Watch A Bloody Aria For Free

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

The best films of this genre always show a path and provide a takeaway for being a better person.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

One might think that soon a time will come for Asian cinema to reassess its trademark Extreme label. Or that a new approximation of this quality will emerge on the receiving it, critical end. A Bloody Aria is not yet at this stage, it applies violence with straightforward honesty and typical for the Korean cinema consideration of social themes. And it never really discusses implications that emerge. It basks in social relevance that sadly remains restricted to its Korean context. And despite handling some more general themes- cyclical violence, bullying etc. it never unveils itself as a film with a broader appeal. Most likely then, it will connect with enthusiasts of the Korean cinema that will find some stimuli in observing how portrayal of youth degenerated since seminal Attack the Gas Station (Kim Sang-Jin, 1999). This particular film makes for a disturbing comparison of how the violence has escalated in Korea's national cinema, to accommodate both the expectations of the market and relevant changes in the society.To equal extent A Bloody Aria can be dissected together with British Eden Lake (Watkins, 2008) or French They (Moreau, Palud, 2006). It emerges as a film less entertaining and more restrained but ultimately more wholeheartedly committed to the comment it makes. Tempo is interrupted by lengthy conversations that intentionally build up the threat but ultimately fail to do so. No sustained suspense ever emerges, consumed by the ambiguity of the film's villains. It collapses as a thriller as it struggles to maintain its, overriding genre schematics, devotion to keen observation of the intensifying power struggle. It consistently reminds the audience to look past the physical facades and our expectations build upon impeccable acting of the entire cast. Unfortunately, unlike many Korean efforts from the recent past Won Shin-yeon's film fails to captivate the audience with any particular sense of style. Mobile, quasi documentary camera is dull and where one would expect some visual flair it serves images that are unimpressive and (perhaps deliberately) annoyingly overexposed. Disconnection of imagery, themes and musical inclinations contained in the title are disappointing since more grounded sense of style could reward the audience for awkward pacing.Verdict: Korean Funny Games it isn't. Neither is it a particularly explicit example of Asian extreme. It's a slow burning amalgam of familiar social and cinematic motifs that manages however to radiate with some unique identity. Not as relevant outside of its national targets of critique it is still interesting to watch for Won Shin-yeon's own take on material recognizable from both Haneke and realist horror in the spirit of Deliverance.

Well I enjoyed the first ten minutes, and that's the only positive I can take away from this film. It's Korean Vengeance cinema fused with Hollywood style Hillbilly fare, with the usual unoriginal plot that can be summed up in one sentence. A music professor and his female student on their way to Seoul get lost and stranded in the countryside; enter four crazy country bumpkins and yeah you pretty much know the rest. On the plus side, the photography's excellent, and the performances are convincing. If you're into films like Hostel and Cabin Fever then you may like this. But if your new to Korean cinema, don't start here visit Old Boy.

A Bloody Aria is a disturbing look into the ongoing cycle of violence and bullying in Korea. It has no hero or even anti-hero, only protagonists and victims often one in the same. The story begins with a professor driving with a former student taking her to a remote destination with malintentions. A chain of events come into play bringing forth several other "country folk" characters that will lead to a tension filled explosion of violence linked to bullying and institutions such as the military.The film is primarily a bleak revenge flick with offbeat characters and dark humor. The director conveys his views on violence in Korea through bullying and the circle that evolves from it. Filmed primarily in one location the story is still engaging for the simple fact you have no idea how these characters are going to react next. However, the film seems to think it's a little more clever than it is involving the twists that come into fruition. I figured one major twist out within the first 15 minutes of the film and the other large twist was hard to believe or at least hard to believably comprehend the character's actions and emotions. Some of the subplots such as the rat poison and introduction of a gun fall flat. I enjoyed the film despite its flaws and look forward to what this director brings next.

The antihero brings a pretty girl to a secluded location with devious intentions. The girl refuses him and gets away from the coward. However, the locals in the area converges around them, and troubles follow. These troubles resolves itself in a twisting manner and doesn't let up.Though much will be lost in translation, the movie is worth seeing for a number of reasons. the characters are truly interesting and every actor is so skilled that you hardly notice them. Story is not only good, but well told. Foreshadowing lets the audience know what's coming next, but you don't know what's going to happen next.The setting is in wide open spaces,but no one can hardly exhale without discomfort. There is no hero, but victims and transgressors. Innocence is lost, lives are changed(except for the antihero), and bodies are broken.If you want a simpler explanation, it's a modernized Deliverance with a Korean twist.