Hope (2026)
Director: Na Hong-jin
Starring: Hwang Jung-min, Zo In-sung, Jung Ho-yeon, Michael Fassbender
Primary genre: Epic
Secondary genre: Science fiction
Third genre: Action
Fourth genre: Thriller
Like many famous directors from South Korea (e.g., Kim Jee-woon, Bong Joon-ho), Na Hong-jin bears an exquisite chameleon-inspired ability to switch with ease between genres. From bleak serial killer flicks (The Chaser (2008)) and gritty action thrillers (e.g., The Yellow Sea (2010)) to supernatural horror (The Wailing (2016)), all of his films are nothing less than stellar, boasting superb performances and meticulously dissecting feats of redemption, justice, xenophobia, and the will to survive. Ten years have passed since he wrote and directed a movie about demonic shenanigans and with Hope, Hong-jin shows a decade-spanning ability for eye-catching visuals and kinetic, voraciously ambitious sequences.
Crowned as the most expensive Korean production of all time, Hope offers a better experience when you go in knowing as little as possible. The much-desired IMAX release demonstrates just how gigantic the movie’s scope is. In particular, the production design is nothing short of spectacular, reaching levels of a Lord of the Rings (2001-2003) production. You will be hard pressed to find a green screen here with thousands of practical and grisly details engulfing the mayhem that a monster(?) is causing in a Korean village close to the demilitarized zone.
“Why don’t you get outta the way already?”
Never shying away from an increasing (and bloody) body count, Hope’s biggest advantage is its first half. Hong-jin is an expert at creating exquisite suspense from an atmosphere of dread, whether this is in broad daylight within empty streets or deep in a gloomy canopy forest. Any jump scares are minimal, and Hong-jin along with regular cinematographer wizard Hong Kyung-pyo let the environment and ominous design do all the talking. Amidst this tale of monstrous rampage, we have three eccentric protagonists whose characterization goes against the expected rise-above-the-occasion heroes. Hwang Jung-min’s police chief, in particular, goes against the macho counterparts of the West, reacting the same way an everyday individual would do in such extreme circumstances while his second cousin (!), played by Zo In-sung is as deadpan as they come. Both are counterbalanced by a capable but equally dorky police sidekick (Jung Ho-yeon making a strong impression).
Once the reveal happens, Hong-jin puts the pedal to the metal converting Hope into a Korean Mad Max: Fury Road (2015) that relishes in storytelling through its rather extended (practically made) chases. Thus, when the action starts, it is glorious, chaotic, gnarly, and panic-inducing while the anxious orchestrations of Michael Abels uplift moments of tension and adventure resembling Marco Beltrami’s furious strings arrangements in World War Z (2013). In other words, Hope is perhaps the best contender for this year’s best action.
In most Korean outputs, there is some (almost farcical here) social commentary that aims to highlight the authorities’ incompetence in a time of crisis sprinkled with black humor and Hope is no exception. However, unlike his previous efforts, Hong-jin plays it less seriously and those liking the more sinister first half might cringe at these interjections. Others might savor this non-stop rollercoaster ride even if its abrupt ending with its heavy-handed lore delivery feels better suited for a penultimate TV series episode, a move that is certain to cause a few head-scratches about what the hell is going on. It is a bold gamble for sure, especially for a film of this caliber because it is not 100% clear whether a sequel will happen.
It might not be very deep in drama or complex storytelling, yet Hope aims for the jugular and throws everything it can at you with a panache that is sorely missing from the modern and toothless blockbusters of the West. For its tone and aim, it’s better to let yourself roam emotionally free like its featured monstrosity. Until the HOPE-fully inevitable part 2 where you can see what Hong-jin truly had in his mind.
A thrilling science fiction epic
+Amazing first half
+Panic inducing scenes
+Sensational production design
+Action scope
+Ambitious
-Long chase sequences
-Shoehorned lore at the last minute
-Abrupt ending for sequel bait