With the global craving for Korean genre entertainments showing no sign of abating, it can’t be easy to be a filmmaker tasked with feeding the beast with ever bigger, better, bonecrunching-er novelties. And that must go double for a director like Yeon Sang-ho who, with 2016’s “Train to Busan,” previously gnawed into the throat of […]
With the global craving for Korean genre entertainments showing no sign of abating, it can’t be easy to be a filmmaker tasked with feeding the beast with ever bigger, better, bonecrunching-er novelties. And that must go double for a director like Yeon Sang-ho who, with 2016’s “Train to Busan,” previously gnawed into the throat of […]
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With the global craving for Korean genre entertainments showing no sign of abating, it can’t be easy to be a filmmaker tasked with feeding the beast with ever bigger, better, bonecrunching-er novelties. And that must go double for a director like Yeon Sang-ho who, with 2016’s “Train to Busan,” previously gnawed into the throat of […]
