“The Host” (2006) from Bong Joon-Ho is the movie that everyone told that they need to know if they want to know how exception is the talent of the South Korean director.
Some may say that they are looking for “Snowpiercer” from Bong (2013), or the famous favorite, or its jaw winner, which is the best image, “Parasite” (2019).
I think anyone felt that he was letting Micky 17 (including this writer) will want to reconsider the work that made Pong known in the first place.
For me, the quick response was always “host”.
It begins in 2000, with the only scene in English, where Scott Wilson plays the role of an American doctor who directs his partner in the laboratory to “pour formaldehyde below the opening match”. We have cut dozens and dozens of poison bottles that start from drainage.
From the start, we are in the Monster Movie area, but the shocking scene is as funny. We know what happens when scientists spoil nature, not to mention the Han River, but the scene is also played in real.
The American doctor realizes the poison he wants to launch and his partner feels the horror of the instructions, which he ultimately follows. The opening match is perfect – black but complex comedy.
After years, when a fisherman, with reference to the clear effects of the poison that spread in the waterpiece, witnessed a distorted chart.
“How many tails?” He asks.
Again, we laugh because we know that we are watching a monster movie, but the moment is still shook.
Ultimately, we meet the family park, which is a charming and coherent family of the working class that works next to the Han River. Someone is watching a huge body and a strange appearance hanging from the bridge, which dives into the water and appears in a crowd as a rapid dining machine.
It takes only 11 minutes for the “host” to reach the introduction of the extraordinary movie to the monster, which looks like a giant chapter that was crossed with a mountain lion. In daylight, the monster is really funny and frightening.
F/X in this and every amazing scene. By the time he is 20 minutes old, it appears to be classic.
The initial attack scene is the artistic peak of the film, as liberation, cinematic filming, music, speed and programmed use of slow movement creates a flawless group. I cannot think that revealing the monster that occurs on a sunny day, where we see clearly the threat, and instead of the illusion clear, the clarity of the details and the movement are alive.
In addition to capturing and destroying the monster, the plot about the search for Hyun-SEO (Ko ah-Sung) becomes the smallest park, which becomes a monster prisoner. The performance of the Kang-Ho song as her blonde-haired father, his father and loved ones is the heart of the movie and comic comfort. Also at hand in the rescue is NAM-Joo (Bae Doona), a Park family member with shooting skills at the Olympic level.
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Bong’s Brilliant Monster takes a second role that looked like a science fiction with greatness 20 years ago, but it now looks like a frightening look. Family scenes under the quarantine and a prisoner contract by the hazmat suit that the kidnappers wears unstable reminder of the Corona virus, even with the viewer, at a level, vibrant and dark.
Photography of government procedures during the outbreak of the disease is a chilling, even with a pong sending.
As in most monster films, the personalities of power are the problem, while the heroes are believers who are courageous enough to face what cannot be conceived. Although the sequence of infection lasts for a long time, exciting rescue scenes are all you want.
This liberation and narration of the social comment and the monster boy is always striking, although the wise option made it a family story, as the narration revolves around the efforts made to unify the broken family unity.
“My films are in gender, and it is a global language. Everyone talks about it.”
– Bong John HuGreetings for Bong John Ho:
Population (2019).
Mother (2009).
Host (2006).
Mickey 17 (2025). #Bongjoonho pic.twitter.com/uihmadtldm– Agustín R. Michel (Agustinrmichel) March 6, 2025
I was deeply concerned with the Park family, which gives the movie its human essence, but its unconfirmed results only raise suspense. Comedy becomes crazy and sometimes forced, but looking at intensity, always welcome.
“The Host” is an eco-kaju, like all Kaiju Monster-sub-text is the environmental effect, and the destruction of a human creature. Although it may be very artistic for those who traditionally expect Kaiji, it is also a kind of films that know if you will present shooting early, it was better to get its fruits in the end.
After “Momises” (2003), but before “Mother” (2009), “SnowiPiercer” and “OKJA” (2017), “The Host” of Bong became one of the best South Korea films and got noise around the world. I remember that I read about this in the spread of a magazine that gave a glimpse of the amazing amazing effects of the creature.
I watched the movie at the 2006 Denver Film Festival at midnight. I left the theater completely delighted (the next night, I went back to the same theater, where I gave the same hole to the “Ban Maze”. It was a wonderful year for the festival).
Subsequent films such as “Cloverfield” (2008), “Pacific RIM” (2013) and “Monsters” (2010) also excels in expanding expectations and the human center of Kaiji films. The “host” is so good that it plays like a perfect dual feature with “Godzilla Minus One” (2023).
By showing one of the greatest monsters of cinema, the “Rodan” scene (1956) of the cinema, and “Godzilla” (1954), Bong created one of the best films of 2006 and a monster movie as wonderful.
