Hope is the latest film from The Wailing director Na Hong-jin. Early reactions were fairly mixed, and now having seen the film myself, I can understand why. For much of its run, Hope is an exciting action thriller, with thrilling chase scenes, suspenseful sequences, and quiet moments of humanity. All of this works quite well, especially when we see less of the monster(s) that are running around and causing trouble, but once we do see them, it takes a downhill turn before ending on a truly bizarre note, one that comes after a film that’s a little too long for its own good.

Ko Bum-seok (Hwang Jung-min) is the police chief of Hope Harbor, a South Korean village that abuts the Demilitarized Zone, the population of which is made up largely of elderly people and supermodel-hot younger folks. He’s summoned by his cousin Ko Sung-ki (Zo In-sung) to the site of a mutilated cow that Sung-ki and his fellow hunters discovered in the middle of the road. The cow’s corpse shows evidence of being attacked by some large animal with razor-sharp claws, which the hunters convince Bum-seok a tiger must have been responsible for despite the unlikelihood that a large cat would have been able to cross the minefields that lie between them and the rest of the continent. Upon returning to town, Bum-seok learns that several other locals have been killed, and his attempts to call in additional manpower are rebuffed due to wildfires that are raging elsewhere, prompting him to ally with a retired colonel named Ahn Nak-yeon (Lee Sang-hee), whom he finds hiding in a culvert after his own encounter with the monster. Out of sight, the monster rages on, as it leaves a trail of broken bodies and buildings in its wake. After Bum-seok accidentally shoots and kills a local who was hiding from the monster, he ends up facing the creature itself and narrowly escapes only because of assistance from his rocket launcher-toting rookie, Im Sung-ae (Jung Ho-yeon). After a long and costly conflict, the monster is killed, and its body turned over to a local surgeon to perform an autopsy, although she’s not able to cut through the creature’s hide with anything less than a chainsaw. Sung-ae assists with triage in a makeshift hospital, where she learns from one of the locals that he had seen several of the creatures in the woods, indicating that the danger is far from over. Elsewhere, Sung-ki and his hunting buddies are still looking for the tiger that threatens the village when they stumble upon a crashed spaceship in the forest, one that has a control room that features seating and buttons for very, very large crewmembers.

The creatures here are the film’s weakest point, in multiple ways. The alien designs are unique, and it’s a mark in the film’s favor that they’re individually designed with distinctive textures and faces, but that does not necessarily mean that they’re good. Western actors like Michael Fassbender, Alicia Vikander, and Lost in Space’s Taylor Russell are credited here, and I suppose you can see the resemblance between them and the aliens that they voice (in an alien language) if you look hard enough, but I’m at a loss to understand what they bring to the film other than marquee appeal outside of Korea. The quality with which they are rendered on screen varies wildly from scene to scene, with some sequences looking like they were built for a PS2 game while others are smoother and more convincing. They’re a much more threatening presence when they’re not onscreen, when dismembered bodies are discovered in collapsing buildings or the only evidence of their presence is the far-off sounds of gunfire cut short by screaming. Characters can see over rooftops that cars are being thrown around like toys, and it’s quite effective.

I can concede that it’s likely that we’re meant to find the aliens uncannily human but off-putting considering the revelation that they are intelligent creatures seeking a lost child, who has already been killed by a hillbilly taxidermist named Yang-bae (Eum Moon-suk, a handsome former K-pop star who’s saddled with goofy teeth). The intention is to induce fear and then humanize them; I get that. I just don’t feel that it’s very successful, and it’s not all entirely down to the design. For one thing, this isn’t exactly new ground, given that the “man is the real monster” isn’t a novel monster-movie concept at this point, and the reason it’s so well-worn is because it forces the audience to look inward at their own prejudices. Here, however, the blame for the interspecies conflict falls solely in the lap of a trigger-happy bumpkin. No one is going to look at this man onscreen and see themselves, and it’s a change from the formula that demonstrates why the trope exists in the first place. There’s also a lot of sudden and unexpected lore that ends up being shoehorned in during the film’s final act, belabored exposition that largely comes via the form of not-very-interesting dialogue between Vikander and Fassbender (I mean, um … let me check my notes here … “J’aur” and “Ma’veyyo”). Some of it re-establishes what we’ve already gleaned from the scenes with our human characters, including their search for the missing alien child, but it also drops several extra-terrestrial proper nouns that are a lot to try and take in after two hours of runtime that was mostly a humans-versus-monsters movie. 

This is a film that feels incomplete, and it’s not just the cliffhanger ending that gives it that quality. Hope doesn’t feel like half of a narrative; it feels like a 95% complete monster film and a 35% complete sci-fi epic. That adds up to more than 100%, of course, which is reflected in the film’s whopping 156 minute runtime. That should be more than enough to tell a complete story, but it doesn’t. There are dangling plot threads on the human side that are left to be resolved in a sequel if one is made, most notably the fallout of Bum-seok’s shooting of a non-combatant, but it’s almost all the way there. The alien side of things is just getting started, with the sudden crashing of another, larger spaceship into a mountain on the horizon near the film’s conclusion, and all of the political machinations that are implied by the too-late info dump, which isn’t of interest to me in the slightest. Given that Na is known for releasing films at a glacial pace (the aforementioned The Wailing was his last picture, and it was released in 2016), it’s strange to me that he would create a film so open-ended and demanding of a sequel. Worse, Hope features such great action sequences that it demands to be seen on a big screen, but the ultimate experience is so taxing that it is a film that will work best when you’re at home and can take bathroom breaks, where the horseback battle with a galloping alien creature isn’t going to hit as hard. 

All of this sounds pretty negative, but I’m not trying to talk you out of experiencing the film. Reports that it is the best monster movie in years are no more an exaggeration than critical responses that the film is an overlong, narratively confused beast. Going in with that knowledge, I think you’ll still find plenty to enjoy; just caffeinate beforehand and feel free to run to the restroom when the aliens start talking to one another.

-Mark “Boomer” Redmond