Lee Isaac Chung
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Filmography
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Connections, in both directions
This about as American a story as you can imagine, and Chung — who wrote the screenplay — deftly bypasses cliches and still recalls all the great, tough films in this category from “The Grapes of Wrath” to “Days of Heaven.”
It reverses the basic American migration story, seen in such movies as The Grapes of Wrath (1940), Lost Boundaries (1949), and even The Dollmaker (1984).
An elegant, delicate score from Emile Mosseri subtly amplifies the entire project, while Lachlan Milne’s naturalistic cinematography more than once evokes Days of Heaven in the way it celebrates the American landscape and even infrastructure.
This about as American a story as you can imagine, and Chung — who wrote the screenplay — deftly bypasses cliches and still recalls all the great, tough films in this category from “The Grapes of Wrath” to “Days of Heaven.”
It's calm rural power reminded me a bit of David Lynch's G-rated The Straight Story (1999) actually.
It reverses the basic American migration story, seen in such movies as The Grapes of Wrath (1940), Lost Boundaries (1949), and even The Dollmaker (1984).
Hollywood has lost touch with the humanism that distinguished the class-struggle story in Jean Renoir’s The Southerner (1945).
It’s “Country” or “The Southerner” or “Jean de Fleurette” but with Korean immigrants tested this time, a family whose problems arrive with them when they got their 50 acres of Arkansas in the mid-1980s.
While taking a Korean perspective on the much fabled “American dream”, it also evokes memories of bittersweet and torrid tales as diverse as Field of Dreams and The Mosquito Coast , where one family member is seemingly risking it all in pursuit of a goal that maybe they alone believe in.
Yuen’s journey lies somewhere between Field of Dreams and Death of a Salesman , a man suffering from his own ambition and tossed about by the winds of fate; it’s a beautiful, meaty role for an actor who’s been taking greater chances like this and 2018’s Burning ; he’s come a long way since The Walking Dead .
It reverses the basic American migration story, seen in such movies as The Grapes of Wrath (1940), Lost Boundaries (1949), and even The Dollmaker (1984).
Natural disaster titan Roland Emmerich lead the charge with films like The Day After Tomorrow and 2012, with Dean Devlin’s Geostorm acted as the peak example of natural disaster flicks gone bad.
Natural disaster titan Roland Emmerich lead the charge with films like The Day After Tomorrow and 2012, with Dean Devlin’s Geostorm acted as the peak example of natural disaster flicks gone bad.
While taking a Korean perspective on the much fabled “American dream”, it also evokes memories of bittersweet and torrid tales as diverse as Field of Dreams and The Mosquito Coast , where one family member is seemingly risking it all in pursuit of a goal that maybe they alone believe in.
This dynamic - along with newcomers attempting to fit in with a settled, rural community - are the central focal points in this absorbing American immigrant tale, maybe the best one that this critic has seen since director/co-writer Jim Sheridan’s “In America” (2002), about an Irish family moving to New York City, during the 1980s as well.
Natural disaster titan Roland Emmerich lead the charge with films like The Day After Tomorrow and 2012, with Dean Devlin’s Geostorm acted as the peak example of natural disaster flicks gone bad.
As expected, there are elements of “Green Acres” and “The Egg and I,” and their farmer out of water — literally — plots, but “Minari” tills richer loam in defining what it means to be a family, from the petty squabbles to the unity of rallying around a crisis.
The child actors are fine, but rarely pop off the screen (particularly in comparison to such engaging recent performances as Woody Norman in C’Mon C’Mon or Alan Kim in Minari).
An autobiographical tale from Gray’s childhood set in New York City during the 1980s, this scaled-back drama follows in the footsteps of other recent self-autobiographical reflective pieces, including Kenneth Branagh’s “Belfast” and Lee Isaac Chung’s “Minari.”
Rental Family is one of those films made with the intention of pouring an ounce of softness into the world. Other examples being We Bought A Zoo, Minari, and Marcel the Shell with Shoes On.
The Brutalist would be a compelling companion piece to 2014’s Nightcrawler or 2020’s Minari, both riveting films that are also about the American Dream’s deceits.
While predictably, the two misfits eventually form a bond, Minari expands upon this clichéd connection between grandmother and grandson (yes, Ozu’s Tokyo Story comes to mind) to tackle more substantive issues of what it means to cultivate a better life and what it takes for relationships to survive and thrive, even in the worst of times.
He often avoids the kind of Malick-like cinematography that defines so many coming-of-age pictures in the wake of The Tree of Life , instead defaulting to a slightly more formal naturalism that’s wholly sturdy and wonderfully competent.
While there were plenty of "That Guy!" faces like Alan Ruck, Joey Slotnick, and Jeremy Davies, the group also included future Academy Award–winner Philip Seymour Hoffman and Todd Field, who would go on to write and direct critically adored dramas like In the Bedroom, Little Children, and Tár.
In 2017, “Lady Bird” asked if love and attention were the same thing, and Chung’s devotion to his characters is much like Greta Gerwig’s while remaining utterly distinct.