Thehibikiew Not even bad in a good way

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

AutCuddly Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

Raymond Sierra The film may be flawed, but its message is not.

hearthstoneivan Unofficial animated follow-up to "Train To Busan", Seoul Station focuses more on its characters (that could be an idea more fleshed-out) and their emotions. This time around we have only а few survivors to follow around as Korea crumbles. The animation is a matter of taste, as sometimes objects look semi-3d and I get how that might look unnatural to some people. The aesthetic of Seoul is a great playground for haunting scenarios. Illogical decisions are occasionally made, but this has become kind of a trademark for zombie movies. A great twist caught me by surprise in the and the last 10 minutes were breathtaking. Recommended if you liked Train To Busan or just need a decent horror anime movie.

bob the moo I watched Train to Busan recently, and like everyone else I enjoyed it and appreciated the color in the characters combined with the simple social commentary in there about working. It wasn't earth- shattering stuff though, since it was still a genre film, and did still paint in broad strokes, giving characters tragic, heroic, or comeuppance style exits. The prequel Seoul Station takes a similar approach although with several key differences. Of course the narrative and setting differs, but the biggest chances are in focus and tone. In this prequel we are in the lowest classes – the homeless, those hustling try to make it through the next day, those not seen by regular people. The tone is also significantly harsher and bitter than Train, and there is almost no sentiment here at all.This is a satisfying change and makes the film more effective as a zombie film. We those trying to do right by others are let down by those above, and consumed by those below them (the raging zombies). Those that last the longest are those that generally look out for themselves and take opportunities without thinking of others, while those that pause for the sake of others are usually lost. I'm not suggesting that the social commentary is worthy of great discourse, but at the same time, looking back at 2016 as the year where angry protest votes against establishment figures gave us Brexit and Trump, it is hard not to view the film in this light – with the authorities failing those at the bottom, only for a destruction and unfocused rage to destroy what those in authority were seeking to build.The film carries this cynicism through from start to finish, and produces some good plot turns that feed into this even more. It can seem overly harsh at times, but I enjoyed how simple and stripped down it was in what it did. The animation was not wholly successful – I didn't always like the appearance or movement of the characters within the landscape, although it did give it a cartoony/comic-book feel which did also help with the genre feel. Mostly though it worked and moved well, with the plot and action making me less concerned with such specifics.In the end, it is the sense of cynicism and harshness that makes the film work, with the plight of those on the edge of society being a strong focus, and linking to what happens when support networks fail so dramatically.

moviexclusive Thanks to the runaway success of 'Train to Busan', writer-director Yeon Sang-ho's animated feature 'Seoul Station' is seeing the light of day outside the film festival circuit. The latter was in fact completed earlier, but its mature subject matter for a genre largely associated with family-friendly material meant that it needed a commercial anchor on which to boost its 'sell-ability'. And indeed, between the two, it is 'Train to Busan' that is likely to appeal to a wider audience, premised as it is on conventional action horror thrills like '28 Days Later' and 'World War Z'; on the other hand, 'Seoul Station' is more akin to George Romero's 'Night of Living Dead' in that it is established primarily with the intention of using the zombie outbreak as a metaphor for social malaise, such that those looking for similar commercial sensibilities will likely be disappointed. That's not to say the latter is the poorer film by comparison; on the contrary, 'Seoul Station' has greater depth and significance than its successor, and we suspect those who like their gore with brains will in fact find it superior. It is as well that, though billed as a prequel, the film is really more fitting when seen as a companion piece to 'Train to Busan' – other than the fact that they both deal with a zombie outbreak in Seoul, there is absolutely no relation between the events or characters of either film. A decidedly smaller-scaled affair, it unfolds predominantly through the eyes of four characters – a young runaway prostitute Hye-sun (voiced by Shim Eun-kyung), her good-for- nothing boyfriend Ki-woong (Lee Joon), a man who claims to be her father Suk-Kyu (Ryu Seong-ryong), and last but not least a homeless man whose name we never learn desperately trying to find help for patient zero.That patient happens to be one of the homeless too, who is seen at the beginning stumbling through the titular station promenade bleeding and in pain. A pair of well-heeled young adults whose conversations about universal healthcare seem to hint at their social consciousness notice him, but they stop short of helping when they catch whiff of the old man's 'homeless' stench. Oh yes, there is social critique right from the beginning, as Yeon delivers admonishment on the indifference and even outright disdain of Korean society towards its downtrodden even as it claims to be otherwise. Yeon's criticism at both the institutions and the people within comes into even sharper focus as the old man's fellow homeless is frowned at by social workers and turned away by the police when attempting to seek help for the old man's none-too-well condition. Seen in that light, the outbreak is not only comeuppance but also social levelling, reducing rich and poor and any individual alike on the social ladder to a single denominator – that of a bloodthirsty undead driven by the same thirst for blood. There is no doubt where Yeon's sympathies lie, especially given how Hye-sun, Ki-woong and Suk- kyu are by virtue of their social status among the marginalized in society. A tiff between Hye-sun and Ki-woong earlier on separates the couple, and the latter spends most of the subsequent time with the former's father Suk-kyu trying to locate her with the help of mobile communication. As much as the estrangement between father and daughter is part of the story, their interpersonal character drama never becomes the narrative's driving force, in part because of a neat nihilistic twist at the end and in part not to distract from the social commentary.If it isn't clear yet, the latter is the film's emphasis, and it is therefore no coincidence that Hye-sun will end up at one point with several dozen survivors trapped in an alley between a fully-armed military blockade determined to keep out what they think is an insurrection by a plebian mob and a make-shift barricade meant to keep the zombies on the other end at bay. It is also no coincidence that Hye-sun will stumble into a lavish interior decoration showroom meant to showcase the city's high-end apartments that neither Hye-sun or the other two characters will ever be able to afford, a point which Suk-kyu makes as he marvels at its opulence when he finally catches up to Hye- sun. Throughout, the divisions between the social classes as well as the attitude of the bureaucracy towards these divisions becomes the film's pivot, and more than delivering the standard-issue zombie thrills, is its motivation.Certainly, there are some palpably tense moments in Hye-sun's struggle to stay alive, but these are no match when compared against the white- knuckle sequences in 'Train to Busan'. That is both a function of the genre (live-action versus animation) as well as the deliberate intention of its filmmaker, of which 'Seoul Station' is a much more intimate and personal work akin to his previous two critically acclaimed animated films - 2011's 'The King Of Pigs' as a disturbing and violent exploration of childhood bullying and the trauma it leaves, and 2013's 'The Fake' as a blistering critique of organized religion. Like we said at the beginning, those looking for the same wall-to-wall action or suspense in 'Train to Busan' will likely be underwhelmed by 'Seoul Station', but if you like your helping of zombie gore and guts with brains, you'll be satisfied by the bite that this zombie flick takes off of society's inequalities and injustices.

Red-Barracuda A few years ago I saw the South Korean animated move The King of Pigs (2011). I was very impressed with this dark, compelling and adult work. The director of that one, Yeon Sang-Ho, has now released a new animated feature, which is a zombie film called Seoul Station. The story focuses on various small pockets of characters as they try to survive the zombie pandemic in different parts of their city. The characters are all disenfranchised members of South Korean society, such as the homeless and members of the sex trade. Therefore, like is so often the way with zombie movies, there is an underlying subtext to this one which looks at these social issues as well as the undead mayhem.Like The King of Pigs before it, Seoul Station is typified with an animation style that is not afraid to make its characters look like actual South Koreans, which is something that Japanese anime often avoids. It's a factor that adds a nice sense of authenticity to proceedings, with downtown Seoul itself presented in an equally realistic manner. The characterisation is also very strong, with a set of people here who you really root for. This fact means that we are more invested in their plight and so the various suspenseful scenes then have considerably more impact. This really is impressively tense for an animated movie with some moments that are genuinely pulse-pounding. It's also not afraid to pull its punches and has one effective dark unexpected turn in its story which only adds to the horror already witnessed. By the end, you would have to say that it's a pretty nihilistic movie which doesn't provide too many comforting answers. But it's all the better for not being afraid to execute its material this way. All-in-all, this is yet another very impressive animated work from Yeon Sang-Ho and a great example of that very rare beast, the animated horror movie.