The odd grammatical and printing error aside, this is a well-produced and easy to use guide to some of the best film-making of the last ten years or so.

It's worth noting quickly that despite the glossy cover, the book is entirely black-and-white inside with pictures that are of an acceptable rather than brilliant quality. Personally, I find this to be a very minor quibble.

I was already very enthused by recent Korean cinema before reading this book and have enjoyed it very much, but it would also make an ideal introduction for someone only just thinking of dipping their toes into the invigorating waters of the Korean New Wave.

I can't fully appreciate the frequent comparisons made with Hong Kong film-making of the 1980s having seen very little of it, but it hardly matters; this book puts across in no uncertain terms just how exciting the film scene in Korea has been for the last decade, and it would be a hard-hearted person who isn't stimulated to seek out a DVD or a viewing of some of the films reviewed here.

This is not to say, however, that the book is unbalanced. The author's enthusiasm for Korean cinema is obvious, but does not stop him criticising those films - some, even, that have done very well at the box office - that he considers do not come up to scratch.

The book is sensibly laid out to make it easy to either read straight through or dip into for specific information. It begins with a brief - and NOT heavy-going - history of the Korean film industry coming right up to the beginning of the 21st century. There then follows a chapter of in-depth reviews of 10 of the best Korean films that 'Everyone Should See'. After that the chapters are divided up by film genre (Action, Horror, etc.), and there are 87 (yes, I counted!) high-quality reviews in all. The last few chapters introduce some of the rising stars of the industry, give some assistance to those wishing to find and see these films, and look to the future of Korean film-making.

The only major disappointment for me was that due to the book's having been published in 2002, wonderful films such as A Bittersweet Life, Memories of Murder and Save the Green Planet! are not included, having been released from 2003 onwards. It would be silly to complain about this type of issue since it is inevitable, but here's hoping for a new edition of Korean Cinema: The New Hong Kong sometime soon because the cinematic gems just keep on coming!

The odd grammatical and printing error aside, this is a well-produced and easy to use guide to some of the best film-making of the last ten years or so.

It's worth noting quickly that despite the glossy cover, the book is entirely black-and-white inside with pictures that are of an acceptable rather than brilliant quality. Personally, I find this to be a very minor quibble.

I was already very enthused by recent Korean cinema before reading this book and have enjoyed it very much, but it would also make an ideal introduction for someone only just thinking of dipping their toes into the invigorating waters of the Korean New Wave.

I can't fully appreciate the frequent comparisons made with Hong Kong film-making of the 1980s having seen very little of it, but it hardly matters; this book puts across in no uncertain terms just how exciting the film scene in Korea has been for the last decade, and it would be a hard-hearted person who isn't stimulated to seek out a DVD or a viewing of some of the films reviewed here.

This is not to say, however, that the book is unbalanced. The author's enthusiasm for Korean cinema is obvious, but does not stop him criticising those films - some, even, that have done very well at the box office - that he considers do not come up to scratch.

The book is sensibly laid out to make it easy to either read straight through or dip into for specific information. It begins with a brief - and NOT heavy-going - history of the Korean film industry coming right up to the beginning of the 21st century. There then follows a chapter of in-depth reviews of 10 of the best Korean films that 'Everyone Should See'. After that the chapters are divided up by film genre (Action, Horror, etc.), and there are 87 (yes, I counted!) high-quality reviews in all. The last few chapters introduce some of the rising stars of the industry, give some assistance to those wishing to find and see these films, and look to the future of Korean film-making.

The only major disappointment for me was that due to the book's having been published in 2002, wonderful films such as A Bittersweet Life, Memories of Murder and Save the Green Planet! are not included, having been released from 2003 onwards. It would be silly to complain about this type of issue since it is inevitable, but here's hoping for a new edition of Korean Cinema: The New Hong Kong sometime soon because the cinematic gems just keep on coming!

KOREAN CINEMA: THE NEW HONG KONG is clearly the product of a genuine convert to the form. Whether Anthony C.Y. Leong has remained so is anyone's guess as of late, but it indeed comes as a small surprise that this book was written by a regular contributor to Thomas Weisser's execrable ASIAN CULT CINEMA magazine, a publication that has done more to pigeonhole Asian cinema into one gigantic bowl of sex and sadism than any Pink-film-loving pervert could do in a lifetime.

From evidence provided here, though, Leong's passion for movies (which is also evidenced via various online review portals, the style here being little better than that) is better served by self-published efforts such as this than it is sandwiched between the salacious and error-ridden pages of Weisser's rag. Weisser's ASIAN CULT CINEMA book, a late-90's reference guide to Hong Kong cinema that has disseminated more MISinformation to the world than any fifty amateur fanzines could circa 1990, is still being peddled to an unsuspecting base of newcomers (I've yet to ascertain whether Leong was a contributor, but it's likely), so it's refreshing to know that viewers curious about Korean cinema at least have a reference guide that, while not blessed with particularly great prose, is at least honest and forthight in its appreciation of its subject matter, without resorting to the cheap putdowns and mysogynist leanings of the Weisser material with which its author, perhaps unwittingly, has previously been associated.

Leong is, however, WAY WAY OFF BASE in labelling Korean cinema "The New Hong Kong." The assumption that one country's cinematic fare is so lacking in cultural identity that it stands only to supplant the fare of another country - following that all Asian cinema somehow "blends" together in the eyes of outsiders - is simplistic and ill-informed to say the least. Leong, who is Chinese, makes repeated commentary about the downfall of Hong Kong cinema while holding Korean cinema up as the natural successor to the throne. Hong Kong cinema, however, is still very much alive and kicking, and while Korean cinema has certainly enjoyed a renaissance of sorts (both domestically and internationally) since the release of the high-tech action thriller SHIRI in 1999, nearly seven years on, many Korean films are still plagued by tired concepts, poorly-plotted screenplays, crass histrionics, and various culturally-specific idosyncracies that may yet be their undoing in the international market once the demand for genre pictures has dried up (as I write this, the Korean DVD market is in a serious state of financial decline). (2007 EDIT: much of this has come to pass: Korean films are garnering fewer distribs at film festivals, and they're lucky if they get one or two breakout smashes a year; DVD sales are nearlly dead in the country. They're still making films worth watching, but the industry is in serious pain right now.

However, Leong's book generally covers films from 1998 to 2002, which any Korean film fan will tell you is the period they first "discovered" Korean cinema, too. And as such, the book clearly is/was a labour of love. More scholarly books have been written on Korean cinema both before and since Leong's self-published tome, but none have ventured to simply provide straight-up reviews of the many varied films that came from this period, so depite his web-forum-worthy writing style, Leong still managed a small victory for the fanboys.. Mind you, scholarly works on Korean cinema (and Korea itself!) are virtually required reading--I strongly prefer them to a book like this--if one is to truly understand the cultural subtext running through much of modern Korean cinema. Thus, Leong's book stands as the best place to START your journey, but once you've seen the films, and if you truly want to know more, then it might be good to augment this book with a more serious cultural, cinematic or even socio-political study.

The format of Leong's reviews is a bit too structurally consistent (intro-synopsis-opinion-rinse-repeat), which means they're best digested a few at a time, preferably just before of just after watching the film in question, which will at least grant the book an extended shelf life as the reader builds a Korean DVD collection. Also, the reviews are grouped into "categories," which is restrictive, particularly as many of the films aren't so easily pigeonholed. It's a small gripe, admittedly, but straightforward alphebetical listings would be much more user-friendly.

Since the book's publication at the very beginning of 2003, however, Korean cinema has produced an incredible number of feature films -ranging from derivative-but-pretty junk like MY BOYFRIEND IS TYPE B and RED EYE to international arthouse darlings like OLDBOY and TAE GUK GI - that would be well served by an update to Leong's manuscript, something which has yet to take place but would firmly cement his position as one of the few non-internet-based reviewers to tackle the subject matter in this way. One hopes that the visible reduction in his output might mean he's working on a revised version of his book, but as he's not one to return emails from interested supporters (especially those who are, at the same time, like myself, openly hostile towards his previous "employer," Miami-based bootlegger and "author" Thomas Weisser), we may simply have to wait and see what comes next, if anything...

KOREAN CINEMA: THE NEW HONG KONG is clearly the product of a genuine convert to the form. Whether Anthony C.Y. Leong has remained so is anyone's guess as of late, but it indeed comes as a small surprise that this book was written by a regular contributor to Thomas Weisser's execrable ASIAN CULT CINEMA magazine, a publication that has done more to pigeonhole Asian cinema into one gigantic bowl of sex and sadism than any Pink-film-loving pervert could do in a lifetime. From evidence provided here, though, Leong's passion for movies (which is also evidenced via various online review portals) is better served by self-published efforts such as this than it is sandwiched between the salacious and error-ridden pages of Weisser's rag. Weisser's ASIAN CULT CINEMA book, a late-90's reference guide to Hong Kong cinema that has disseminated more MISinformation to the world than any fifty amateur fanzines could circa 1990, is still being peddled to an unsuspecting base of newcomers (I've yet to ascertain whether Leong was a contributor, but it's unlikely), so it's refreshing to know that viewers curious about Korean cinema at least have a reference guide that, while not blessed with particularly great prose, is at least honest and forthight in its appreciation of its subject matter, without resorting to the cheap putdowns and mysogynist leanings of the Weisser material with which its author, perhaps unwittingly, has previously been associated.

Leong is, however, way off base in labelling Korean cinema "The New Hong Kong." The assumption that one country's cinematic fare is so lacking in cultural identity that it stands to supplant the fare of another country - following that all Asian cinema somehow "blends" together in the eyes of outsiders - is simplistic and ill-informed to say the least. Leong, who is Chinese, makes repeated commentary about the downfall of Hong Kong cinema while holding Korean cinema up as the natural successor to the throne. Hong Kong cinema, however, is still very much alive and kicking, and while Korean cinema has certainly enjoyed a renaissance of sorts (both domestically and internationally) since the release of the high-tech action thriller SHIRI in 1999, nearly seven years on, many Korean films are still plagued by tired concepts, poorly-plotted screenplays, crass histrionics, and various culturally-specific idosyncracies that may yet be their undoing in the international market once the demand for genre pictures has dried up (as I write this, the Korean DVD market is in a serious state of financial decline).

However, Leong's book generally covers films from 1998 to 2002, which any Korean film fan will tell you is the period they first "discovered" Korean cinema too. And as such, the book clearly is/was a labour of love. More scholarly books have been written on Korean cinema both before and since Leong's self-published tome, but none have ventured to simply provide straight-up reviews of the many varied films that came from this period. Mind you, scholarly works on Korean cinema (and Korea itself!) are virtually required reading if one is to truly understand the cultural subtext running through much of modern Korean cinema. Thus, Leong's book stands as the best place to START your journey, but once you've seen the films, and if you truly want to know more, then it might be good to augment this book with a more serious cultural, cinematic or even socio-political study.

The format of Leong's reviews is a bit too structurally consistent (intro-synopsis-opinion-rinse-repeat), which means they're best digested a few at a time, preferably just before of just after watching the film in question, which will at least grant the book and extended shelf life as the reader builds a Korean DVD collection. Also, the reviews are grouped into "categories," which is restrictive, particularly as many of the films aren't so easily pigeonholed. It's a small gripe, admittedly, but straightforward alphebetical listings would be much more user-friendly.

Since the book's publication at the very beginning of 2003, however, Korean cinema has produced an incredible number of feature films -ranging from derivative-but-pretty junk like MY BOYFRIEND IS TYPE B and RED EYE to international arthouse darlings like OLDBOY and TAE GUK GI - that would be well served by an update to Leong's manuscript, something which has yet to take place but would firmly cement his position as one of the few non-internet-based reviewers to tackle the subject matter in this way. One hopes that the visible reduction in his output might mean he's working on a revised version of his book, but as he's not one to return emails from interested supporters (especially those who are, at the same time, like myself, openly hostile towards his previous "employer," Miami-based bootlegger and "author" Thomas Weisser), we may simply have to wait and see what comes next, if anything...

KOREAN CINEMA: THE NEW HONG KONG is clearly the product of a genuine convert to the form. Whether Anthony C.Y. Leong has remained so is anyone's guess as of late, but it indeed comes as a small surprise that this book was written by a regular contributor to Thomas Weisser's execrable ASIAN CULT CINEMA magazine, a publication that has done more to pigeonhole Asian cinema into one gigantic bowl of sex and sadism than any Pink-film-loving pervert could do in a lifetime. From evidence provided here, though, Leong's passion for movies (which is also evidenced via various online review portals) is better served by self-published efforts such as this than it is sandwiched between the salacious and error-ridden pages of Weisser's rag. Weisser's ASIAN CULT CINEMA book, a late-90's reference guide to Hong Kong cinema that has disseminated more MISinformation to the world than any fifty amateur fanzines could circa 1990, is still being peddled to an unsuspecting base of newcomers (I've yet to ascertain whether Leong was a contributor, but it's unlikely), so it's refreshing to know that viewers curious about Korean cinema at least have a reference guide that, while not blessed with particularly great prose, is at least honest and forthight in its appreciation of its subject matter, without resorting to the cheap putdowns and mysogynist leanings of the Weisser material with which its author, perhaps unwittingly, has previously been associated.

Leong is, however, way off base in labelling Korean cinema "The New Hong Kong." The assumption that one country's cinematic fare is so lacking in cultural identity that it stands to supplant the fare of another country - following that all Asian cinema somehow "blends" together in the eyes of outsiders - is simplistic and ill-informed to say the least. Leong, who is Chinese, makes repeated commentary about the downfall of Hong Kong cinema while holding Korean cinema up as the natural successor to the throne. Hong Kong cinema, however, is still very much alive and kicking, and while Korean cinema has certainly enjoyed a renaissance of sorts (both domestically and internationally) since the release of the high-tech action thriller SHIRI in 1999, nearly seven years on, many Korean films are still plagued by tired concepts, poorly-plotted screenplays, crass histrionics, and various culturally-specific idosyncracies that may yet be their undoing in the international market once the demand for genre pictures has dried up (as I write this, the Korean DVD market is in a serious state of financial decline).

However, Leong's book generally covers films from 1998 to 2002, which any Korean film fan will tell you is the period they first "discovered" Korean cinema too. And as such, the book clearly is/was a labour of love. More scholarly books have been written on Korean cinema both before and since Leong's self-published tome, but none have ventured to simply provide straight-up reviews of the many varied films that came from this period. Mind you, scholarly works on Korean cinema (and Korea itself!) are virtually required reading if one is to truly understand the cultural subtext running through much of modern Korean cinema. Thus, Leong's book stands as the best place to START your journey, but once you've seen the films, and if you truly want to know more, then it might be good to augment this book with a more serious cultural, cinematic or even socio-political study.

The format of Leong's reviews is a bit too structurally consistent (intro-synopsis-opinion-rinse-repeat), which means they're best digested a few at a time, preferably just before of just after watching the film in question, which will at least grant the book and extended shelf life as the reader builds a Korean DVD collection. Also, the reviews are grouped into "categories," which is restrictive, particularly as many of the films aren't so easily pigeonholed. It's a small gripe, admittedly, but straightforward alphebetical listings would be much more user-friendly.

Since the book's publication at the very beginning of 2003, however, Korean cinema has produced an incredible number of feature films -ranging from derivative-but-pretty junk like MY BOYFRIEND IS TYPE B and RED EYE to international arthouse darlings like OLDBOY and TAE GUK GI - that would be well served by an update to Leong's manuscript, something which has yet to take place but would firmly cement his position as one of the few non-internet-based reviewers to tackle the subject matter in this way. One hopes that the visible reduction in his output might mean he's working on a revised version of his book, but as he's not one to return emails from interested supporters (especially those who are, at the same time, like myself, openly hostile towards his previous "employer," Miami-based bootlegger and "author" Thomas Weisser), we may simply have to wait and see what comes next, if anything...

I have been interested in Korean cinema ever since I worked in Korea as an ESL teacher. My first Korean DVD purchases were Shiri and JSA, which I brought more for novelty and and as a momento of Korea than anything else, but I ended up being pleasantly surprised at the production values of both these movies. As a result, I have become a firm fan of Korean movies, and have added a number of titles to my DVD collection. This book will help me select some more good titles to add to the collection.

"Korean Cinema" fulfills a useful niche as it is basically a primer for Korean movies from 1998 to 2002 for newcomers to Korean cinema. The author reviews and rates a number of the movies made in this time span, from "Attack the Gas Station" through to "2009: Lost Memories", plus a couple of titles a couple of years older. The author also rates and discusses 10 Korean movies from that time period which he rates as must sees. It would be a good start for building a DVD collection. There is also a section devoted to the major personalities of the Korean movie industry, actors and directors. It is illustrated but only in black and white, any many of the pictures are of poor quality.

Ignore the low rating reviews of this book - the reviewers obviously brought this book expecting a serious textbook of Korean cinema, which if you actually read the advertising blurb for the book, it is most certainly not. There are books out there discussing the full history of Korean cinema, but make no mistake, this book is not one of them. It is strictly for the newcomers to the genre, and who has little knowledge of the Korean movie industry. It does have a chapter on the history of the industry in Korea, but it is only superficial, and it isn't the reason I brought the book anyway.

Especially ignore the twit who is critical of the author basing his movie reviews on english subtitles. Korean is a particularly difficult language to learn and to become sufficiently competent in the language to be able to follow a Korean movie without english subtitles is beyond the abilities of all but the most dedicated of people. The author of "Korean Cinema" does make it quite clear he is only a recent convert, and thus a beginner, in Korean movies.

This book would lend itself to an update every 3 or 4 years or so. There has been some considerably significant Korean movie releases since this book was first published, not least of which is "Tae-Guk-Gi". I also recommend checking out the website www.koreanfilm.org which has movie reviews, talent profiles and other useful informative articles. The author of the site, Darcy Paquet, is listed in the bibliography of "Korean Cinema" a number of times.

I received this for Christmas from my boyfriend and read it from cover to cover by New Years: its that good. Its like reading a magazine dedicated completely to Korean movies. Now when I go to the local Korean video store, I know which movies are worth renting and which ones to stay away from. Whoever wrote this, thank you for helping me appreciate some of the best movies in the world.

Ignore the negative reviews. This is a great read and a great reference book. It's fun, informative and detailed and is ideal for new fans of Korean cinema. It has been very useful to me. I have found myself dipping into it a lot. The reviews are spot-on and opinionated. A great book - wish I had written it myself. Buy it. You won't be disappointed. The only people who may be disappointed are those who know more than the author and are even bigger experts. Maybe they should write their own books.

Remember that book about HK movies from a few years ago called Sex & Zen & A Bullet in the Head? Well this book is just like that only it talks about K-movies. With the articles, tons of reviews, and cool style, KCTNHK is the best book on the topic and looks great on my bookshelf!