THE HOST NOW AVAILABLE

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HERE IS THE SUMMARY FOR THE MOVIE THE HOST FROM IMDB

The film revolves around Park Hee-bong, a man in his late 60s. Park runs a small snack bar on the banks of the Han River and lives with his two sons, one daughter, and one granddaughter. The Parks seem to lead a quite ordinary and peaceful life, but maybe a bit poorer than the average Seoulite. Hee-bong's elder son Gang-du is an immature and incompetent man in his 40s, whose wife left home long ago. Nam-il is the youngest son, an unemployed grumbler, and daughter Nam-joo is an archery medalist and member of the national team. One day, an unidentified monster suddenly appears from the depths of the Han River and spreads panic and death, and Gang-du's daughter Hyun-seo is carried off by the monster and disappears. All the family members are in a great agony because they lost someone very dear to them. But when they find out she is still alive, they resolve to save her. Written by Plot Summary

HERE IS A REVIEW FOR THE MOVIE THE HOST FROM DVDTALK

The Movie
It's the rare monster movie that lets you see the creature right off the bat, and then hides it away, letting the human characters be the stars, and their interactions advance the plot. The Host is one of those films, as it follows the Park family, as it bands together, against the monster and the government, to find their youngest member, Hyun-seo, who was taken by the creature. Along the way, they run into frequent troubles, with everyone they encounter working against them and preventing them from saving Hyun-seo.

The creature, born of U.S. pollution in Korea, is as unsubtle a statement as could be made about the world's view of the United States, as it puts a foreign country in peril through no fault of its own, and when it can't solve the problem, it needs America to step in, take over and clean things up. But the film doesn't obsess over politics (at least for the bulk of the 119-minute runtime,) as it much prefers the Parks' dysfunction over any international scraps, keeping a close eye as frequent screw-up Gang-Du, his siblings, Nam-il and Nam-Joo, and their father Hie-bong, battle each other out familiarity, more than contempt. Unfortunately, focus is not the film's strong point, as it moves in fits and starts, bouncing between Hyun-Seo's struggle for survival in the monster's lair and her family's efforts to save her.

For a film that's peppered with moments of comedy, the more serious scenes manage to maintain a believable tone, thanks to some fantastic audio design and a score that's as tense andnerve-wracking as a Hitchcock film. Throw in some beautifully kinetic and artistic cinematography, and you've got a dramatic cult film that represents the best qualities ofidiosyncratic Asian filmmaking. The final climatic battle between man and beast alone would be enough to earn this film a spot in the film history books, but it's matched in tenacity and monstrous goodness by the opening scene, one of the most original, well-filmed monster attacks in recent history.

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