The Wasteland Reviewer

Hope (2026) Written Review

How does a filmmaker, in today’s age, make a creature-feature standout? There have been decades of creature features and kaiju films that have entertained audiences but there seems to be few ideas or new avenues to take. Na Hong-jin is an acclaimed and bold filmmaker who made quite an impression with his film The Wailing. For his latest film, he created the Korean film with the largest budget ever and tackled a large-scale story featuring giant monsters wreaking havoc on a small Korean town, Hope Harbour. Hope is a bold stroke for a bold filmmaker that injects moral quandaries, dynamic filmmaking, engaging characters, and vast world-building.

What makes Hope such a dynamic film from a technical perspective? You can tell that Hong-jin had quite a vision when creating this film. Starting with the action, this is one of the most thrilling and dynamic action movies in recent memory. The camerawork from cinematographer Hong Kyung-pyo is fully engrossing as the visuals capture so much. There is a stellar, wide range of flourishes that make the film standout. There are so many great wide shots throughout the film that it gives it some impressive scale. The way the camera moves throughout space creates such an uncomfortably intimate experience. Every shot in the film feels specific and inspired with plenty ominous and tense moments that linger and get under your skin. The slow-motion elements injected into the action allow Hong-jin to highlight dynamic and exciting choreography. Over the course of this epic runtime, there are plenty of unrelenting and tense action sequences including a completely unhinged finale with all types of shocking moments. The film gets a little too convoluted towards the end and you can start to feel the pacing. Tonally, Hope is a tension and suspenseful experience that injects plenty of effective humor as well as a few moments of genuine emotion. The first half of the film is a near perfect execution of tension and suspense with the second half getting way more unhinged but still a lot of fun. The score by Michael Abels delivers a great foundation throughout the film that elevates the atmosphere that Hong-jin delivers. One of the biggest parts of the discourse around Hope is the visual effects work for the monsters. There are moments where the effects certainly look a little dated but overall, it is not that much of an effect. 

Does Hong-jin’s screenplay deliver as well as the vision he brought behind the camera? Probably the weakest element of the film is the ending. Hong-jin gets way too ambitious with world-building and decides on a cliffhanger instead of offering a satisfying conclusion to this exciting film. The film decides to start explaining what is really going on but only to a rushed and limited standpoint. The film would have been better off not explaining anything or fully committing because Hope offers up a muddled and confused final string of events. But leading up to this point, there is a well-structured and intriguing screenplay at work. Writing for the characters is quite effective as it relies on small details that layer the characters without beating you over the head with expositional dialogue. From the opening scene, you have a strong idea of the two protagonists Beom Seok and Sung Ki. The story takes a parallel story as Seok attempts to stop a monster in the main city and Sung goes out into the woods. Hong-jin decides to conceal the monster for half the film which makes for a deeply compelling and tense experience. Once the whole film starts to peel back the layers, a whole new experience emerges with a bold, otherworldly experience begins to come together. One thing that Hope has going for is that it is constantly delivering surprises and keeping the audience on its toes. There is a compelling balance of themes as well with awkwardness and danger of chance as well as the destruction that affects so many in the warzone. An immigrant allegory seems quite clear here and it makes the film feel even more prescient for today’s audiences. 

How does this cast navigate this wild ride of a film? Much of this film is placed on the shoulders of Hwang Jung-min. As the police chief in this local town, Jung-min’s character is saddled by exploring the downtown throughout the onslaught of this giant creature. He brings so much authenticity and believability to the role. You can tell he has a confident and cool stature at the beginning of the film as he questions some locals but soon that façade is shattered by this seemingly unstoppable force destroying his small town. Jung-min crafts a fearful and shaken presentation that feels authentic. There is plenty of physicality asked of Jung-min as well that he sells perfectly. Zo In-sung is the co-lead as the chief’s cousin who takes the lead in the woods outside of town. In-sung’s presence and physicality make for an engaging character who also has his human moments that stand out. Hoyeon makes quite the impression in her opening scene of badassery that features her confidently and intensely pursuing this creature. She gets other moments to shine, including with how she reacts to other actors throughout the film. There are plenty of memorable characters throughout the film with a strong ensemble to anchor this film down. There are some surprising big names in the film like Michael Fassbender and Alicia Vikander who get to stand out in their own unique roles within the film (with Taylor Russell and Cameron Britton, to a lesser extent). 

Is Hope an exciting new film to seek out in the theater? This Korean film has the unique opportunity to be the largest Korean release in the United States. A $30 million dollar budget allows for terrifying creatures and a massive final stretch. This is a thrill ride that boasts incredible filmmaking and memorable action sequences. The cast makes for a fun ensemble with plenty of energy and excitement. This twisted tale will keep you on your toes even if it might not truly stick to the landing. There is enough excitement and value in this film to get you invested in where part two is going next.