Wonderland

Wonderland
Wonderland

The latest developments in virtual calling in the dying of older family members prove one thing; the family members never go into the dying phase. In the same context, the current situation in the show proves haunting as Hae-ri (Jung Yu-mi) receives a call from her parents. The viewer is left conjecturing whether it is real or was simulated as she looks for the service. Questions are raised about whether she is indeed a subscriber.

Such tantalizing moments are, however, of sabotage or an excuse that comes to light in the vast majority. In the beginning, Wonderland film shows some potential and tries to show some soft optimism as Artificial intelligence is after all integrating into humanity and it is integrating into grief in this case. The feature narrates three different stories of users of the Wonderland service. The story begins with Jeong-in (Bae Suzy) who is frequently answering video calls from her nogh teammate who is out on a space mission and is really in a medical state. Bai Li (Tang Wei) has a plan to allow her children to talk to her so that they can still reach out to her, even seeing what she has become after a long time.

There is also Song Jeong-ran (Sung Byung-sook), who switches to the service in order to keep talking to her deceased grandson (Tang Jung-sang), an annoying college student. Hae-ri is accompanied by Hyeon-soo (Choi Woo-shik), in making sure Wonderland is good and operational.

The first setup is quite interesting. We see Hae-ri and Hyeon-soo work on the calling service, and how they go about marketing this to families wishing to become a subscriber. During this process, one of the clients explains how he looks at the picture of heaven. His construction of the ideal world, in which he would like to exist after his death, is very extensive. Tang Wei, on the other hand, is involved in an enthralling archaeological site, and her daughter, who she continuously calls to tell about the wonders of the mysterious desert, even encounters a sexy unknown man (Gong Yoo in the most appealing cameo).

The explanation provided above in the introduction does set the tone quite well. Unfortunately, writers Kim Tae-yong and Min Ye-ji do not do much help in extending this narrative scope. Grief is multi-layered, ambiguous, and almost always has a starting point from which it does not begin in sequence. There are so many angles to the grief that few of the multiple things happening in the story complement the whole picture of losing someone special and all that comes after that. The writing in fact manages the minimum and gives plenty of motivation to look for a better objective of the work.

With the premise of the film being focused on how the Wonderlandworks unique entertainment the little that is known about the target audience who came to use it feels almost insufficient.

In Wonderland, Hae-ri (Jung Yu-mi), who helps keep this amazing calling service that allows people to stay connected with the dead, receives a call from her parents after learning that there is a service that allows people to call the dead. Do his real parents call him, or are they fake? Has she gotten this service for herself?

However, such moments of interest are however relatively few and far in between. Wonderland starts on a high note Artificial intelligence appears to be penetrating almost every other facet of life and here, it tackles the subject of loss. Three different people registered to use the Wonderland system. Jeong-in (Bae Suzy) is endlessly looking at the pictures of her boyfriend Te-joo (Park Bo-gum) who works in trenches in space only to find out that he is not in space but rather in a coma.

Having cared little about her daughter in the past, Bai Li (played by Tang Wei) goes ahead to enroll herself with the service so that she would always have contact with the daughter even when she passes away bearing in mind the fact that her daughter passed away because of illness. Additionally, there is Song Jeong-ran (Sung Byung-sook) who is using the service to speak to her dead grandson (played by Tang Jung-sang), who was a rather pampered collegiate. Hae-ri, however, works with Hyeon-soo(Choi Woo-shik) to ensure the smooth and operational running of Wonderland.

The initial set-up has some promise. We begin to see how Hae-ri and Hyeon-soo who are the owners of a calling service, get the information about this service to families wishing to register. When they go out there, a man describes to them the kind of heaven he regards as ideal- the kind of place he hopes to reside in after dying. As for Tang Wei, she seems pleasantly occupied on an archaeological tour and she routinely telephones her daughter to describe to her the intriguing things one can see in the desert, even romance a mysterious figure, played by Gong Yoo in a forgettable cameo.

Regrettably, not much development has been done by the writers Kim Tae-yong and Min Ye-ji.

Grief is going to be very messy, never simple, and almost always full of twists and turns. The many plot lines hardly attempt to illustrate the impact of grief over the loss of someone close to the viewer’s experiences. The plot does not provide sufficient details, expecting the audience to become more invested in the central problem. However, since the main idea of the film centers around how Wonderlandworks, the identity of those who decided to utilize it seems terribly insufficient.

Even the remarkable actors struggle for meaning in expertly framed scenes. Most likely, the best role belongs to Tang Wei who is shown as a mother feeling both guilty and happy. One can’t help but feel that Suzy and Bo-gum should be given more time on the screen; the couple has great chemistry and a drama featuring the two should be in the works.

In consideration of the thesis, Wonderland was to be about true love, science, life, and death in a nutshell. Nonetheless, the script does not seem to go anywhere near these concerns, containing deep depression or pretending to be light-hearted.

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