A shining star in the Korean film sky, Kim Jee-woon, has captivated audiences with his unique ability to bend genre norms and push visual boundaries in renowned works such as “A Tale of Two Sisters,” “The Good the Bad the Weird,” “I Saw the Devil,” and “The Age of Shadows.” His talent also extends to the small screen, with acclaim for Apple’s “Dr. Brain,” and a successful deviation to American action cinema with “The Last Stand.” However, the rollercoaster of 'Cobweb’ might not be his finest hour. Yet, it is an experiment in cinema that could not have been conceived without Kim's accomplished eye.
The film, “Cobweb” unfolds primarily on a 1970s Korean horror movie set directed by a beleaguered visionary named Kim, performed by the exceptional Song Kang-ho ("Parasite"). Kim is striving to create his 'piece de resistance', a black-and-white movie filled with treacheries, knives, stormy nights and spiders. However, the ending is eluding him. Despite challenges from Korean censors, Kim decides to proceed with his rewritten ending, cueing up a comedy of errors in which the crew must camouflage their actual work from the ever-watchful authorities, striving to take down their venture.
Adding more layers of comedy and tension, the actors grapple to understand their altered roles and battle their off-camera melodramas. The Studio head (Jang Young-nam) is oblivious, the lead actor Ho-se (Oh Jung-se) can’t curb his infidelity, and the budding artist Yu-rim (Jung Soo-jung) conceals her pregnancy. It’s a labyrinth of conflicts and artistic disagreements waiting to boil over.
Yet, an intriguing paradox of “Cobweb” is that the film depicted within appears to be more enticing – imagine a moody Kim Jee-woon masterpiece laced with giant spider webs, spectacularly illuminated murder scenes, and twisted perspectives. Regrettably, “Cobweb” is a mere reflection of these tantalizing elements, focusing instead on the entangled web a creator weaves when undertaking a feature film.
Drawing parallels with “Ed Wood,” “Birdman,” and others showcasing filmmaking chaos, the film was likely conceived as a playful critique of the filmmaking process, highlighting the intense challenges hiding behind the tantalizing glamour. However, the film flounders. Kim’s aim to explore the multifaceted passion for filmmaking gets lost amid the slapstick comedy and drama.
Rather than igniting thought-provoking questions, Kim leans more towards absurdity, combining the spirit of a Noel Coward play with a Korean twist. Despite the striking visuals captured by Cinematographer Kim Ji-yong (“Decision to Leave”), the film continually falls flat as the tone remains elusive. There’s a languid aura to the film, suggesting this affable comedy might be a self-driven experimental indulgence from a craftsman known for his meticulous predecessors. Now, it’s time for Kim to return to his captivating defining style. We’re ready for his next masterpiece.
