[Edaily Starin Reporter YUN GI BACK ] A monster thriller originating in South Korea is going head-to-head with Hollywood blockbusters in North American theaters. Director Na Hong-jin’s new film “Hope” opened on the 9th (local time) in approximately 1,500 theaters across North America, and major local media outlets are giving the film high marks for its scale, action, and genre-bending ambition. There is even talk that it could expand beyond simply being a Korean film entering the overseas market to become a major global sci-fi franchise.

On the 10th, the American men’s magazine *Esquire* described *Hope* as “a Korean monster thriller aiming to be the next *Avatar*.” Despite being produced on a budget of approximately $50 million, critics note that its world-building—which combines gigantic lifeforms with extraterrestrial beings—and its scale are reminiscent of James Cameron’s “Avatar” series. In particular, they highlighted that Director Na designed “Hope” not merely as a standalone monster movie but as a universe with the potential for future expansion.
The Daily Beast’s response was even more direct. The publication described *Hope* as “a crazy sci-fi epic that puts Hollywood blockbusters to shame,” highlighting the nonstop chase scenes, shootouts, and large-scale monster action that drive the film from the very beginning as its strengths. In particular, they noted that Director Na’s signature bold direction stood out in scenes such as cars flying through the air, giant creatures sweeping through a town, and the late-film battle featuring horses and grenades.
This reaction is significant in that *Hope* is being evaluated based on the conventions of a global blockbuster rather than confined to the regional category of “Korean cinema.” While Korean genre films have primarily garnered attention in North America for their narrative, direction, and social messages, *Hope* is being compared to Hollywood blockbusters based on its production scale, action sequences, and visual spectacle alone.
*The New Yorker* also highlighted Director Na Hong-jin’s “blockbuster-style audacity.” Critic Justin Chang viewed *Hope* as a film where the violent and bizarre chaos unfolding in a small Korean village clashes with the sensibilities of a Hollywood-style blockbuster. In essence, he emphasized the significance of the film’s approach—maintaining Korean settings and sensibilities while expanding its scale to that of a global blockbuster.
Of course, the reviews aren’t all positive. *The Daily Beast* pointed out that some computer-generated imagery (CGI) doesn’t blend naturally with the real-world backgrounds, and noted that opinions may be divided on the film’s lengthy runtime of around 160 minutes, the world-building explanations in the latter half, and its open ending. *Esquire* also mentioned that the ambiguity of the ending could divide audience opinions.
Nevertheless, the point that North American media outlets consistently highlight is the ambition of *Hope*. By expanding a story that began in a small Korean village into a world entangled with giant monsters and extraterrestrial beings, the film suggests that Korean genre cinema is now setting its sights on the realm of large-scale sci-fi blockbusters—a domain once considered the exclusive domain of Hollywood.
If *Hope* goes on to become a box office hit in North America, its significance will be even greater. This is because it would demonstrate that Korean cinema has moved beyond being recognized for its artistic merit and genre-specific identity to the point where it can compete as a global franchise driven by scale and visual spectacle. All eyes are on whether the ambition of *Hope*—first recognized by North American critics—will translate into actual box office success.