Concrete Utopia, a thrilling disaster film starring an ensemble of A-list Korean actors including Lee Byung-hun, Park Seo-jun, Park Bo-young, Park Ji-hu, Kim Do-yoon and Kim Sun-young, will be released in the Philippines by Columbia Pictures.
Directed by Um Tae-hwa, Concrete Utopiais loosely based on Part 2 of the hit webtoon “Joyful Outcast” (“Pleasant Neighbors”). Concrete Utopia is a disaster thriller about the aftermath of a devastating earthquake. The film will follow the story that begins when the survivors gather at Hwang Gung Apartments, the only building left standing in an earthquake-ravaged Seoul.
As the trailer and poster speaks for themselves, the survivors will have to go through mind-boggling thought processes, revealing the kind and dark side of human nature. Find out with us in the cinemas who will be the final survivors.
Sneak a peek into the apartments in this newly released trailer:
About Concrete Utopia
InConcrete Utopia, the world has been reduced to rubble by a massive earthquake.
While no one knows for sure how far the ruins stretch, or what the cause of the earthquake may be, in the heart of Seoul there is only one apartment building left standing. It is called Hwang Gung Apartments.
As time passes, outsiders start coming in to Hwang Gung Apartments trying to escape the extreme cold. Before long, the apartment residents are unable to cope with the increasing numbers. Feeling a threat to their very survival, the residents enact a special measure.
In cinemas September 20, Concrete Utopia is distributed in the Philippines by Columbia Pictures, local office of Sony Pictures Releasing International. Connect with the hashtag #ConcreteUtopiaMoviePH
The QCinema Project Market (QPM) is a platform for Southeast Asian filmmakers and producers to secure funding, expand their networks, gain exposure, develop their skills, and contribute to the growth of the international film industry. Over 15 million pesos in grants will be available.
Newly-appointed Quezon City Film Development Commission Executive Director Liza Diño-Seguerra says “In recent years, the region has shown impressive growth in its filmmaking, with high production values that rival international standards. This is evident in the diverse co produced film projects between the Philippines and SEA showcased at major festivals like Autobiography of Makbul Mubarak (IND-SG-PH), In my Mother’s Skin (PH-SG-Taiwan), Arnold is a Model Student (TH-PH-SG). With QPM, we get to support projects like that from the region and introduce them to funding and one-on-one networking opportunities so we can see their stories on the big screen.”
Through this program, which focuses on unveiling the unseen stories of Southeast Asia, QCinema will present QPM to nurture the underrepresented cultures, histories, and narratives of the Southeast Asian region.
Filipino and Southeast Asian filmmakers with projects in advanced stages of development are invited to participate.
To be eligible to join the program, the filmmaker must have at least a draft of the full script of a feature-length fiction film project. The film must also not yet be completed by the time QCinema 2023 commences and must not be fully financed yet.
Southeast Asian directors with at least one short of feature film may apply.
To join, filmmakers must complete an online application form complete with the logline, synopsis, director’s statement, production schedule, treatment, financial plan, production cost, and the profiles of the director, producer, and production company. Sample reels may also be submitted, if available.
Preference will be given to projects that highlight unique aspects of Southeast Asian culture and history. Films that demonstrate potential for international appeal will also have an advantage.
Deadline of submission of entries is September 15, 2023.
Fifteen entries will be chosen to participate in the film market, slated from November 18-20, 2023, in conjunction with the QCinema International Film Festival.
Selected filmmakers will have the opportunity to pitch to possible investors, network with possible collaborators, get mentorship, and attend workshops.
Ms. Diño-Seguerra further explains, “This program is in line with the goal to position QCinema as one of the top Southeast Asian film festivals and introduce it as a global hub for Southeast Asian cinema.”
“The market will also facilitate more collaboration and co-production opportunities between Filipino, and Southeast Asian filmmakers, and international partners that would contribute to the growth and development of the regional film industry” she adds.
Get ready for a white-knuckle cinematic experience like no other as Liam Neeson steps into the driver’s seat, but this time without his famed set of skills. Brace yourselves for “Retribution,” an adrenaline-fueled action film that’s set to hit the big screens on August 23. In this high-octane thriller, Neeson portrays an ordinary man who must navigate a maze of danger while trapped in a speeding car with his children, all while trying to unravel a sinister mystery that could lead to a series of deadly consequences.
An Ordinary Man in Extraordinary Circumstances
In the heart-pounding streets of Berlin, “Retribution” introduces us to Matt Turner, a successful businessman with a knack for outsmarting competitors. However, he’s about to face a challenge far more explosive than any business deal. As he embarks on his usual commute, he discovers a shocking truth: a bomb has been planted in his car by an unknown adversary.
But the danger doesn’t stop there. On their way to school, a phone rings inside the car – a phone that doesn’t belong to Matt or his children. When he answers, a chilling revelation unfolds. Pressurized bombs lie hidden under their seats, ready to detonate if Matt deviates from a set of life-threatening instructions. From not calling the authorities to following increasingly dangerous orders, Matt finds himself in a deadly game of cat and mouse where every decision could mean life or death for his family.
Unraveling the Mystery with Neeson’s Expertise
The masterminds behind “Retribution,” producers Andrew Rona and Alex Heineman, have a history of putting Liam Neeson through the wringer in heart-pounding action scenarios, as witnessed in their collaborations on hits like “Unknown,” “Non-Stop,” and “The Commuter.” In “Retribution,” the stakes are higher than ever. Cars explode across the vibrant backdrop of Berlin as Neeson’s everyman character, Matt Turner, races against time to decipher the enigma behind his terrifying ordeal.
“The concept of it is so immediate and engaging and it’s got themes that really resonate, like money and greed. It’s a movie, Neeson says, that you will leave with a better appreciation of what truly matters. For me, that’s it. What’s really important. Sometimes you need to remember to take the time to smell the roses, to sit back and enjoy things. So that’s my advice on this. Sit back and enjoy it.”
A Cast to Remember
“Retribution” doesn’t only rely on Neeson’s commanding presence. The film boasts a stellar ensemble, including Jack Champion (known for his role in “Avatar: Way of the Water”), Lilly Aspell (who portrayed young Wonder Woman), Matthew Modine (notable for “Oppenheimer” and “Stranger Things”), and Embeth Davidtz (of “Tales of the Walking Dead” fame). Together, they bring depth and authenticity to the roller-coaster journey of suspense and survival.
Buckle Up for the Thrill Ride
Get ready for a cinematic road trip like no other, as “Retribution” roars into theaters nationwide on August 23. The heart-pounding action, suspenseful twists, and Liam Neeson’s electrifying performance promise an unforgettable experience that will keep you on the edge of your seat from start to finish.
For more updates on “Retribution,” be sure to follow Axinite Digicinema’s Facebook page and TikTok. And remember, when the tension ramps up and the stakes skyrocket, the only way to survive is to buckle up tight and enjoy the ride!
With barely any music, nor complicated camera movements, director and screenwriter Dustin Celestino deftly manages to build a suite of duets to weave a story of a country falling apart at the weight of its own history and corrupt systems. ‘Ang Duyan ng Magiting’ uses theatrical elements – articulate and eloquent dialogue, a set frame, impeccable blocking – to unfold a story about the cycle of hate and anger and fear. Despite its use of theatre conventions, the film remains cinematic because the proximity of the camera is part of the storytelling; the framing, the minimal use of cuts (if at all), and the vivid production design.
The movie revolves around a bombing of a church in a remote province and the two students who were found in the scene of the crime. Within the film’s two-hour running time, the movie manages to capture the people that surround the two students and this incident: a teacher (Jojit Lorenzo), who may be the cause of their radicalization to the extreme left; a social worker (Dolly De Leon), who questions the illegal detainment of the two students; the police chief (Paolo O’ Hara), who is so sure that the two teens are behind the bombing; the police chief’s wife (Frances Makil-Ignacio); a lawyer (Bituin Escalante), who takes interest in the case; the two students (Miggy Jimenez and Dylan Rey Talon); and the mother of one of the students (Agot Isidro).
The powerhouse cast deliver incredibly nuanced performances and play off of their scene partners with incredible precision. The camera is primarily still in most of the scenes and, at the most, the scene is always covered in only two angles. Sometimes its close, sometimes its far but the actors perform with the full ferocity that the scene requires. You cannot single out any one actor here – everyone was working at an elevated level. It was wonderful to watch.
But what made it even more entrancing was that the story unfolds through the dialogue and in the process, the world gets bigger and bigger with each line delivery. The conflicts become more pronounced with every word that is uttered and the camera, remaining still, captures and builds on this tension that it feels electric. Without any music, a scene just begins to expand. From Paolo O’ Hara’s rage to Dolly De Leon’s quiet strength, from Miggy Jimenez’s fragility to Bituin Escalante’s flippant amusement, each actor fill each scene with the intended emotion that reverberates within the camera’s frame.
It also helps the Celestino and production designer Josiah Hiponia dress every sequence in such a way that makes the shot feel cluttered, claustrophobic. Each scene is just ready to explode and even when it does, it still feels like it could just keep setting off.
And what is released is a whole bunch of ideas and emotions, there are questions that is asked about nationhood, about revolution, and whether it is lost cause or something that is still worth fighting for. What is great about the writing of ‘Duyan ng Magiting’ is that it is full of anger and hatred and grief and pain but it is also undirected, unfocused. So while the enemy is clear at times, it seems that all that rage is directed at each other instead of who it should be. The film is a rebuke of the system that is in place but it is also a rebuke of all the failed attempts to change that system.
‘Ang Duyan ng Magiting’ is a work of fiction that becomes an eloquent argument without any clear answers for us. The film will disturb you, it will grip you. The theater I was in was quiet all through-out the movie, you could hear a pin drop, and we were all holding our breaths. It’s visceral and smart and also very moving. It’s definitely a masterclass in building tension, in wrestling with its themes, and of excellent performances.
As someone who was completely oblivious to the viral trend back in 2020 that became the basis for the story of ‘Marupok AF,’ I was taken for a wild ride as I watch the Quark Henares-directed film (with a screenplay by Henares and John Bedia). It’s a story of a horrifying catfish scheme directed primarily at transwomen and other members of the LGBTQIA+ community (at the end of the film, even one woman said she was victimized by the real-life perpetrator). It was recounted on Twitter and this formed the film that opened the 19th Cinemalaya Film Festival. ‘Marupok AF’ features much of Quark Henares’ refined, glossy, and hip filmmaking. It includes a terrific cast that includes EJ Jallorina, Maris Racal, Royce Cabrera, and a scene-stealing Gabby Padilla.
But with everything going for it, the film treads on very dangerous ground because while it shows the full range of hurt that can come from a catfish scenario, the film’s takes the tone of a comedy (and sometimes even the conventions of a heist movie) that ends up serving as a buffer to how despicable the act is. In fact, it turns the act of catfishing into a comic situation where the audience are laughing at the trans character, who is victimized by the situation and the young man who is being exploited by the catfisher.
It follows the story of Janzen (Jallorina) who meets Theo (Cabrera) via a dating app. It’s a powerful connection and Janzen finds herself falling in love except that it is quickly revealed that Theo is really Dennis, an aspiring industry professional who accepts the job of pretending to be Theo for Beanie (Maris Racal), who has a thing for catfishing transwomen like Janzen. Strangely enough, Beanie goes to the extreme with Janzen and this forms the crux of the story.
Told in a non-linear manner and through various perspectives, Janzen reveals her innermost thoughts through monologuing live on her social media, facing the camera and relating the story to her followers (the audience). Dennis ends up telling his story via an internet talk show, complete with a host. One of the many tricky areas is that Beanie gets to the talk to the audience directly. Completely unmediated, whether by social media or by a host, Beanie gets to directly talk to the audience and plead her case. In fact, her studio has a bar that she can lean on while talking and it gives her the image of a podium and she gets the most screen time. Racal is devilishly charming. She is so engaging that she takes over the three storylines and it feels like it becomes Beanie’s story.
Henares doesn’t shy away from showing us how Theo’s playing hot and cold is screwing with Janzen’s mind but while the movie does show us Janzen agonizing over it, we also get to see Beanie and her co-conspirator Dina (played deliciously by a scene-stealing Gabby Padilla) enjoying the fruits of their fiendishness. But the film plays it as a comedy and as the film feels more tilted to Beanie, it is Beanie’s triumph that feels highlighted and not Janzen’s pain.
And while this is going on, Dennis is caught between an opportunity (Beanie promised him that she’d help him be an actor and a director) and doing what he can see is a horrible thing to do. He is conflicted but he also needs the money that Beanie offers and the opportunity. So, Dennis is being exploited but he is also a butt of the jokes as his being of the common folk is also used for comedy.
Told in three different perspectives simultaneously, with varying degree of tones (though all are consistently comedic), ‘Marupok AF’ details the the inner workings of an elaborate catfish scheme but with the villain at the center. Rather than be disgusted, you find yourself amused by them (and Racal’s excellent portrayal of Beanie’s confusion as to why she might actually be so invested in taking Janzen down) and, in a way, Beanie is humanized whereas Janzen and Dennis are turned into punchlines.
It’s easy to put the camera on Beanie, she is an interesting character, especially when played by Racal, but to do so at the expense of Janzen and Dennis, both who are played so brilliantly by Jallorina and Cabrera, makes ‘Marupok AF’ a dangerous film. While I’m on my seat squirming and seething with anger at the horrors that Beanie and Dina are putting Janzen through, the crowd around me were laughing, courtesy of Henares’ slick filmmaking, witty dialogue, and hip music (composed by CRWN).
Fortunately, the film ends well (it is a comedy after all) and the final act is given to Jallorina’s Janzen but I feel like I could’ve gotten to know her better throughall of this. As the film tries to create a rally cry of understanding and compassion by its final act, it can feel like a last-minute realisation for having let Racal’s Beanie steal the movie.
With that being said, ‘Marupok AF’ is Quark Henares’ best film. It takes his strengths – directorial finesse and a pulse of what tickles the zeitgeist – and presents a story that is so rooted in the now. It’s best when it allows its characters to just be themselves (and it helps with a cast this good and working at this level) and when he puts the spotlight on Janzen and how society is so mean and cruel to transpeople (there’s a scene involving a bathroom and a vicious bathroom attendant that sends shivers down my spine). I wish the film was more of that than of Beanie.
David Harbour always knew that director Neill Blomkamp (Elysium, District 9) would bring a genuinely exhilarating feel to Gran Turismo: Based on a True Story. But he didn’t realize how authentic his own experience would be while filming the movie.
“I knew Neill would bring a visceral, blood pumping feel to the movie,” says David Harbour, who plays Jack, a washed-up driver who becomes Jann Mardenborough’s chief engineer and teaches him the ins and outs of a real racecar. “What I didn’t really know was how much we were going to be working with actual cars, actual drivers, actual tracks. We’re in the cars, we’re doing pit tire changes and gassing up the cars in real-time with other drivers blazing around the track at 200mph. It’s really me in a helicopter flying 30 feet above racecars. It all plays into the intensity of the experience – which is critical to making a film about people having a very intense experience, risking everything for what they love.”
The actor says that at first, he was skeptical about a movie adaptation of a racing simulator, because for him a movie is not like a videogame. “You want to play the game, to control the characters,” Harbour says. “One of the things I really liked about this movie is that it’s not a movie about a videogame – it’s a movie that incorporates a videogame into its narrative, which is about a young man with tremendous talent who does something incredible, and about a coach who has been through a lot and become hardened – but who comes to believe in this kid.”
Gran Turismo: Based on a True Story tells the story of videogamer-turned-racecar driver Jann Mardenborough (played by Archie Madekwe). It’s the ultimate wish fulfillment tale of a teenage Gran Turismo player whose gaming skills won a series of Nissan competitions to become an actual professional racecar driver.
One of the reasons Harbour was attracted to the movie was in seeing Mardenborough’s underdog story reflected throughout the characters. “Jack’s story is an underdog story as well,” he says of his character. “He’s suffered, but he still clearly loves this sport and doesn’t have the opportunity to participate in it at the level that he would like to.” And though he starts out cynical, Harbour says, Jack starts to see GT Academy as his chance. “He doesn’t believe in these kids, initially, but he starts to realize he has a real opportunity to teach Jann.”
Harbour’s respect for the thrilling style of the movie mirrors his character’s understanding of the cars’ power. “On the surface, the dynamic is fraught and tense,” he says. “These kids are coming out of the game world, and he doesn’t believe in them. He’s a man of a different time, a man of mechanics, of machines, of things that work a certain way, and the world is moving on. And he desperately wants them to understand the power of his world – the visceral, the real – that coming out of the screens into this physical world has value.”
Watch the inspiring true story of videogamer-turned-racecar driver Jann Mardenborough in Gran Turismo: Based on a True Story, opening in Philippine cinemas August 30.
**David Harbour’s interview was conducted before the strike.**
Directed by Neill Blomkamp, screenplay by Jason Hall and Zach Baylin, based on the PLAYSTATION STUDIOS video game.
Produced by Doug Belgrad, Asad Qizilbash, Carter Swan, Dana Brunetti. The executive producers are Kazunori Yamauchi, Herman Hulst, Jason Hall, Matthew Hirsch.
The cast is led by David Harbour, Orlando Bloom, Archie Madekwe, Darren Barnet, Geri Halliwell Horner and Djimon Hounsou.
In Philippine cinemas August 30, Gran Turismo: Based on a True Storyis distributed by Columbia Pictures, local office of Sony Pictures Releasing International. Connect with the hashtag #GranTurismoMovie
Relive Disney’s “The Little Mermaid” in a special sing-along edition, arriving in select Philippine cinemas on August 16. Sing the film’s best songs with your friends and family, and enjoy the retelling of a classic tale at your favorite cinema.
Experience this incredible, timeless tale, alongside exciting and emotional songs from the film, now with sing-along lyrics. This special edition of the film encourages everyone to sing their hearts out and enjoy each moment from the first number to the last. It’s definitely a treat for moviegoers experiencing the film for the very first time, or for ones who want to re-watch the entire tale once more.
Disney’s “The Little Mermaid” is the story of Ariel, a beautiful young mermaid with a thirst for adventure. However, she also lives in a place where mermaids are forbidden to interact with humans, especially being King Triton’s daughter.
Determined to explore the vast world above the sea, she sets off and meets the dashing and handsome Prince Eric and falls for him. After this fateful meeting, Ariel follows her heart and makes a deal with Ursula, an evil sea witch. This gives her a chance to be part of the world on land but ultimately places her life and the fate of her father’s crown in jeopardy.
The film stars singer and actress Halle Bailey (Ariel), Jonah Hauer-King (Prince Eric), Tony Award®-winner Daveed Diggs (the voice of Sebastian), Awkwafina (the voice of Scuttle), Jacob Tremblay (the voice of Flounder), Noma Dumezweni (Queen Selina), Art Malik (Sir Grimsby), with Oscar® winner Javier Bardem (King Triton), and two-time Academy Award® nominee Melissa McCarthy (Ursula).
Disney’s “The Little Mermaid” is directed by Oscar® nominee Rob Marshall, and produced by two-time Emmy® winner Marc Platt, three-time Tony Award® winner Lin-Manuel Miranda, Emmy winner John DeLuca, and Rob Marshall, with Jeffrey Silver serving as executive producer.
The film also features an incredible soundtrack and score composed by Academy Award winner Alan Menken, lyrics by Howard Ashman, and produced by Lin-Manuel Miranda. Listen to the full soundtrack on Spotify here.
Don’t miss the special sing-along screening of Disney’s “The Little Mermaid” when it arrives in cinemas.
For more updates, you can also follow Disney Studios Philippines on Facebook, Instagram, Twitter, and YouTube. #TheLittleMermaidPH
In celebration of National Breastfeeding Month this August, SM Cares continues to promote breastfeeding awareness by mounting the “Free to Feed: Championing Safe Spaces for Breastfeeding at SM” photo contest and exhibit.
The Free to Feed photo contest is open to all photo enthusiasts. Interested participants are invited to submit original photos featuring breastfeeding mothers in any area within any SM mall, such as the food court, car park, tenant areas and more, but most especially the designated breastfeeding station, until August 21, 2023. Winning entries will be announced on August 28 at SM City North EDSA, and will be awarded as much as Php 30,000 in prizes. Participants may send their entries through this link: www.bit.ly/FreeToFeedAtSM
80 SM malls nationwide provide a breastfeeding station as a safe space for mothers to continue nourishing their child
A photo exhibit roadshow and forum will be held throughout August to serve as a powerful reminder of the importance of supporting mothers in their breastfeeding journey. Visitors can view the Free to Feed exhibit during the following schedules at these participating SM malls: August 10-20 at SM City Davao, August 15-21 at SM City Pampanga, August 16-20 at SM City Dasmariñas, August 19-24 at SM City Iloilo, and August 28 to September 2 at SM City North EDSA.
As the World Health Organization focuses on promoting breastfeeding in the workplace, SM Supermalls provides accessible and safe spaces for nursing mothers through 80 breastfeeding stations available for customers and employees across SM malls nationwide.
SM Mall Nurses conduct sensitivity training sessions for frontliners to help create a welcoming environment for breastfeeding mothers.
“We came up with this photo competition and exhibit because we believe in the importance of advocating breastfeeding awareness among Filipinos and encouraging safe and welcoming spaces for mothers,” said SM Cares Committee on Women and Breastfeeding Mothers Program Director Atty. Pearl Jayagan Turley. “SM malls are a prime example of such a place where mothers are free to breastfeed anywhere, while also having breastfeeding stations that are fully equipped with anything moms might need to nourish their babies.”
Get ready to catch the Korean star from the popular K-Drama series “Business Proposal” and “The Uncanny Counter”, and the beautiful voice behind several K-Drama OSTs, as the one and only KIM SEJEONG embarks on her first-ever concert tour. Her concert tour, “The 門”, will be coming to Manila on Sunday, October 1, 2023 at the New Frontier Theater. Presented by Wilbros Live.
The Korean singer-actress recently dropped a coming soon image for her first full-length album, “Moon”, raising much excitement from fans. The new album is set to drop on September 4 at 6PM KST. This will be KIM SEJEONG’s comeback as a singer in more than two years.
From her humble beginnings on the reality show Produce 101 (which she won) to becoming a member of girl groups I.O.I and Gugudan, to being a well-loved K-Drama actress, KIM SEJEONG’s journey as an artist has been an inspiration to many. Her songs “Love, Maybe” (from Business Proposal OST), “All of My Days” (from Crash Landing On You OST), “If Only” (from The Legend of the Blue Sea OST), “Paramour” (from Mr. Sunshine OST) and “Meet Again” (from The Uncanny Counter) have touched hearts of so many fans. Right now, she has become one of Korea’s most sought-after celebrities with 10.6M followers on Instagram and numerous brand endorsements around the world.
Tickets to 2023 KIM SEJEONG 1st CONCERT in Manila will be on-sale beginning Saturday, August 19 at 10AM via TicketNet.com.ph and all TicketNet outlets nationwide. Fans watching the concert will all have Hi-Bye Session and Official Poster as fan benefits. Lucky fans that will be able to purchase the Diamond ticket will have Group Photo (15:1) with KIM SEJEONG. For more information, follow @WilbrosLive on social media. #KIMSEJEONGinMANILA
While there are a good number of Korean dramas that feature supernatural abilities or paranormal powers (‘Strong Girl Bong Soon,’ ‘While You Were Sleeping,’ ‘He is Psychometric,’ amongst others), this is the first Kdrama I’ve ever encountered that really leans in to the world of comic book superheroes in a Western way. Based off of the webtoon of the same name by Kangfull, ‘Moving’ is a 20-episode Kdrama about people with superpowers and a dark history that has driven them into hiding.
Directed by Park Inje (Kingdom season 2) and written by the original webtoon creator Kangfull, the story of ‘Moving’ unfolds in an interesting way. It opens in the present day following the story of 2 teens – Kim Bongseok (Lee Jungha) and Jang Huisoo (Go Younjung) – who have powers and find themselves going to the same school. As they navigate senior year and confiding each other with their abilities, we also discover that their parents also have powers but are keeping theirs secret too.
What first seems like a coming-of-age story of two kids with superpowers, begins to unravel as a complex story that involves governments, secret agents, and assassins. The story of the parents are a lot more complex than what the first few episodes show us and by the time we reach closer to the midway point, we discover that the story needs to fork into two timelines – the present and the past.
‘Moving’ boasts of an expensive budget and incredible CGI work for a drama series. Within the first ten episodes, there are images and visuals of flying, of regeneration, of superhuman strength and speed, and effects involving electricity. The show is also relentless in its action and fight choreography. Director Park Inje is also quite adept at creating striking images of the characters using their powers and while it feels exciting when it’s shown in the context of a fight scene, it’s when he uses it in relation to the young kids’ experiences of everyday life that it really shines.
There’s a great scene when Huisoo discovers Bongseok’s power of flight for the first time, it’s so elegantly done and it covers all the wonderful emotions that the two young actors can display. There’s another scene, also involving Bongseok’s flying abilities, of him cleaning a bathroom in the throes of young romance that makes a great visual.
This is what makes the show really shine. Yes, there are superpowers in it – and to the point where it feels like an MCU series – but that’s the easy stuff. The best parts is when it stays within the realm of Kdramas and work on their characters and their relationships. Bongseok’s and Huisoo’s relationship is a very special, wonderful little storyline that keeps everyone engaged. Then, playing counterpoint to each other, you have the Bongseok with his mom (Han Hyo Joo) and Huisoo and her dad (Ryu Seungryong). Bongseok and his mom is a tenuous relationship, with Han Hyo Joo’s Lee Mihyun as being overprotective and extra cautious. The tiredness and exhaustion of her character is explicit in every move she makes but the love is there, buried inside. It’s a wonderful performance that brings some very touching scenes. On the other hand, Huisoo and her father, Jang Juwon, have a more loving relationship – one that has both characters always walking on eggshells with each other. It’s so wonderfully played out that I cannot wait until the moment when the teens find out their parents have abilities.
This is why the show loses out on its strength as it gets closer to the midpoint. The first four or five episodes are working with multiple characters and weaves a tapestry of persons of interest. How they connect each other and how they relate to each other makes the show so good. By the sixth or seventh episode, they start to focus on one character’s backstory (usually a parent) and it takes the whole episode (sometimes two episodes) and I start to miss the present day storyline.
I understand that ‘Moving’ is building a world and is expanding it because it needs the space to move when all the characters come crashing into each other (by episode 10, they are still in each other’s periphery but have yet to come together) but it has made the episodes close to the midpoint feel dragging. Yes, we eventually see the histories of Jang Juwon and Lee Mihyun, but I’ve already invested in the friendship (and maybe even relationship) of Bongseok and Huisoo. There are also other characters like Lee Ganghoon (Kim Dohoon) and Chae Taehyun’s Jeon Gye-do and the assassin Frank, played by Ryu Seung-bum. Regardless, the first ten episodes of ‘Moving’ is proving to be an engaging new series that has the flavor of a Western/MCU type of superpowered show but with all the heart and the precision writing and character development of a Kdrama. It has a great cast and an intriguing, rich storyline with a lot of ground to cover. I won’t be surprised if the show ends in a cliff-hanger by the end of the 20th episode.
My Rating:
MOVING is now streaming on Disney+. Watch it here.
