Dir: Na Hong-jin
Cast: Hwang Jung-min, Zo In-sung, Jung Ho-yeon, Taylor Russell, Michael Fassbender, Cameron Britton, Alicia Vikander
Na Hong-jin’s epic creature feature delivers some of the most electrifying cinema you will experience this year, though its relentless action and breath-taking cinematography are undercut by a bloated runtime and a wandering narrative
Korean cinema has exploded into the global pop culture spotlight in recent years, thanks to the phenomenal success of Oscar-winning “Parasite” (2019) and the hit Netflix series “Squid Game”. As someone who has long admired the daring spirit and inventive storytelling of Korean filmmakers, it is thrilling to see their artistry finally celebrated worldwide. My own passion for film was ignited in the 2000s, when visionaries like Bong Joon-ho and Park Chan-wook redefined what cinema from the Far East could be, leaving an indelible mark on my love for the medium.
Another Korean filmmaker whose work I have eagerly followed is Na Hong-jin, the creative force behind pulse-pounding thrillers like “The Chaser” (2008) and “The Yellow Sea” (2010), and more notably, the haunting cult horror “The Wailing” (2016). Hong-jin, like his celebrated peers, his best known for masterfully blending dark humour with visceral violence, weaving genres together in unexpected ways. Which brings me to his latest film, “Hope“, which captured my attention long before its official announcement, especially when rumours swirled about a potential collaboration with visionary Mexican filmmaker Alfonso Cuarón. Even though that partnership never materialized, the film’s ambition only grew, with whispers of it being the most expensive Korean production ever. After the early Cannes buzz, “Hope” shot to the top of my must-watch list for 2026—not just for its action-packed sci-fi premise, but because it marks Hong-jin’s return to directing after a decade, following his sole writing stint on the 2021 folk-horror mockumentary “The Medium”.
I had braced myself for “Hope” to have a limited, hard-to-find release in the UK, so discovering that Mubi was rolling it out in most cinemas felt like a stroke of luck. It meant I could experience it on the big screen right on opening day, just as I had hoped.
At first glance, the film appears deceptively simple, centreing on Ko Bum-seok (Hwang Jung-min), the hapless police chief of the quiet Korean fishing village Hope Harbour. With most residents elderly and the police force stretched thin by, Bun-seok and rookie officer Im Sung-ae (Jug Ho-yeon) are left behind as others battle raging forest fires. Suddenly, an initially unseen creature descends upon the town, unleashing chaos and leaving a trail of devastation that claims dozens of lives.
Meanwhile, a hunting party led by Bum-seok’s second cousin, Ko Sung-ki (Zo In-sung), ventures into the surrounding woodland after discovering a local farmer and his livestock brutally slaughtered. Their search uncovers a chilling possibility: the force behind the carnage might not be of this world.
With the Cannes buzz still ringing in my ears and my admiration for Hong-jin’s past films fuelling my excitement, I walked into “Hope” expecting a wild, relentless thrill ride—and the film delivered in spades. The opening is nothing short of electrifying; I would even call the first hour the most pulse-pounding cinematic experience of 2026. The pacing is relentless, keeping you perched on the edge of your seat as Jung-min’s protagonist frantically dashes through his small fishing town, chasing the unseen force of destruction. Stellar sound design and Hong Kyung-pyo’s jaw-dropping action cinematography make every chase and shootout feel immersive and urgent, as Jung-min’s beleaguered, outmatched police officer seems to scour every inch of Hope Harbour, with car chases, shootouts, and chaos unfolding against a backdrop of stunning production design that brings the DMZ-border town vividly to life.
As the first act ends and the visually unsettling creature finally reveals itself, I found myself wondering how Hong-jin could possibly sustain this feverish momentum for the film’s entire 160 minutes. Sadly, this is where “Hope” stumbles. The opening hour is nearly flawless, and with deeper character arcs and emotional stakes, it could have become a sci-fi action classic. Instead, Hong-jin’s grand ambitions get the better of him. The second half introduces a flood of new characters—both human and alien—in an attempt to broaden a story that already feels thin. The result is a sprawling, emotionally hollow tangle that nearly unravels all the brilliance of the first act. Despite the consistently high level of craft and direction, the film is weighed down by its lack of focus and, most disappointingly, its lack of resolution. As the action grows repetitive in the final stretch, the runtime becomes a burden, and when the film abruptly cuts on a cliff-hanger, teasing a sequel, I was left not just underwhelmed, but genuinely frustrated.
From a technical stand-point, “Hope” dazzles even as its story falters. Kyung-pyo’s visuals are among the year’s most dynamic and striking, perfectly complemented by Michael Abels’ thunderous score. Hollywood heavyweights like Alicia Vikander and Michael Fassbender make surprising, almost surreal appearances, joined by Taylor Russell and Cameron Britton as the humanoid aliens clashing with Hope Harbour’s residents. The CGI occasionally slips into uncanny territory, especially when the alien characters’ human-like faces and unsettling eyes take centre stage, and as Hong-jin expands on their backstories to make them somewhat empathetic, despite the lack of clarity surrounding their motivations.
Although the late-game alien subplot feels awkwardly wedged in to pave the way for a sequel, I did enjoy the early humour and camaraderie among the human characters, despite their limited development. “Hope” stands as a testament to Korean cinema’s fearless ambition and Hong-jin’s knack for blending wildly different genres. Even if the film doesn’t quite stick the landing, I admire these creative risks. Somewhere inside this sprawling epic is a lean, 90-minute masterpiece, bogged down by layers of alien mythology and an overextended runtime.
Sci-fi action fans owe it to themselves to catch “Hope” for its electrifying first hour alone, though casual viewers may find themselves puzzled and let down by some of the film’s bolder choices. Personally, despite my disappointment with how things unravelled, I am still intrigued enough by the premise to look forward to future instalments. I can only hope Hong-jin finds a way to resolve the narrative and thematic missteps, which could even redeem “Hope” on future rewatches.
Hope is now showing in UK Cinemas
Badass who shoots guns and drives if she has tattoos she’s the perfect woman
She is pretty badass tbf