TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

sorinapha Since this film is on Netflix right now (as of November 2015), and I'm admittedly a little too enthusiastic about violent films, I decided to give this one a whirl a few days ago, and despite the passage of time, every image is still fresh in my mind.This film, for those who are unfamiliar, depicts a mother carrying out a rather extreme act of revenge upon her cheating husband, but hurting the one thing they both love-- their son. After a failed attempt at castrating her husband, she goes into their son's bedroom and castrates him instead, swallowing his penis in order to ensure that it won't be easily reattached. She departs in a grief-stricken haze, leaving the film's events to spiral even further out of control in her absence.Moebius, as many previous reviewers have mentioned, is completely void of dialogue, and though some might consider this to be off- putting or boring, it seems to make the film even more compelling-- besides, there are more than enough cries of pain to keep the film from being completely silent.Since I have heard and read about Kim Ki-duk's less-than-stellar treatment of women and animals in his films, I was a little concerned going into this film, as I'm sure other viewers will be, as well. If my memory serves me, this film, unlike other features such as The Isle (2000), is free of scenes depicting cruelty to animals (which I was glad of, considering that they added nothing to the plot). However, the film still seems to carry tinges of misogyny, containing a rather upsetting rape scene just as many of Kim's previous films do. The female characters, however, do seem to be better fleshed-out than in The Isle, which at the moment is the only other Kim Ki-duk film I have seen, so we can at least assume that positive progress has been made in the last few years. However, I really would have liked to have seen more character development particularly in the case of the Mother, and particularly character development that didn't revolve around the men in the film (but then, I suppose it would be hard for a film with no dialogue to pass the Bechdel test). What carried this ambitious and slightly scattered film was definitely the actors. The accomplishments of the actors, to be able to convey such emotion without the crutch a text provides is amazing. Despite the treatment of her characters being questionable, Lee Eun-woo's performance as both the Mother and the Mistress was nuanced and forceful at the right times, and her gift for nonverbal communication carried what could have otherwise been an utterly nonsensical film, making it almost believable.All in all, though it feels a little obvious to me, I will say it anyway-- the squeamish should avoid this film, especially if genital mutilation and self-harm of any kind are especially triggering for you (the latter is shown more graphically than the former, and I found these scenes in particular to be upsetting). Even if you have a stronger stomach, proceed with caution, but if you feel you can handle it, Moebius may prove to be a very rewarding cinematic experience.

Joris Master provocateur Kim Ki-Duk did it again. A movie that made people vomit during its premiere at the Venice Film Festival, that divides its audience in lovers and haters and that will have a cult following in some years. For some reason it felt like watching Gaspar Noé's Enter the Void: I was incredibly fascinated and couldn't turn my eyes off the screen, but at the same time I was so happy when the end credits started rolling. Still in doubt about how I feel about Moebius, I can say one thing for sure: this is a film I never have to see again. I'm glad I did, but it's an experience not worth repeating. Why not? A woman catches her man cheating on her with another woman (played by the same actress). She wants to take revenge and cut off her husband's penis. Failing to do this, she cuts off the penis of their son. Wrecked by guilt, the father offers his penis to his son by transplant. In the meanwhile, the son "raped" the woman his father had an affair with (as I said, who is played by the same actress as his mother, see what Ki-Duk did there?). Once the transplantation is complete, the son begins to get sexually aroused by his mother and vice versa. Seeing this, the father wants to cut off his son's penis yet again, but fails. Eventually he kills his wife and himself. While telling this sickening Freudian nightmare, Ki-Duk refuses to let his actors speak one word (there's no dialogue in this movie) and adds some knife-in-shoulder masturbating to take it all just one step further. Yes, you really need to have the stomach for it. Unfortunately, Ki-Duk forgets to make an interesting visual movie (unlike Noé's Enter the Void) and thereby doesn't reach the bourgeois public he intends to insult and provoke. But still... This movie is unlike anything you've ever seen. Try it.

Bric Barker Possible spoilers: Be Warneed I am also a big fan of Mr. Kim's past work, but I try not to let that influence the viewing of a new work. It's easy to dismiss the "no dialogs" element of this film as an easier play on the International Film Festival circuit; however, there's nothing "easy" about watching this film. This is straight up Greek Tragedy Korean style. It begins with "Medea" hurting the child to get at the cheating husband and ends with "Oedipus Rex" in very disturbing realism. Even the end violence happens offstage - sot to speak. But that's only the template. Kim's exploration of our relationship with masculinity and the actual male penis would probably boggle Freud's mind. It's painful to watch and the reversal of imagery where a rape victim uses a knife (phallic symbol) to give sexual pleasure is genius, if not completely whacko. This is NOT a movie for everyone, so negative reviews may abound, and I think that's fine. But slamming a movie for not having dialog's? When's the last time anyone told a story this well without using words? Many have forgotten that film is a visual medium! Thanks Mr. Kim for reminding us that sometimes NOT speaking can add so much more tension to a narrative. Honestly, I'll probably never watch this film again...it disturbed me that much, but I do not deny its intrinsic appeal to our sexual relationships that get perverted along the way and its Greek allusions. And that smile at the end...genius.

Alistar Baker You have to love Asian cinema. It never holds back on any topic no matter how insane. Here we have an entire film about a father and son who are basically neutered by the woman of the household out of revenge for adultery. The rest of the film is about the agony of men dealing with life bereft of their penises, and how they try to get their penises back. Keep in mind this film has no dialog whatsoever which is not an unnatural as you might think, but it is still quite odd and seems a bit unbelievable at times. Perhaps there is some connection between speech, the word, and the penis? Yet it also creates a kind of emotional intensity that sets the film apart. Like Pieta, I wonder what the point is of all the perversity in this film. I suppose if you want to tie it into Freudian psychology, Greek tragedy etc that is one approach. Perhaps it is an absurdist tale about modern nonsense. Perhaps the black comedy satire this film is, somehow helps us come to terms with out repressions in the modern age not to mention our materialism, and hypocrisy. There is a repeating theme in Kim-Ki Duk's films of redemption through religion. The son who is castrated finds redemption in the Buddha. The son pays for the father's 'sins' at the hands of the mother. The mother corrupts her son further through incest to spite the father. In Pieta, the only character at peace with themselves is the one who gives up materialism and seeks the Buddha. I notice a pattern in the films of Kim-Di-Duk. The agent of justice is as 'bad' as those they punish for their transgressions. The ideal of a heroic moralist is lost in this Korean film. Instead everyone continues to fuel the fire of their own personal karmic retribution getting deeper and deeper, never really getting to the end, just deeper. Of course I may see this idea through the western lens of morality, while karma is more of an inherent, impersonal law of cause and effect, that no one controls. It is a force of nature really, assuming our interpretation of it is correct. But enough theory. The acting is strong in this film. The story line is captivating. This film makes insightful points about human 'nature' such as the intermingling of pain and pleasure, or the amorality of the human animal. The extreme topic of this film may be a bit gratuitous and make you wonder what the point is though. The actors portray their pain and suffering in a believable, compelling way. The dark subject matter makes the film unapproachable by most though. I don't mean dark in some emo, Gothic poser fashion. It is harrowing watching the actors go though their pain. Perhaps that is the point of this film...to watch people suffer and feel sorry for them while being repulsed at the same time.