For those of us who rejoice in ludicrous sci-fi shenanigans and need little in the way of “character” or “story,” writer/director Na Hong-jin’s Hope is very nearly something special. Almost as funny as it is grotesque, often operating in both of those spaces simultaneously, the film has very big ideas and very little interest in explaining those ideas.
To fully make that last point clear: Both figuratively and literally, if you need resolution in your life, Hope isn’t for you. The 160-minute movie ends on a cliffhanger, following gibberish dialogue spoken by aliens. As maddening as that is, I will also be first in line for the sequel (should it happen).
Set in a remote Korean village, police chief Beom-seok (Hwang Jung-min) is the film’s central figure. I say central “figure” because he is definitely not a “hero” and is barely provided enough details to be considered a “character.” We meet him as he discusses what appears to be an animal attack with his cousin, Sung-ki (Zo In-sung). It is not an animal attack. Even if you haven’t seen a trailer, which shows you how much it is not an animal attack, the film itself reveals as much almost immediately.
Beom-seok quickly sees a path of destruction through the village of Hope. After a thrilling, preposterously long “chase” sequence, a monster is revealed. It looks like a genital-free, gigantic witch with upsettingly long appendages and has an even more upsetting howl. Fellow officer Sung-ae (Hoyeon) helps halt the attack, but then speaks with a witness who reveals that there are more of those creatures. The witness shares this information in a story where explosive diarrhea plays a pivotal role.
That is a fairly revealing and encapsulating note. Hope is gross. And funny. And gross and funny at the same time. It is also frequently sloppy. For example, although each of the alien beasts has a unique and captivating design, the CGI is a roller coaster that goes from impressive to unintentionally hilarious. The technical elements aren’t the only spotty part.
Na Hong-jin didn’t want to overexplain the origins of his extraterrestrials. That is A-OK. He wanted to make all of his characters some combination of morally ambiguous, goofy, and beloved. I’m on board. He chose to jump genres and flip tones at the drop of a hat. Perfect. But there is no unifying theme or concept, no detailed narrative, and no character progression that allow Hope to feel like more than a disconnected series of very awesome moments that are sometimes delivered with less-than-awesome execution.
I say that, but there are at least a dozen images or sequences from this silly science-fiction slapstick that I will carry with me. It is rare to watch a movie that is this long and this disjointed and immediately wish you had another hour or two of it. It has understandably drawn comparisons to Bong Joon-ho’s The Host, but if expectations are set just below that and you approach it knowing full well you do not get a real ending, Hope remains one of the most oddly engaging original films of the year.
Grade = B
Other Critical Voices to Consider
Shakyl Lambert at CGMagazine says “I struggle on where to even rate Hope. If you go in wanting pure spectacle, it certainly delivers. But there’s a whole lot of stupidity that gets in the way first. I loved it and hated it. Go see it.”
Lisa Laman at The Spool says “Na Hong-jin’s tangible commitment to this bizarre story produces incredibly impressive visuals. When that dedication realizes humans scrambling to survive the horrific unknown or dark comedy beats, Hope excels. Even its shaggier third act (which keeps this overall from hitting the heights of Hong-jin’s The Wailing) features memorably gusto showmanship. Just grit your teeth through some peculiar alien design choices, and you’ll have a grand time.”
Michael Ordoña at The San Francisco Chronicle says “Na hadn’t directed a feature since 2016’s The Wailing, and one has to wonder why, considering the massive acclaim he collected for the three features he wrote and directed before this one. He expertly toys with audience expectations throughout Hope, showing mastery of pacing, revelation and action. The action is thrilling, shocking and fun as hell. Hong Kyung-pyo’s versatile, dynamic cinematography and Michael Abels’ score help elevate the film to epic territory.”