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Tag Archive: Netflix Kingdom


Review by C.J. Bunce

With costumes designed by Anna B. Sheppard, the designer for Schindler’s List, Band of Brothers, Inglourious Basterds, and Captain America: The First Avenger, you know your World War II movie is in good hands.

The first ninety minutes of Overlord is the stuff of the classic World War II movie.  Think Guns of Navarone or Von Ryan’s Express or a later film, Force 10 From Navarone.  It’s also modern in the way of Inglourious Basterds, but that movie if it had been filmed by John Carpenter, complete with special effects from The Thing and action from They Live.  It also co-stars Kurt Russell’s son Wyatt Russell (also Goldie Hawn’s son) as the tough and confident Corporal Ford, a John Wayne role like he plays like he’s been making movies for 40 years.  If that isn’t enough to go out and get your hands on Overlord, I don’t know what you could want.

It begins with a paratrooper drop, filmed believably, like Memphis Belle, but with the action of Edge of Tomorrow.  The first 40 minutes follows British actor Jovan Adepo as American soldier Private Boyce, a nice, naïve kid drafted recently and dropped into harm’s way behind enemy lines in France the day before D-Day.  Like Starship Troopers and Edge of Tomorrow, this is 100% authentic war, look and feel, and we follow Ford and boyce and their squad from the air on down to the gates of a town where they hide out and plan to blow up a German radio tower.  Despite J.J. Abrams producing this film and hints to the contrary, don’t expect aliens or zombies–this is not a secret Cloverfield 4.  What Boyce, Ford, & Co. find is a lab beneath the tower where the Germans are conducting experiments on the local French villagers and their own men.  It’s here where the story takes a turn for the weird.

The first 90 minutes are brilliant, face-paced, heart-pounding, nail-biting stuff.  Young director Julius Avery and writer Billy Ray pursue the lore of the German experiments toward a the creation of a “superman” or “super soldier” and what that might be like.  To their credit, they approach this like the Korean series Kingdom, which looked to a virus as the creation of a village of zombie-like villagers.  Here Avery and Ray look to twisted science as well, but they add in a bit of a fountain of youth element as part of the creation of these soldiers.  Spoiler:  They don’t all turn out exactly as planned by the Germans.

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Review by C.J. Bunce

As you drift along through IDW’s new mini-series, Ghost Tree, don’t be surprised if the story evokes Japanese folk tales, like Momotarō or last year’s Oscar-winning animated short film Bao.  Unlike so many comic book stories today, Ghost Tree is not an action-driven spectacle, but a refreshingly slow supernatural journey into the past for a young Japanese expatriate.  His name is Brandt, and he is returning to the home of his youth because of a promise made to his grandfather a decade ago.  And that takes him to a meeting in the woods near his grandmother’s home.

Writer Bobby Curnow (Teenage Mutant Ninja Turtles) and artist Simon Gane (Godzilla) paint a delightful, engaging, and haunting snippet from Japanese culture, bridging two generations, with a tale steeped in the otherworldly realm of so many Asian legends.  Take Stan Sakai’s Usagi Yojimbo and merge it with something spooky that awaits in the forest–like something just this side of the dark of Kim Eun-hee’s Kingdom–and you’ll find the setting for Ghost Tree.  

  

It’s a journey of self-discovery for grown-up Brandt, but what more can he learn from his grandfather now that he’s gone?  Can he help the lost souls in the woods and take home lessons from his grandmother to solve his own problems?  Learning from mistakes and regret, a haunted tree, and an assembly of souls that are drawn to it, plus monsters, and disembodied samurai?  It’s no wonder the first printing of Issue #1 has already sold out in pre-orders.  What prompted the advance sell-out?  The description or that creepy character standing atop the cliff?  Whatever the reason, the first chapter matches the hype.  It’s coming to your local comic shop this week, and if you happen to miss it, don’t worry because the second printing is close behind.

Take a look at this preview of Issue #1 of Ghost Tree, courtesy of IDW Publishing:

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Review by C.J. Bunce

After more than a decade watching our all-time favorite series take place in Korea (M*A*S*H), it’s refreshing to at last to see in wide U.S. release a quality series set in Korea.  That series is the first South Korean series released by Netflix, a fantastic medieval historic mash-up with zombies called Kingdom, which began streaming this past weekend.  Sprouting from a well-documented, mysterious plague that killed tens of thousands of people in Hanyang (present-day Seoul) during the 19th century Joseon dynasty, this story nestles the viewer in a fully realized Korea of the past, complete with opulent sets, costumes, and production values said to have cost nearly $2 million per episode.  The result matches a stunning script (based on a web series by Kim Eun-hee, who counts herself a zombie aficionado and proves it with this series), top acting from a slate of South Korea’s most award-winning actors, and cinematography showing locations most Westerners have never seen, with an exciting Braveheart of the Far East meets The Walking Dead genre action feast.

The region’s king comes down with smallpox, and on his sick bed his latest wife, a young pregnant queen (played by Kim Hye-jun) schemes with her father and the king’s supposed confidante, Lord Cho (Masquerade’s Ryu Seung-ryong), to seize control of the throne, conspiring with Cho’s embedded clan of thugs to shun the true heir, the Crown Prince, played by Ju Ji-hoon (The Spy Gone North) as an earnest, Henry V-inspired leader.  But is the king really dead, and what other secrets does the queen keep?  Father and daughter bar access to everyone outside their circle, and so the Crown Prince escapes with his trusted and fierce lieutenant Muyeong, played with equal parts grit and humor by Sang-ho Kim (Octopus), conjuring the versatility of Japan’s Toshiro Mifune.  They set out to discover the source of the spreading plague, meeting up with a doctor played by Sense8 and Jupiter Ascending‘s Doona Bae, and (in a twist worthy of a Tom Clancy novel) the realization fosters the Crown Prince’s viability as a real leader against an unthinkable threat.  Rounding out the main cast is a mysterious warrior named Yeong-sin, an angry, defensive villager who buries a group of the dead against local traditions, played by Kim Sung-kyu.  His character is cloaked in his own secret past.

Deception.  Murder.  Conspiracy.  A prince who above all else looks to protect his father the king and be a good leader.  A heroic race to a stronghold via horse cart.  A mother infected who turns on her own child.  Swords and bow and arrow, and early rifles, as the only means of defense.  Gorgeous, truly cinematic imagery.  Western viewers get an incredible look at a beautiful island, forests, waterfalls, bubbling brooks, palatial estates, lakes and mountain views probably never captured for a wide modern audience, thanks to some stunning cinematography.  Fog, night, and fire eerily presented among cinematic storyboarded action sequences.  The music is a blending of traditional, medieval, Eastern themes, and sweeping programmatic action movie cues.  Costume designs in exquisite fabrics and designs at first may seem odd to modern viewers, but their similarity to the garb of Akira Kurosawa films (that Western audiences have had greater access to over the decades) should ease in most viewers.  The production sets and artistry are probably matched only by History’s Vikings of the current historical and fantasy TV series available.  And the expected horror of the zombie genre–sword beheadings were never filmed so believably.

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