I am almost certain, dear reader, you have heard the expression, no such thing as a bad trailer? Well, Sector 7 is the visual embodiment of this idea - if you are anything like me, after seeing the trailer, you were grinning from ear to ear. The movie however is unable to convey that same level of entertainment.
Cha Hae-Joon (Ha Ji-Won), otherwise referred to as Hard-ass by her male counterparts, is a young woman working on an oil platform in an area designated sector 7, a place in the middle of the ocean presumably rich with liquid gold. The crew is soon joined by Ahn Jung-Man (Ahn Sung-Ki), a colleague of Hae-Joon's late father, who goes against the orders of the rig's Captain, Hwang (Park Jung-Hak), to recommence the drilling operation.
With the exception of Hae-Joon and Jung-Man, the other crew members are provided minimal depth or back-story. Even Kim Dong-Soo (Oh Ji-Ho), Hae-Joon's paramour, has limited characterization, their relationship being largely unexplored. Although it is obvious they are mutually ambitious and competitive, as the platform's doctor, Moon-Hyung (Lee Han-Wi) speculates, it is difficult to tell which of them is the man, due to Hae-Joon's formidable presence. Where Hae-Joon could be likened to Ellen Ripley, sad to say it - Dong-Soo is no Corporal Hicks.
Oil workers Do Sang-Gu (Park Chul-Min) and Ko Jong-Yoon (Song Sae-Byeok) also deserved larger roles, however it is scientist Hyun-Jung (Cha Ye-Ryun), who received the most insultingly underwhelming role of all, whose screen time could easily be measured in seconds. The addendum her character is continuously been harassed by Jang Chi-Soon (Park Young-Soo), who's desperate to acquire her affections, is a sub-plot that was as annoying as it was unnecessary.
The lacking characterization can be linked to the speed that those on board begin to perish, the first deaths happening within only a few minutes of each other once the film's monster makes its entrance.
I suppose in a way Sector 7 is a film we should have seen coming. If Japan has Godzilla and America has Cloverfield, obviously South Korea deserves a hulking monster of its own. However, rather than building up the tension over a period of time, the creature is quickly revealed in its entirety, which unfortunately confiscates any fear the audience may have had the option of experiencing.
The origins of the creature, and how it came to be so enormous, are largely unexplored for more than half the feature, and though there is some subtle hinting, it is never quite enough. During one scene, we are introduced to a laboratory we have previously never encountered, and a crippled glass canister we've never seen. Obviously this is a clear indication that something horribly wrong has occurred, however, since the back-story takes longer to surface than the monster does, the film partially suffers.
The creature benefits from its sheer uniqueness in contrast with other monsters that have previously occupied our screens, but at the same time, this is also its weakest aspect. Originally appearing more aquatic in nature, with an unconventional pair of fins and a flipper, the creature all of a sudden has insect-like legs, and begins resembling prehistoric reptiles. Although there are scientists on board the platform, none attempt to postulate a theorem regarding this peculiarity.
Furthermore, although blood is apparent in the film (and I don't mean to appear like an insatiable gore-hound), the feature could have benefited from additional violence, to further immerse the audience in the peril-stricken situation. On this note however, although the monster was the stereotypical powerful horror, whose hide is almost impenetrable to all conventional attacks, the damage that is visually noticeable across its physique is very impressive. Overtime, the creature, whenever it exposes itself, does so in all its gory glory, after having suffered brutality at the hands of those attempting to stop its onslaught.
This aside, no matter how unique the creature may have occasionally appeared, I couldn't help equating it with The Thing. If this wasn't enough, the film resembles both Alien and the Rig, in that a small crew are forced to confront a terrifying monstrosity in a dark environment that it begins to dominate. During another instance, a conversation between crew members appears to have been ripped right out of Jaws. Although some may be quick to argue that the film is paying homage to American classics, I couldn't help but feel a considerable portion of the film is blatantly taken from others.
Moving on, the effects are often effectively produced, and though they are not Hollywood standard, they are certainly entertaining. The fight scenes normally don't appear spectacularly new, instead mimicking other features, namely Deep Rising and the aforementioned Thing. Although the oil rig is in the middle of the sea, the audience seldom has the opportunity to appreciate the creature in its natural habitat. This addition may have provided the film with a certain degree of uniqueness, though watching Hae-Joon fleeing the monster on a motorbike is one such scene that is certainly worthwhile.
Although the ending comes equipped with a sense of emotional beauty, by then it is (cliche expression I know) too little too late for the audience to be invested. If the rest of the film had exhibited similar thematic properties, the resulting conclusion would have been far more powerful. If you are a fan of actress Ha Ji-Won, or any of the actors who participate in this film, then perhaps you ought to give Sector 7 a try. Otherwise, you might wish to find something else to feast upon.
Cha Hae-Joon (Ha Ji-Won), otherwise referred to as Hard-ass by her male counterparts, is a young woman working on an oil platform in an area designated sector 7, a place in the middle of the ocean presumably rich with liquid gold. The crew is soon joined by Ahn Jung-Man (Ahn Sung-Ki), a colleague of Hae-Joon's late father, who goes against the orders of the rig's Captain, Hwang (Park Jung-Hak), to recommence the drilling operation.
With the exception of Hae-Joon and Jung-Man, the other crew members are provided minimal depth or back-story. Even Kim Dong-Soo (Oh Ji-Ho), Hae-Joon's paramour, has limited characterization, their relationship being largely unexplored. Although it is obvious they are mutually ambitious and competitive, as the platform's doctor, Moon-Hyung (Lee Han-Wi) speculates, it is difficult to tell which of them is the man, due to Hae-Joon's formidable presence. Where Hae-Joon could be likened to Ellen Ripley, sad to say it - Dong-Soo is no Corporal Hicks.
Oil workers Do Sang-Gu (Park Chul-Min) and Ko Jong-Yoon (Song Sae-Byeok) also deserved larger roles, however it is scientist Hyun-Jung (Cha Ye-Ryun), who received the most insultingly underwhelming role of all, whose screen time could easily be measured in seconds. The addendum her character is continuously been harassed by Jang Chi-Soon (Park Young-Soo), who's desperate to acquire her affections, is a sub-plot that was as annoying as it was unnecessary.
The lacking characterization can be linked to the speed that those on board begin to perish, the first deaths happening within only a few minutes of each other once the film's monster makes its entrance.
I suppose in a way Sector 7 is a film we should have seen coming. If Japan has Godzilla and America has Cloverfield, obviously South Korea deserves a hulking monster of its own. However, rather than building up the tension over a period of time, the creature is quickly revealed in its entirety, which unfortunately confiscates any fear the audience may have had the option of experiencing.
The origins of the creature, and how it came to be so enormous, are largely unexplored for more than half the feature, and though there is some subtle hinting, it is never quite enough. During one scene, we are introduced to a laboratory we have previously never encountered, and a crippled glass canister we've never seen. Obviously this is a clear indication that something horribly wrong has occurred, however, since the back-story takes longer to surface than the monster does, the film partially suffers.
The creature benefits from its sheer uniqueness in contrast with other monsters that have previously occupied our screens, but at the same time, this is also its weakest aspect. Originally appearing more aquatic in nature, with an unconventional pair of fins and a flipper, the creature all of a sudden has insect-like legs, and begins resembling prehistoric reptiles. Although there are scientists on board the platform, none attempt to postulate a theorem regarding this peculiarity.
Furthermore, although blood is apparent in the film (and I don't mean to appear like an insatiable gore-hound), the feature could have benefited from additional violence, to further immerse the audience in the peril-stricken situation. On this note however, although the monster was the stereotypical powerful horror, whose hide is almost impenetrable to all conventional attacks, the damage that is visually noticeable across its physique is very impressive. Overtime, the creature, whenever it exposes itself, does so in all its gory glory, after having suffered brutality at the hands of those attempting to stop its onslaught.
This aside, no matter how unique the creature may have occasionally appeared, I couldn't help equating it with The Thing. If this wasn't enough, the film resembles both Alien and the Rig, in that a small crew are forced to confront a terrifying monstrosity in a dark environment that it begins to dominate. During another instance, a conversation between crew members appears to have been ripped right out of Jaws. Although some may be quick to argue that the film is paying homage to American classics, I couldn't help but feel a considerable portion of the film is blatantly taken from others.
Moving on, the effects are often effectively produced, and though they are not Hollywood standard, they are certainly entertaining. The fight scenes normally don't appear spectacularly new, instead mimicking other features, namely Deep Rising and the aforementioned Thing. Although the oil rig is in the middle of the sea, the audience seldom has the opportunity to appreciate the creature in its natural habitat. This addition may have provided the film with a certain degree of uniqueness, though watching Hae-Joon fleeing the monster on a motorbike is one such scene that is certainly worthwhile.
Although the ending comes equipped with a sense of emotional beauty, by then it is (cliche expression I know) too little too late for the audience to be invested. If the rest of the film had exhibited similar thematic properties, the resulting conclusion would have been far more powerful. If you are a fan of actress Ha Ji-Won, or any of the actors who participate in this film, then perhaps you ought to give Sector 7 a try. Otherwise, you might wish to find something else to feast upon.