In a cargo ship leaving the Philippines for Busan, Korean detectives chaperone a boatload of extradited criminals. And, unknowingly, one desecrated corpse of a science-abetted super soldier with his eyes stapled shut. God forbid some rogue agent gets the not-so-bright idea to reanimate that thing!
The vehicle-bound prisoners have distinct personalities, like in Con Air. They take over the boat and hold people hostage, like in Under Siege. Someone does resurrect that Frankensteinian beast built to be virtually indestructible, like Wolverine in X-Men Origins. It even hunts its human prey in thermal vision — in color! — like Predator.
Despite these blockbuster similarities and influences, the magic of Project Wolf Hunting is how fresh it feels. In high concept and shiny sheen, it suggests a graphic novel adapted to live-action perfection; as puny prisoners are punched across long distances, you can imagine the edges of comic-book panels being burst to convey such brutal force. Yet the South Korean film’s source material is the brain of its writer and director, Kim Hongsun (2014’s The Con Artists.)
Train to Busan’s Choi Gwi-hwa may not look menacing in real life, but as Alpha, the awakened military experiment, he’s a hulking machine of intimidation. One swing of his arm can — and does — amputate another’s. He pummels through people as if their bodies were Baggies. Folks, this movie is violent. It might even spill more blood than Sam Raimi’s first two Evil Dead chapters combined. In not holding back, Hongsun delivers audience-pleasing, sphincter-clenching action on a grand scale. —Rod Lott
Last summer, as part of a spinal procedure requiring me to remain semi-conscious, ketamine was administered as an anesthetic. A first-timer to the drug, I was ill-prepared for the trip of its drip: one in which my body was pushed through shapes and colors that do not exist. Members of the 
