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Tyubeu (2003)

Seok-hun KimBae DoonaSang-min ParkByung-ho Son
Woon-hak Baek


Tyubeu (2003) is a Korean movie. Woon-hak Baek has directed this movie. Seok-hun Kim,Bae Doona,Sang-min Park,Byung-ho Son are the starring of this movie. It was released in 2003. Tyubeu (2003) is considered one of the best Action,Crime,Drama,Thriller movie in India and around the world.

This is a touching action epic about an all-out war between a subway terrorist who holds a city hostage and the detective who risks his life to save everyone. It's the heart-wrenching story of love and sacrifice that grows in a desperate situation, and the humanity of people trying to save others in the face of extreme danger at breath-taking speeds and on a huge scale.

Tyubeu (2003) Reviews

  • Flashy action thriller derailed by logic-challenged screen writing


    TUBE (2003): While I can't highly recommend it, it is kind of fun, provided you don't think too much about the plot, which has a walking stereotype loose-canon cop (Kim Seok-hoon) battling a terrorist (Pak Sang-min) onboard a hijacked subway train. The terrorist is a former government eraser that the government tried, but failed, to erase, and he's taken the train, and Seoul's mayor, hostage to uhh, well, to apparently have the plan be doomed from the start. Equal parts SPEED, TAKING OF PELHAM 123, MONEY TRAIN and DIE HARD, the film has few pretensions, which make it easy on the derriere. Poor Bae Doo-na gets one of the stranger film roles in film history, as a pickpocket who apparently knows she must LOVE the hero even before she KNOWS the hero, and creates all the necessary Korean histrionics along the way (as well as almost bearing more physical brutality than the hero!) while our glowering protagonist poses with a series of unlit cigarettes in his mouth (and which only one person will ever be allowed to light, care to guess who?). The SPEED and TAKING OF PELHAM allusions are apt, as are slight nods to MONEY TRAIN (the hero's boss does his best crazy Robert Blake impersonation) and DIE HARD (or UNDER SIEGE 2 if you'd rather, since it's so blatantly name-checked on the U.S. package), but overall it's a victim of it's own weak (and often downright ridiculous) logic and begs a few too many questions. The lovely Bae Doo-na plays one of the most strangely motivated characters I've ever seen in a motion picture. Production wise, though, it's delivers the goods, with slick production values all the way, with some nicely handled chase and fight scenes. Turns out, if I read the docu-stuff on the Korean 2-disc set correctly, that the Korean subway trains don't even look as hi-tech as they do here, and the ones in the film were almost entirely CG apart from the sets for close-ups! Columbia Tri-Star's sleeve is highly reminiscent of the art for TRANSPORTER and, not entirely unexpectedly, substitutes a generic Asian face for that of star Kim Seok-hoon. I give it a 4.

  • Watch out, Hollywood robots!


    USA be warned, for South Korea is doing you shameful. Today it's possible to see a South Korea blockbuster that is at american level, and, most times, above it. The mood reminds us of "Speed", and is, at first look, a very close interpretation of it. But they had a great eye for spotting clichés, and soon you'll see what this means. It kick starts with an impressive shootout that makes Heat's centerpiece run for its money. It then heads the action to the subway and the fun begins, right until the formula-defying end. Technically, i's a triumph of Hollywood level. Artistically, it has too many real gems to be overlooked, and sometimes you'll be applauding what in american hands would be quite standard. The end section is quite surprising, at a point that no american movie would reach, because "it's not crowd pleasing". So wrong. It really is, and much more. Solid, fun fare, which proves that today the americans are not the only ones who make us thrill.

  • Didn't anyone have a Belt?


    POSSIBLE SPOILERS This movie was okay up until the end, although I had a distinct feeling of deja vu watching many of the scenes, but couldn't someone have offered their pants or belt or something so Jay could have tied down that lever? It wasn't like it took a lot of effort to keep it down and a strong guy had to use all his muscles to prevent it from popping back up again. He pretty much just held it down with one finger while he messed with his cigarette. Why was he always hanging out in the subway terminal anyway? What was the guy with the gum wanted for? How did Kay know so much about Jay? So many questions, so little story.

  • My short review


    I'm not very familiar with Korean cinema, although I have seen some movies. In Tube, it's not about what happened in the past, but how the characters evolve in the current setting and further development of the movie. I think Baek Woon-Hak has written a very strong, action-packed story, with Seok-Hun Kim playing a very convincing Jay. I'm more of a feel-good-movie-geek, but movies like this make you at least think twice about certain things. What intrigues me most about Asian cinema, and especially in this movie, is how they brilliantly combine drama and building up tension, with action, psychology, thrills, and even a comic-relief in the middle of all that. I watched this movie, and I don't even speak the language. That means it's worth it.

  • Americanized garbage


    You don't get me containing my excitement too much for Hong Kong/Japanese/Korean action films. I see a name like John Woo, Chow Yun-Fat or Takeshi Kitano on a movie poster and I break into hives with anticipation. What makes these foreign films better or more appealing than their American counterparts you ask? Well, first and foremost is the style. Our friends from the East have a knack for action sequences. Check out the gunplay in films like Hard Boiled and Shiri and see their influences in the West with films like Face/Off and Heat. So when the creators of Shiri reunited for a film about a cop on the trail of a madman who has taken over a speeding train, my heart began to pump uncontrollably and pestered my local DVD supplier continually for updates as to the film's North American Release. The film I am referring is Tube. Directed by first timer Baek Woon-Hak and starring a multitude of hyphenated names that you wouldn't recognize, the movie was about a former assassin for the government that takes over a subway train to persuade his former boss and now mortal enemy to sacrifice his life for the lives of the innocents on board. Putting a crink in the plans is a rogue cop who has been on the killers trail for many years, and who too is looking for payback for the death of his wife and the loss of a finger in an abbreviated altercation that took place some time in the past. As demands are made and peaceful solutions examined, people are shot, ambushes are ordered and rail cars are blown up. Everything we would expect from a film of this genre. It's too bad it doesn't work. While watching Tube I wondered if the Director and Producers were sitting around one weekend watching American action films and tried to copy what they thought were the best parts from each. The premise is stripped from Under Siege 2 (and if you ever copy a Steven Segal film, you need your head checked), the opening sequence rips of Heat, an attempted rescue on the train was done better in Speed and even films like Apollo 13 and Stallone's Daylight look to have had their scenes stolen directly from the original screenplays. But stealing from big budget films wasn't the only once noticeable Americanization of the film. Speeches are given when the characters should be acting or reacting to their situations and flashbacks are thrown in to stretch the running time. The soundtrack was overwhelming as is Hans Zimmer was vacationing in Tokyo and had nothing better to do than provide a repeating beat that would bound out of my subwoofer every time we see the train speeding down the track. Even the comic relief in the character of a thug that is handcuffed in one of the rail cars was straight from a Bruckheimer brainstorm. Whoa's me! My excitement over the films release was quashed like a lake being thrown on a campfire. Everything that made these foreign films unique and pulse pounding was lost to what I can only assume was an attempt to puncture a hole in the lucrative North American video market. I could have cared less about the characters, I felt no attachment to the emotional attachment between the various couples and if you are just going to throw mindless action at me, well then, I hate to say it but give me a Michael Bay film. At least then I know what to expect and don't feel robbed of an afternoon.

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