Broker

This is a moving drama about people pushed together by fate who end up not merely helping each other survive but elevate through an increasingly harsh world.

Kore-Eda, remarkably, doesn’t counterfeit a happy ending, but he also refuses despair. He’s an honest broker of heartbreak.

When it all comes together it proves to be yet another poetic and patient cinematic reflection on the families we build for ourselves from one of the best observers of humanity to ever do it.

There’s certainly enough potential mayhem, desperation and danger here (including the gangsters on Sang-hyeon’s tail) for “Broker” to have become a dark, propulsive action-drama, in another filmmaker’s hands. But Kore-eda focuses on — and mines — the grace notes, better angels and soulfulness of his characters in such lovely and relatable ways that we’re grateful for his humanistic, more empathetic priorities.

If there’s an overriding idea that Broker leaves you with after the tears roll down your cheeks, it is the sense that family transcends familial bloodlines. Family does not have to be something you are born into. Family can be something you can patch together and create.

Broker too frequently goes broad and wide, resulting in a story that doesn’t earn the happiness that its flawed characters desire, and eventually achieve.

The movie is fundamentally silly, with tiringly shallow characterisation and broad streaks of crime-drama intrigue, which only underline the fact that not a single word of it is really believable.

Hirokazu Kore-eda continues his exploration of the meaning of family in 'Broker,' which touches on the delicate subject of human trafficking. As always, the Japanese director — now filming in South Korea — takes us into the heart of an unconventional family whose members, each struggling with their demons, slowly realize that they are part of one. Kore-eda presents us with multidimensional characters and a story that, although a little overcomplicated, is as bleak as it is comforting. The plot deals with a major problem in the country: abandoned babies and controversial boxes for their mothers to leave them. The denatured mother is a theme that several filmmakers have touched on in recent years — like Maggie Gyllenhaal in 'The Lost Girl' —; Koreeda, of course, does not judges and instead presents us with different perspectives on what this means in a society like Korea. With unexpectedly funny moments, endearing characters, and a moving story that reflects on what unites a family — whether blood or upbringing —, 'Broker' emerges as a balm for the soul, as only Koreeda knows how to do it.

Basically Shoplifters but not quite as good. I thought that, at times, the movie was a bit too saccharine, too feel-good considering the subject matter. It all ends a touch too neatly. The film kept threatening to emotionally destroy me, but never quite did, and I'm not sure why. The score was sometimes great, but sometimes heavy-handed. Acting ranged from good to outstanding, if perhaps a little too reserved occasionally. It may seem like I'm being a bit too critical for an 8/10, but understand that the film is quite close to being a masterpiece, but there's just a few missteps in tone and pacing that are glaring in the light of that. PS: Does Song Kang-ho ever miss?

When we look to get the best out of life for ourselves, we often need to “broker” a deal to fulfill that goal. Which is precisely what an unlikely group of seemingly unrelated happiness seekers do in this heartbreaking and heartwarming new comedy-drama from acclaimed writer-director Hirokazu Kore-eda. While the film initially hooks viewers with a scenario involving a literal interpretation of the word that comprises its title – those who deal in black market babies – it skillfully moves on to explore how we attempt to get what we want out of life by brokering circumstances to our advantage, whether or not infants are part of the equation. In taking this unexpected turn, the story shows how such endeavors have both their unsavory qualities, as well as heartfelt, sincere intentions (their inherently questionable actions and manipulative practices conveniently notwithstanding). The filmmaker accomplishes this by deftly weaving gentle humor, genuine emotion and a moving soundtrack into the narrative, taking the edge off the primary troubling story thread and adding a sense of warmth that tenderly humanizes the picture’s overall direction. Thus what may be perceived beforehand as a dark and sinister tale tactfully guides audiences down a different (and heart-tugging) path. This is perhaps one of Kore-eda’s best and most personal offerings, featuring a well-crafted script and what is arguably a cast of Korean all-stars who deliver touching and delightful performances. There are admittedly a few points in the picture where the pacing sags a bit, but they’re more than made up for by its many strengths, making for a surprisingly satisfying watch, one of the most heartening releases of 2022.

not bad movie, but not good either. The story is really miss & match, visual is decent, and the voice is also decent

The sensational aspect of this film is the "baby box," where a young woman leaves her infant to be adopted. Taking it a step further, 2 men take the baby to sell it. While this sounds like a trip into the Korean underworld, it's actually a road movie about a quartet of misfits (including the mother) who manage to bond. The director is Hirokazu Koreeda, whose last film was Shoplifters (my review). Some of my comments from that review work here: "The performances are reserved, yet compelling. The film is quietly paced and develops their connections with patience. Low-key by American standards, but sweetly sensitive and ultimately touching." What starts as a criminal undertaking ends up as a somewhat too talky, but eventually engaging approach to family.