Space opera is an adventurous genre set in the cosmos, filled with conflict and battles, much like martial arts novels. It started off as a subgenre of sci-fi but has since expanded to include comics, movies, and other content with similar themes. Unlike typical sci-fi, which focuses on scientific accuracy and detailed realism, space opera is all about exhilarating and stylish action set in space. Famous examples include the iconic Star Trek and Star Wars. Recently, Guardians of the Galaxy has also gained quite a following, right? 🌌
This genre is part of the sci-fi world, so it has to share fans. Yet, sci-fi enthusiasts, who are often interested in scientific theories and accuracy, may find this genre’s lack of such elements a downside. The idea of spaceships making loud noises in space—sounds unrealistic, right? (Though, it would be pretty boring without sound!) For this reason, space operas, even if they deviate from real scientific theories, need to have a solid logical framework within their fictional universe. That’s why setting the stage is as crucial as making the movie itself. 🚀
Despite the genre’s global fanbase, it hasn’t quite caught on in our country, possibly due to the lack of captivating visuals. The main reasons are perhaps underdeveloped domestic CGI technology and limited budgets. These quality issues have made the movies appear B-grade, leading fans to lose interest. Moreover, while other nations have walked on the moon, space still feels like a distant fantasy to us, making it harder to relate. 🌠
But recently, whispers of a new Korean space opera have been emerging. Director Jo Sung-hee’s ‘Space Sweeper’ has made its debut. The movie, featuring not only Song Joong-ki from ‘A Werewolf Boy’ but also Kim Tae-ri, Jin Seon-kyu, and Yoo Hae-jin in lead roles, was originally set for theatrical release. However, due to the cursed COVID-19 delays, it eventually premiered worldwide as a Netflix original. 🎥
On its release day, the internet was flooded with reviews of ‘Space Sweeper.’ There were mixed opinions, which left me pondering whether to watch it. With only about eight hours of leisure time after work and sleep, fitting in two hours for a Netflix movie was challenging amidst checking Facebook, Twitter, playing games, watching new YouTube clips, flipping through books, chatting on Clubhouse, and catching up on COVID news. 📱
Back in the day, with fewer entertainment options, people willingly devoted time to content based solely on quality. But now, we’re in an era of intense competition for our time, with service providers feeling the pressure and users overwhelmed by the choices. Nonetheless, I managed to watch the movie that evening, relieved I didn’t miss out due to the mixed reviews. 😌
In the year 2092, only 5% of humanity can live in the paradise of UTS Utopia above the sky, while the rest wander the polluted Earth or space. Aboard the spaceship called Space Sweeper, Captain Jang (Kim Tae-ri), Kim Tae-ho (Song Joong-ki), Mr. Park (Jin Seon-kyu), and Updong-i (Yoo Hae-jin) stumble upon a humanoid robot named Dorothy (Park Ye-rin) while dealing with space debris. 🌌
The opening scene of collecting debris was quite impressive, especially the swift and powerful moves of Updong-i wielding a harpoon. It was surprisingly natural, and it made me realize how familiar Yoo Hae-jin’s voice had become. In the scene where everyone plays go-stop on the spaceship, his voice overlaying the robot’s full-face mask felt seamless, a testament to his ubiquitous presence in many films. 🎭
‘Has this guy lost it? Shall we see who ends up hanging?’ 🙃
Kim Tae-ri’s low-toned muttering, despite her petite frame, fit her role as captain perfectly. 👩✈️
The CGI for ‘Space Sweeper’ was handled by Dexter Studios, led by director Kim Yong-hwa. After struggling with high costs at various U.S. studios for the 2011 movie ‘Mr. Go,’ he established his own company. Recently, they worked on the CGI for ‘Along with the Gods: The Two Worlds’ (2017), ‘Parasite’ (2019), and ‘Ashfall’ (2019). While those movies had decent CGI, I found the quality in ‘Space Sweeper’ truly exceptional, comparable to Hollywood’s sci-fi films. The volume and physical movement of objects were particularly outstanding. It’s evident from the credits how many developers were underpaid, and I hope investments from Netflix and other giants can improve such conditions. A virtuous cycle where world-class experts receive world-class treatment would lead to even better works. 🌟
Some audiences, tired of overly dramatic plots, might find parts of the film excessive, but it didn’t bother me much. The slightly awkward acting of foreign actors occasionally broke immersion, but that’s perhaps because I’m used to the stellar performances of expensive Hollywood actors. Anyway, the foreign actors in ‘Space Sweeper’ all played minor roles. 🎬
It would be wonderful if ‘Space Sweeper’ paves the way for more exciting space operas in the future. The film industry faces challenges in this COVID era, but hopefully, it leads to the development of varied distribution and consumption patterns, fostering greater growth post-pandemic. I’d like to dedicate Kim Tae-ri’s final line from the movie to industry folks: Let’s get the movie engine running past the COVID tunnel. 🎬
‘Start the engine.’ 🚀
Apologies for the casual tone. 🙏
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