RKS 2025 Film: “The Old Woman with the Knife”: Dense, Engrossing and Impeccably Choregraphed Korean Assassin Thriller with a Social Message of Sorts

In 1975 a destitute and abused housemaid of 16 lies on the Korean roadside covered with snow and close to death. A passing motorist, Ryu, picks her up taking her to his restaurant he runs with his wife where she is hired as a helper. Ryu claims to be in pest management and extermination and he is not referring to insects but to lowlife and despicable subhuman men as social pests. When the housemaid kills a U.S. serviceman attempting a violent rape in the restaurant kitchen Ryu is nonplussed stating she has simply killed a bug giving her the nickname “Nails”. So the assassin career of Nails (Hye-yeong Lee) commences.

The Sinseong Agency is founded. Its services are to, at the behest of clients, kill the most depraved and despicable who cause untold suffering to clients and society in general. Assassins with a moralistic code. If an assassin fails in a killing assignment death is the rule. Sohn, boss of the Agency, has been straying from moralistic killings to murder for hire to the dismay of Nails, who having proven her worth to become a legendary assassin earning the nickname Hornclaws (claws of a beast).

A young Turk, Too-Woo (Kim Sung-cheol) with Bullfight as a nickname, emerges on the scene as a ruthless killer delighting in causing the utmost pain and suffering to his victims. Unbeknown to Hornclaw, Bullfight establishes a connection between himself and Hornclaw deserving of a revenge killing of the 60ish Hornclaw even if it means saving her from death so he can make the kill.

The final battle between Hornclaw and Bullfight is a magnificent show of choregraphed fighting. Is Bullfight’s revenge assassination successful?

Although pocked with occasional humour the film is a serious one with reference to age and the female character as weaknesses. Hornclaw has survived prejudice and sexism reaching legendary status but with increasing age the sexism returns coupled with ageism.

If John Wick is a franchise there is no reason why there shouldn’t be “The Old Woman with the Knife II”.

Here is the trailer https://www.youtube.com/watch?v=97_3dkfY5nU

The director is Kyu-dong Min.

A VOD release is now scheduled for 26August2025. It demands a double watch due to its density and numerous flashbacks.

RKS 2025 Film Review 92/100.

The 12th Annual Korean Film Festival Canada: “Hole”

The 12th Korean Film Festival Canada held in Montreal will be wrapping up 7June2025.

“Hole”, a 2023 K Short by Hyein Hwang, screened on 24May2025 but it surely and deservedly must pop-up in the festival circuit.

Kafkaesque initially gradually transcending into absolute horror and I am not referencing the Borror genre of horror with slashing, spewing guts and predictable violence. This is pure thinking person’s horror triggered by suspense and curiosity that may kill the cat. The horror is psychological.

Jeong-mi is a junior child welfare officer in Seoul under the tutelage of her boss who leaves her to finish off the day’s tasks to attend his wedding anniversary party.

Two young children on her “list” have not been attending school for months so the situation must be investigated. Are the parting words of her boss indicative of child welfare authorities in South Korea; “Children lie a lot so don’t believe everything they say.”

Jeong-mi attends the home of the two children who take her to a room with a manhole cover over a deep hole where the children say they can hear their parents’ voices coming from below. These children are to be believed. There are voices and noises coming from the bottom of this deep hole. At this point your curiosity may be quickly transformed into terror of a menacing nature.

Bone chilling and delightfully discrete! High class horror!

RKS 2025 Film Rating 94/100.

RKS 2025 Canadian Wine: Wending Home Syrah-Merlot

If you are going to “make it” with Syrah and Merlot in Ontario generous oak treatment and pristine quality grapes are required.

This is a single vineyard dual variety wine that has spent thirty months in used French oak. 50% each of Syrah and Merlot.

Aroma: Definite Merlot on the nose not lush and plush which one might expect with American oak but on the lean here. But no mistaking Merlot with black cherry, blackberry and smoke giving a richness illustrative of great skill in vinting this wine.

Palate: Lean and focused. The tannins slowly augment on the palate but remain stalled at the moderate level. The acidity here can be detected on the nose but to a lesser degree on the palate. Blackberry and black cherry in delightful harmony with a lovely fade.

Personality: High quality Niagara Merlot and Syrah make me a poster child for Niagara Syrah and Merlot. Much more restrained than Washington State and Cali Merlot which we Canadians no longer purchase.

Food Match: Curried cod Japanese style. Look for SK Curry paste from Japan which you just might find at Metro.

Price: $30 CDN.

RKS 2025 Canadian Wine Rating: 91/100. Wine Align Community Score 89.

(Wending Home Estate Vineyards & Winery 2021 Syrah-Merlot, VQA Ontario, Wending Home Estate Vineyards and Winery, St. Catharines, Ontario, 750 mL, 13%).

RKS 2025 Film: “The Legacy of Cloudy Falls”: Quasi Infinite Parade of Oddities

“The Legacy of Cloudy Falls” is set in Niagara Falls, Canada, you know the “better side” of the Falls!

They say the best part of Las Vegas is leaving it. The same may be said, but in a more compelling fashion, about the town Niagara Falls, Ontario. Tacky and seedy may be a polite description of it.

Add a seemingly endless parade of bizarre characters living in and about a soon to be demolished apartment motel in Niagara Falls and you either have a horror movie or a deep dive into the quirky.

Rita (Susan Berger) is an elderly red-haired, arthritic and raspy voiced custodian of the apartment motel providing a glib, sardonic and sarcastic commentary on the tenants and on the town of Niagara Falls and after 18 years on the job is aware of the delicate “ecosystem” of the complex.

Be prepared for cavorting and shy homosexuals, physics, tarot card readers, compulsive liars and shoe shiners, unsuccessful YouTube debunkers, wannabe actors suffering from horrendous stage fright, gossips, thieves, fraudsters, cantankerous old men and obese naked men in the apartment hotel’s small swimming pool.

The film is a prime example of character development with perhaps little more purpose than lighthearted entertainment and it over-succeeds in that regard.

Each character introduces a subplot which thank goodness the film does not dig too deeply into as the focus for me was the stream of the odd characters and the surf music on steroids score by Adrian Ellis and Walker Grimshaw.

Each character represents a gem, perhaps stereotypically at points but isn’t that a cornerstone of comedy?

Susan Berger as Rita, very much reminiscent of Dale Dickey in the film “G”, is the glue that drives the film. Robert Nolan as the fraudster psychic Walter Pryce, Amanda Martinez as a sullen sharp tongued compulsive liar Riley and as Grace Glowicki as Brigit deserve special mention for their performances. The entire cast is solid and delightfully eccentric.

“The Legacy of Cloudy Falls”, directed by Nick Butler, is a Canadian film which might have been titled ‘Fear and Loathing in Niagara Falls, Canada”.

Watch the trailer here https://vimeo.com/1046852891

Theatrical release in Toronto on 6June2025 followed by a VOD release near the end of June.

RKS 2025 Film Review Rating 92/100.

The Korean Film Festival of Canada: “Moving Water”

In this Quebec film short directed by Kaia Singh screening on 7June2025 at the Korean Film Festival of Canada in Montreal bi-racial teen Mira (Manna Singh) deals with the death of her Baba (grandfather). Baba’s last words were his desire to go to the water, most likely realizing his impending death and the resulting Hindi ritual of sprinkling ashes in a sacred river.

Mira feels unable to help in dealing with Baba’s death saying to a relative,” I feel useless”. She speaks French and English but not Hindi. She does hold a picture of Baba and dips her belt into a glass of water and rubs the frame. Is this Mira’s attempt to connect with Hindi culture?

Mira does have compassion for her grandmother irrespective of cultural divides. It is Mira’s compassion enabling her to manage her cultural awkwardness and alienation.

RKS 2025 Film Rating 66/100.

The 12th Korean Film Festival of Canada: “Variation”

“Variation” is a K-Short directed by Ji-hoon Park screening at the 12th Korean Film Festival of Canada in Montreal 22May-7June2025.

“Variation” can be interpreted as an innocuous 24-hour snapshot of a relationship between a young Korean couple reuniting after previously ending their relationship. Alternatively, it may have a deeper meaning. In film multiple interpretations frequently point to a layered and complex production which we have here.

Veering off the innocuous interpretation route my take is that “Variation” tackles the ever-changing pattern of human romantic relationships. Like the continually changing tattoos on the man’s back a relationship is in a constant state of flux.

The repeated references to an airplane trip accentuate a relationship is rarely static but moves in as in a journey.

The woman states she wants the man to act just like the way he did when they first met but the reality of their relationship, even with a short 24-hour time period, is beyond what the relationship was in the past.

“Variation” screens 7June2025.

RKS 2025 Film Rating 73/100.

RKS 2025 Wine: A Nero Carbone from Basilicata in Italy

The Carbone family, based in Melfi near Mount Vulture in the heart of Basilicata, values their unique terroir which is rich in volcanic soil. Situated on the slopes of the ancient volcano, their vineyards benefit from an ideal aspect. Coupled with an optimal microclimate that’s marked by significant temperature variations, this setting imbues Aglianico with its unique character that’s deeply rooted in the region.

Aroma: Ultra rich black cherry with mint and sage rounded by a touch of vanilla owing to its one year in neutral oak barrels. A touch of graphite and bacon.

Palate: The tannins are slow to make their mark but they do so gradually mount to create a moderately tannic red wine. A rough elegance almost soft at time so let’s sum up say a forceful wine. More graphite tinges the assertive black cherry and dark minerality ending with a peppery and long finish.

Personality: Don’t expect me at a state dinner in Rome but that doesn’t bother me. The wine snobs will tolerate me if in a generous mood and label me rustic. But rustic is needed for so many authentic dishes such as Polpette Siciliano. Yes I am sippable but so much better with food and that includes Sicilian pizza Norma which the Roma versions pale in comparison.

Price: $17 CDN.

Cellarbility: Close your drinking window in 2028.

RKS 2025 Wine Rating: 91/100. Wine Align Community Score 88. Eric Guido at vinous.com 93.

(Nero Carbone Rosso, 2019 IGT Basilicata, Carbone Vini, Melfi, Italy, 750 mL, 14%).

RKS 2025 Film: “BA”: Ba Ba Black Sheep for the Grim Reaper

Daniel (Lawrence Kao) is down on his luck. In Manadarin “ba” can refer to both father and dad and that he is for his 8-year-old daughter Collette (Kai Cech). Daniel and Collette are living an extremely penurious “living in his car” existence.

During this “camping car adventure” Daniel discovers a wooden box in a bag left in a car park containing a large wad of $50 bills but far less than would be required to afford the life he wants to give Collette. The catch of this lost and found is contained in a note in the wooden box stating, “Upon acquisition of this payment you agree to the eternal profession”. A sharp eye will detect the word “reaper” on the paper band wrapped around a paltry amount of $50 bills. It sounds ominous but the scant amount of money is indicative Daniel is being bought at a discount for a possible nefarious employment opportunity. Is that bad Grim Reaper head guy exploiting the poverty and desperation of Daniel?

Upon opening the box and on his way back to his car Charlie, the family dog, runs up to Daniel and receives a friendly pat that instantly kills him. The deadly touch is explained by a subsequent note that reads, “Until you have paid back Eleven times what you have taken any creature you touch will die. To the world you will appear as death.” Don’t look at him or you die! When Daniel looks in the mirror his face is that of a Grim Reaper and that is how he appears to the world.

Heavily camouflaged about his face has Daniel looking very suspicious. An intermediary from the mysterious force hands Daniel his Grim Reaper assignments all seemingly non malicious but technical as he guides his “victims” to the portal for the journey to the other side. Most often portal transportation is facilitated touching the hand. The “good side” of a Grim Reaper career.

Wobbly plot with gaps here and there? But are the gaps intentional hints thrown at the viewer?  Like who is this intermediary of the Grim Reaper? What are the eleven times referred to in the message in the wooden box?

Goody goody two shoes Macey from Child Protective Services noses about to find quasi-abandoned Collette in a seedy motel room (while Ba is making transport arrangements for the dead) and rescues her taking her to her home with her potentially abusive partner Brad. From the fire into the frying pan. Brad has a vicious temper threatening poor Collette. Yet another evil she must life manage.

The big guy Grim Reaper is far from pleased with Daniel’s performance and an epic battle between them ensues leading to an apparent faux and highly disappointing ending.

Stick around and avoid being melted by the cheese. You’ll be rewarded with an ending that will determine just how clever and inventive you are. Are we dealing with a “sleeping soul” or Collette’s issue of creating imaginary characters?

Kao delivers without a question. Likeable, empathetic and most convincing as is the cinematography. Michael Paul Chan as Sonny steals the show in his few scenes.

Not sure about the genre though? Horror? No obvious spooks but the horror of employment in the Grim Reaper corps is manifest. Mystery yes. A possible family drama as it is just a prime example of the nonobvious horror genre. A study of unpleasant choices to be made within the prison of poverty.

Written and directed by Benjamin Wong.

Now available on VOD.

RKS 2025 Film Rating 73/100.

RKS Literature: A Governmental Addiction to Gambling (Brad Smith)

“I can’t bet here? What the hell happened to this place?”

She looked at him as if he’d just stumbled down from the hills. “What happened was, they either had to put in the slots or close the doors. I don’t know where you’ve been, but the province has gone casino crazy. The government has finally found a surefire way to make money. They legalized gambling.”

Ray looked around. “Look at this place.”

“We couldn’t fight ‘em so we had to join them”, the blonde said. She gestured with both hands towards the people at the slot machines, slipping coin after coin in, going faster with each losing pull. “You know what it is, don’t you?”

“What is it?”

“A tax on the stupid.”

Brad Smith, “All Hats”, 2003, Penguin Canada.

RKS Literature: Inside Jail Thinking About Getting Out (Brad Smith)

“On the inside, all a man thinks about is getting out. Night and day, it’s always there, like an unfulfilled promise-that always indistinct point of time somewhere in the distance when he is no longer in stir. It occupies a man’s head when he is thinking about it, and it occupies his head when it isn’t. The mental pursuit of that future moment is so powerful that he invariably forgets to consider the next question.

What to do when it finally happens.

Because being out with nothing to do and nowhere to go is not that much different from being in. The difference from being inside and being out was that on the inside, a man always has a plan. And that was to get out. Being out robbed him of that objective, and it was in looking for a brand-new objective that he usually got himself into trouble.”

Brad Smith, “All Hat”, 2003, Penguin Canada.