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The festival is dying down with just two days left and all our screenings over. I was going to try and catch up on films this weekend, but I need to catch up on Z’s more. It was an incredible run with five screenings all sold out and having turn away so many folks (which I feel terrible about — though I hope it is a sign that this film really has an audience craving it out there and a smart distributor can recognize that.) Thanks to everyone for the support and soju.
With that, we’ll end this chapter of the West 32nd saga on a few nice quotes regarding the film that I found while trolling the internet:
- In my opinion, Kang and Michael Mann are the only American directors who are capable of filming a good gunfight sequence.
- …while West 32nd feels like it could be a Hollywood drama ala Fast and the Furious, it’s much more morally ambiguous than your usual studio fare.
- Director Michael Kang did a good job of capturing on camera the gritty, underground world of K-Town. To Kangâ€™s credit, his display of NYC was more in line with Michael Mannâ€™s camera work in Collateral, and thankfully not like Andrzej Bartkowiakâ€™s camera work on Romeo Must Die.
- What’s interesting about the movie, besides it’s effective use of both Korean and English to convey how the people in this hierarchy are upholding a lot of Korean traditions as second- and third-generation Americans, is how very little in the movie is black and white.
- The acting is rather good. Cho and JS Kim have a good chemistry together and JW Kim is excellent in her extended cameo as the mother. This is a taught thriller to be sure, and does indeed keep one interested. Worth the bucks despite the subtitles.
- Possibly a symptom of the zeitgeist, four films feature preying bullies. The best of these, and the other U.S. indie film in competition, is Michael Kang’s West 32nd , set in the Korean sections of Manhattan and Queens.
- West 32nd turns out to be a completely incredible film.
- Well-structured, gorgeously shot, and paced pretty well. The performances feel fresh and relevant, and the look of the film was absolutely mesmerizing.
- The film’s best moments examine the things that get lost, sometimes intentionally, in translation: One riveting scene, where Cho interviews a witness through a translator with selfish motives, matches anything in Hitchcock’s oeuvre for sheer suspense.
- “West 32nd” was actually very well-done (surprisingly so). It’s a very stylish movie, and it’s tight and well-organized, and very well acted.
- The movie was filled with twists and turns, just when you thought you had figured someone out… they would shift and turn into something else.
- I really liked the film. Boyfriend though, loved the film and loved the idea of ‘room salons’.