad-cgi-and-brilliant-action","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=111","title":{"rendered":"\u2018Hope\u2019 Review: Na Hong-jin\u2019s Overlong Creature Feature is a Guns-Blazing Riot of Bawdy Humor, Bad CGI and Brilliant Action"},"content":{"rendered":"
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\n\tFor a whole decade since 2016\u2019s extraordinarily uncanny horror-hybrid \u201cThe Wailing,\u201d fans of Korean director Na Hong-jin have been peering anxiously at the horizon awaiting his next uncategorizable genre mash-up. More recently, like a bumbling local police chief removing his mirrored aviators to squint at an unidentifiable what-the-hell-is-that <\/em>wreaking havoc in the distance, we\u2019ve tracked reports of his new project, which despite a high-profile international cast and the largest production budget in Korean film history, remained almost until the last second shrouded in secrecy. Now that \u201cHope\u201d is here \u2014 hilarious, unwieldy, overlong and featuring some of the most breathtakingly elegant action moviemaking of this or any year \u2014 one has to ask if anything could possibly have lived up to the anticipation.<\/p>\n

Read more Happy 60th Birthday, \u2018Pet Sounds\u2019: Beach Boys Mike Love, Al Jardine and Bruce Johnston Recall the Making and Aftermath of One of Rock\u2019s Greatest Albums<\/a><\/p>\n

\n\tIt\u2019s a question that seems mischievously on writer-director Na\u2019s mind, as for a good portion of the outstandingly berserk first hour, it seems possible we will never actually see the creature causing all the gloriously choreographed mayhem. A camera glides over spectacular mountains at dawn, taking in a coastline littered with tiny islets, where nestles the small town of Hope Harbor, a shabby South Korean hamlet that is close enough to its northern neighbor\/nemesis that weathered billboards warn against landmines and urge residents to \u201cReport Spies!\u201d and \u201cGuard Against Infiltrators!\u201d\u00a0<\/p>\n

\n\tIt is maybe the late \u201980s \u2014 in any case, pre-cellphones \u2014 and Bum-seok (an irreplaceable Hwang Jung-min, reuniting with Na after \u201cThe Wailing\u201d), the chief of police in this one-horse town, has been called out to a vast flat field on its outskirts to investigate the gorily mysterious mutilation of a large cow. Its carcass has been discovered by a group of hunters led by Sung-ki (Zo In-Sung), who is Bum-seok\u2019s second cousin. Here, everybody knows or is related to everyone else, as will be proven in just a few minutes when Bum-seok will be pegging it down the devastated streets and alleyways of Hope Harbor, namechecking every second bloodied corpse he passes.\u00a0<\/p>\n

\n\tFor the moment, however, he is pontificating over the dead cow, and having his chain yanked by the hunters who spin him a yarn about a semi-mythical tiger who comes down from the North every once in a while to feed, having learned how to avoid the landmines. The hunters decide to head to the forest to track the creature, whatever it is. But as soon as Bum-seok heads back into town it becomes readily apparent that they\u2019ve been infiltrated by something much worse than a defecting North Korean big cat, something capable of charging through brick walls and flinging entire cars at retreating locals. <\/p>\n

\n\tWorse still: with the gang of hunters away from the scene, there is no help or backup to be had, with all extra manpower off fighting wildfires \u2014 that is, until Officer Sung-ae (\u201cSquid Game\u201d star Hoyeon, making a fantastically characterful big-screen debut here) shows up to the rescue in her squad car. Rather than being scared, Sung-ae is pissed: \u201cIt\u2019s killed so many people,\u201d she bellows, executing a perfect handbrake, \u201cMonster or not, it\u2019s just not right!\u201d<\/p>\n

\n\tIt\u2019s hard to overstate just how much fun this first hour is: a kind of riff on, of all things, Ron Underwood\u2019s terrific cult classic \u201cTremors,\u201d only scaled up and hugely expensive, with genius cinematographer Hong Kyung-pyo (\u201cParasite,\u201d \u201cBurning,\u201d \u201cThe Wailing\u201d) wielding his gliding camera with an insolent grace that itself seems like a sarcastic comment on the utter chaos and carnage of Lee Hwokyoung\u2019s production design. <\/p>\n

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\n\tThere are team-ups and fuck-ups: Bum-seok encounters an older man holed up under a bridge with a bow and arrow and goes on a brief monster-hunt foray with him. It ends in very funny tragedy when the pair open fire on the monster through a closed door, only to discover it was actually the local butcher making a phone call. The ill-fated meat-slinger says into the receiver, \u201cHoney, I\u2019ll call you back,\u201d before glancing down at his likely mortal shotgun wounds and crumpling to the floor. After which, we get a little further sketch comedy as Bum-seok attempts to navigate the practical difficulties of getting a small old man to heft a large, leaking, perforated butcher on his back to the hospital.\u00a0<\/p>\n

\n\tIt\u2019s an endless pleasure to see such exceptional, careful, considered filmmaking applied to such a gleefully generic set-up. Even when some of the tricks become apparent, each new repetition somehow delivers more than the last.\u00a0For sheer high-octane bloodrush delight, for example, there is very little that can beat the effect when a speeding car pulls a U-turn and the breakneck camera swings around to look at it recede, now moving away from it, as though the camera itself had built up such careening kinetic momentum that it needs basically a runway\u2019s length to be able to change course. And then, just when everything is going so great (for us, if not for the mostly dead characters) we see the creature \u2014 this one played in motion capture by Cameron Britton.<\/p>\n

\n\tPerhaps it was always going to be a disappointment, but the weightless, old-school videogame aesthetic of the alien monster design sticks out even further amid the stylishness of the world captured in-camera. And those problems are magnified in the slack middle section of this 160-minute film, as the hunters make discoveries of their own in the forest, the monsters multiply, and there are some halfhearted attempts at giving them a thin backstory. Nothing in their mythology, however, is as interesting as the fact that they are played by the film\u2019s biggest international stars.<\/p>\n

\n\t\u201cHope\u201d is almost heroic \u2014 and extremely unusual for a film in Cannes Competition, where, to be honest, it does not rationally fit \u2014 in its lack of thematic weight or political\/philosophical subtext. But if you want to risk pulling a muscle you can, at a reach, read the casting of Michael Fassbender, Alicia Vikander and Taylor Russell as the heavily CG-disguised alien clan, as some kind of sly inversion of the traditional othering of Asian actors in Hollywood\u2019s own blockbusters. But yeah, it\u2019s a stretch. And by the time the last third of the film regains its breakneck, bananas tempo, culminating in an all-timer of a highway chase, you will have learnt to mostly ignore the janky VFX anyway, and to enjoy the human drama, human stunts (perhaps this is an early contender for the first ever Best Stunt Design Oscar?) and unflagging human comedy of this alien-encounter movie.<\/p>\n

Read more ACM Awards Producers on What to Expect Sunday Night: Shania\u2019s First Country Hosting Gig, Show\u2019s Return to Vegas, 17 Performances in 2\u00bd Hours and Meeting the Ella Langley Moment<\/a><\/p>\n<\/div>\n<\/div>\n

\n

\n

\t\t\u2018Hope\u2019 Review: Na Hong-jin\u2019s Overlong Creature Feature is a Guns-Blazing Riot of Bawdy Humor, Bad CGI and Brilliant Action<\/p>\n<\/h2>\n

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\t\tReviewed at Cannes Film Festival (Competition), May 17, 2026. Running time: 160 MIN.\u00a0<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \n(South Korea) A Neon release of a Plus M presentation of a Forged Films production in association with Plus M Entertainment and Westworld. (World sales: Plus M, Seoul.) Producers: Na Hong-jin, Saemin Kim, Saerom Kim. Executive producer: Jeongin Hong.\u00a0 Co-producer: Daniel Son. Co-executive producer: Eugene Kim.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector, screenplay: Na Hong-jin. Camera: Hong Kyung-pyo. Editor: Kim Sunmin. Music: Michael Abels.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nHwang Jung-min, Zo In-sung, Hoyeon, Taylor Russell, Cameron Britton, Alicia Vikander, Michael Fassbender. (Korean dialogue) \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    For much of its runtime, Na Hong-jin’s flawed “Hope” is the best action movie you’ve ever seen. Hoyeon, Hwang Jung-min and Michael Fassbender star.<\/p>\n","protected":false},"author":1,"featured_media":110,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[137,3,138,139,140,141,142,143],"class_list":["post-111","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-alicia-vikander","tag-cannes-film-festival","tag-hope","tag-hoyeon","tag-hwang-jung-min","tag-michael-fassbender","tag-na-hong-jin","tag-taylor-russell"],"yoast_head":"\n\u2018Hope\u2019 Review: Na Hong-jin\u2019s Overlong Creature Feature is a Guns-Blazing Riot of Bawdy Humor, Bad CGI and Brilliant Action - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=111\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Hope\u2019 Review: Na Hong-jin\u2019s Overlong Creature Feature is a Guns-Blazing Riot of Bawdy Humor, Bad CGI and Brilliant Action - Relocation Observer\" \/>\n<meta property=\"og:description\" content=\"For much of its runtime, Na Hong-jin's flawed "Hope" is the best action movie you've ever seen. 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