Flu (2013) DVD review

Epidemic movies have been a reoccurring topic since the seventies. “The Andromeda Strain” brought a clinical, docudrama approach.  “Outbreak” introduced 90’s film-going crowds to possible worldwide obliteration by germs.  And Soderburg’s “Contagion” gave us a cold, unflinching approach showing the fragility of humans.  The most recent take on a viral disaster is 2013’s “Flu” directed by the eclectic Korean helmer, Kim Sung-su. Leaving the cold, depression of “Contagion” behind, “Flu” feels more along the lines of a subdued Roland Emmerich undertaking.

After a cutesy iLoveCinema company credit and a text saying “This film is not based on real events” we begin with a “SPEED” type of introductory action scene.  Rescue worker Kang Ji-goo (Jang Hyuk) repels into a sinkhole to rescue a newswoman Kim In-hae (Soo Ae) as her car is suspended by some wires it became entangled in. With a last minute leap as the car plummets they start bickering immediately. Moments later we find out that there was something very important in her car that she needed and was not able to get because she was pulled out. Around the same time, a truckload of illegal immigrants shows up at its destination in Bundang with all of them dead except one. He escapes into the city and infects everyone as he is the carrier. As the city goes into lockdown to suppress the spread of the virus, which is identified as the Avian flu, Kang must find and rescue Kim and her toddler daughter Kim Mi-reu (adorably played by Park Min-ha)before they fall victim to the flu or the military’s aggressive need to stop the spread at any cost.

Although it’s not Oscar material “Flu” tries harder than your average American summer blockbuster.  Director Kim Sung-su does a genuinely effective job of invoking fear with some disconcerting imagery and onscreen actions. During the obligatory “ransack the local grocery store for supplies” scene, it feels raw and truly chaotic without too much embellishment. Upon entering the quarantine camps there are many shots of people doing anything they can to cover up their sickness to prevent from being quarantined.  The depicted actions of the military are the scenes that seemed to have resonated the longest with me.  During one scene, an officer is seen zipping up a body bag on someone who is not dead yet.  His explanation of this to a witness is that they will be dead soon anyways.  Many of the officers take the law into their own hands in dealing with unruly individuals.  The high ranking officials and politicians who have been quarantined make decisions based on cold, survivalist reactions with little thought put towards those who are not sick but still in the city.  Kim also lingers his camera on the sick to see their suffering  The spread of this is also shown is several montage sequence of people coughing, touching things and spreading the virus.  There is a definite vision here, that can be demonstrated in the many sweeping city shots of chaos.  The slick production values allow the city of Bundang to be seen as a character itself. The convincing scenes of panic and chaos shown in these wide, comprehensive shots of show the effects of rioting and panic, much like a wound on a body. Also upping the anti is Park Min-ha’s cuteness factor.  She might be one of the most delightfully sympathetic kids in a movies I have ever seen.

           

While the film does a lot more good than bad, there are still a couple of hiccups that bring the film down a tad.  For one, the characters interconnectedness is too convenient at times resulting in characters being able to find each other rather easily in a chaotic big city where law and order is falling apart around them. This rather egregiously occurs while Kang is looking for Mir near the end. Also, while at times there is some pretty impressive CGI, it can be dodgy at times making scenes feel chintzier than they should. These are not huge detriments but do stick out from the most stellar production.

Video:

The 235 widescreen image is about as good as standard def will look.  Viewed on a 50” screen the image looks clear without too much digitalization.  Black levels falter a tad, turning a dark gray however the is no noticeable crushing. Daytime scenes along with the spanning cityscape shots show a lot of detail and even a little depth. Banding and jaggies are kept to a minimum and the color reproduction is accurate.

Audio:

The Korean and English 5.1 Dolby Digital lossy tracks equal the standard def video in extending to the upper reaches of efficiency. Dialogue in the Korean and English tracks are clear and accurate.  Bass is present throughout and rumbles appropriately when needed. All speakers are utilized nicely during scenes of intense action.

Extras:

The special features are small but interesting.  In a Behind the Scenes featurette, we get to see the director Kim Sung-soo talk about his ideas for the film. Also talked about are the use of digital effects to change the normal looking city footage into a place of urban destruction.  Standard interviews with cast members are peppered throughout.  Lastly are several deleted scenes.

Bottom Line:

All aggrandizing aside, this is how these types of movies should be made. “Flu” is a worthy example of how to make an entertaining blockbuster with some dramatic weight. The characters are lively without being cartoonish which helps immensely in a production like this. There are no overblown set pieces which feel out of place.  All the action is relevant and tempered. The acting is above average, thanks to an endearing effort by the actress who played little Mir.  For standard definition, the disc quality is a good as you can hope for.  Recommended to fans of disaster films and those who are interested in what modern day foreign blockbusters are doing these days.

John Wick Blu-ray review

Historically, action films tend to fall into two different categories.  The first one is a $200 million explode-a-ganza with whomever the current crop of action studs are (Think Michael Bay). The second one is usually a direct to video with B or C list actors.  They are made on the cheap with almost no expectations.  Recently there has been an arrival of mid-level budgeted action pieces that can merge enough story into the action to raise the stakes with raising the budget. One example is “The Raid 2” which was an adrenaline rush of entertainment as well as some nice storytelling.  The newest example of this is “John Wick”, a sort-of comeback project for Keanu Reeves.

The first 20 minutes takes a minimalist approach, simply showing quiet moments of John’s current life.  He wakes up alone, eats alone and stares out the window alone. Peppered between these moments are flashbacks of his recently deceased wife in the hospital.  One night a puppy is delivered to him with a letter, a last gift from his wife.  She wanted her to be remembered by him through this animal that can give him some companionship and love.  She didn’t want her last thoughts of him being alone.  The next day John goes about his daily life when he comes across three brash young Russians who take a liking to his muscle car. After an awkward exchange John peacefully drives away and that night he is assaulted by the same three Russians. They dole out some harsh blows to John and a fatal one to his dog.  They then make off with his car.  John then goes on a revenge mission against everyone involved in the crime even as it resurrects his past as an unassailable hitman who was part of a vast underground network .

“John Wick” works nicely to get viewers invested in the John character. In the beginning we don’t know who John is, but as events unfold and layers are peeled back, we discover he is a violent force that scares almost everyone that knew him in his past life.  It is conveyed that he left his past behind to have a nice quiet women who he loved. He’s a man who has killed, and killed expertly, for a living but death has just only recently become truly personal to him.  Only it was at the hands of nature and not some generic thug he needs to kill.  Then the assault happens and he can now place a name and a face to his internal rage.

The movie also distances itself from other common action fare with its style.  It’s fascinating that by just simply changing a few techniques here and there can make a film transcend becoming generic action fodder. Between editing, well-practiced choreography and some patience “John Wick” takes a relatively hackneyed premise and infuses it with a fresh tenacity.  The action scenes play out in steady medium-wide camera shots, echewing the modern shaky cam style used to “accelerate” (mask) the action.  This puts the Gun-fu on full display where it is easy to see what is happening.  It is called Gun-fu because the style is a merging of close quarters gunplay with martial arts.  This isn’t the John Woo slow-mo style of “Face Off” but rather a fluid and realistic display of close combat.  The finished product proves to it’s viewers that much time and effort was put into the fighting.

The style of “John Wick” also helps separate it as it holds a sophisticated sheen with classy architecture and unique set pieces.  From the secret hitman hotel John stays at to the Russian club, all of it exudes class.  There is a mix of old and new which creates a realistic yet mythic quality, like a graphic novel.  An example of this is The Red Circle, a main set piece in the middle of the film.  As the action moves from room to room you get a mix of a typical kitchen area, an underground bathhouse lines with old brick and a thumping modern dancefloor with swirling digital images and bright neon lights.  It all flows organically with a touch or surrealness.

Keanu excels in this role, letting his natural quiet demeanor cohere nicely with his action star past.  At 50, he looks as spry and nimble as anyone 20 years his younger.  He is in incredible shape and worked hard for this role.  Other cast members help add convincing depth to this world we are introduced to. Willem Dafoe, Michael Nyqvist, Alfi Allen, Dean Winters, John Leguizamo and Ian McShane are all recognizable giving distinct qualities to their characters.

Video:

Lionsgate Films presentation of “John Wick” is a wonder to look at.  The 1080P transfer shot in 2.40:1 by Arri Alexa cameras is clear and stable.  Detail is strong throughout.  The rather drab color palette used is a stylistic choice and although it does not make colors pop, it is more than perfectly matched for the story being told. That is not to say this disc is without color.  In the club scene, the blueness of the water contrasts gloriously with the old brick all around it.  Contrast also holds up nicely in these scenes.  Most of this film takes place at night or in darker areas and the blacks remain inky and dense.

Audio:

“John Wick” utilizes the new Dolby Atmos 7.1 technology.  If you are not set up for Atmos, it will output by default as Dolby TrueHD.  This is the type of soundtrack that will stress your system heavily.  Between the gunfire, body blows and the heavy beats of the pop songs your subwoofer will be put into overdrive.  All of it sounds realistic and the highs never faltering.  Even with all this dialogue is never and issue and is well prioritized.

Extras:

Audio Commentary with Chad Stahelski and David Leitch – an averagely entertaining  listen how some of the more technical aspects of the film

Don't F*#% with John Wick (17 minutes) – There is some good info here about the fight choreography and gun training. Also lots of praise for Keanu and his work ethic and how he trained for months to do most of his own stunts.
 

Calling in the Calvary (12 minutes) - A look how the project started by the producers.

Destiny as a Collective (6 minutes) -  A quick look at the stunt company and the 2nd unit directors.

The Assassins Code (5 minutes) – a brief vignette about the hidden network shown in the movie as well as the style of the film.

The Red Circle (6 minutes) – A behind the scenes peak on how they did the club gunfight scene. It was nice to see they wanted to do their take on the classic club fight scene that always seems to appear in action movies.

N.Y.C. Noir (6 minutes) – A terrific and all too brief look at the locations used in the film. They creators wanted the city to be it’s own character.  Also talked about are the challenges of finding a setpiece with space enough to film the needed scenes in

Lastly is a Theatrical Trailer
 

 

Bottom Line:

It’s refreshing to know that action can still be done in a unique and sophisticated manner. “John Wick” is violent, stylish, and intriguing the entire way through while introducing a character with depth and determination.  One can only hope that this can lead other action films to adopt a similar approach where making an effort to distinguish itself from the rest of the pack is as essential as anything else done to make a film. The audio and video are excellent and the extras will keep you happy for a night.  Highly Recommended.