Joon-ho’s indictment of 21st-century capitalist structures is made coherent, and given scathing tangibility, in the dichotomy between the Kims’ and Park’ respective abodes-in the case of the former, a look out the window curses them with the sight of a drunkard urinating on what constitutes their front porch. Joon-ho is both poking fun at himself and laying bare his agenda when Ki-woo exclaims, more than one, how metaphorical something in front of him is.

….to completely pulling the rug out from beneath our feet. A major reason the writer-director’s 2006 monster movie “The Host” endures is the symmetry of how physically close the bumbling Park family is to finding the captured Hyun-Seo and the minimal extent to which the forces of authority are willing to aid them the ecologically-minded themes of 2017’s “Okja” are drawn out through the movie’s dichotomy of location as it goes from serene South Korean jungle to dangerously bustling American metropolis and you can’t discuss 2013’s “Snowpiercer” to any extent without touching on the deliciously simple symbolism of the class hierarchy toppled horizontal in the form of a speeding train, with cars that become more affluent and cozy the closer you “fight your way to the front,” as the tagline reads. SAN ANTONIO - One of the more uniquely integral aspects of Korean director Bong Joon-ho’s films, particularly over the last 15 or so years, is a meaningful sense of place-a realization of geography between characters and their goals that extends to mood and meaning, and which ultimately turns the experience of watching a 2-D movie into something more tangible, thrilling and involving.

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