Steven Yeun-iverse

Mayhem

Burning

Happy December, dear readers. It’s a new month, a new season (practically), and it is a time for rest and renewal. I got to spend Thanksgiving with my sister in Los Angeles, where, for the first time in a very, very long time, we watched double features together—like we did at the genesis of this movie-watching adventure. My sister and I do not always share the same cinematic preferences, but one thing we can always agree on are hot dudes. So, after many months of waiting to be together again, we watched a double feature dedicated to one of our favorite film and tv heartthrobs: Steven Yeun. If you’re a nerd, you most certainly know Steven Yeun from his major role in The Walking Dead. But if you’re a cinefilic slut like I am, you know Steven Yeun from his several iconic performances in film over the last few years—from Minari, to Sorry to Bother You, and most recently in Jordan Peele’s NOPE. In all of these films, the Sagittarian sweetheart caught my eye, swept me off my feet, and maintained my adoration regardless of his character. He’s not always included in the Sexiest Men Alive lists or given the praise he deserves for his talents, but Steven Yeun’s beauty surpasses physicality, and his charm reaches somewhere ethereal and ephemeral. He’s like an old friend, whom you’ve always admired and crushed on, but never dared make a pass at, at the risk of ruining the friendship. He’s too precious, too smoldering, too effortlessly cool to demean with my thirst-filled thoughts, and yet, here we are. As big Steven Yeun fans, my sister and I knew we had to dedicate a night solely to him, and we began with the first major film that he lead: Joe Lynch’s 2017 action/comedy/horror/chaotic mess Mayhem. Mayhem follows Steven Yeun as a once wide-eyed, but now overworked and jaded lawyer named Derek working at a shady firm called Towers and Smythe Consulting. Derek is aware that his employers are not the most scrupulous, and that his fellow coworkers are conniving sharks, but he does his best to work within the system—until one day their building is put on complete lockdown by the CDC. Inside this towering office building there’s been a breakout of a virus called ID-7 or “Red Eye”, which is not lethal, but it effects your neural pathways and removes all inhibitions and moral integrity—which often results in violent outbursts that can even be murderous. It’s a fun premise, marred only by the reality and reminder of the actual viral pandemic that ensued a few years later. With the very real COVID-19 awareness looming over us as we watched, it made this fictional virus ahead of its time, and all the more terrifying. When COVID first hit, I was working in an office. And, even before we got permission to, I took my laptop and worked from home because I knew too well how atrociously and selfishly some people can behave inside the confines of an office building. It was for this reason that Mayhem horrified me, but this was also due, in part, to the not-so-great dialogue. I didn’t mind that the lore of the virus was sloppy, I didn’t mind that the characters were underdeveloped, because Steven Yeun looks fantastic in a suit and had delightful chemistry with Samara Weaving. I was having a fun enough time with the madness and debauchery among the uptight, white collar cast of douchey characters, I will say, though, that it became increasingly obvious that this film was written by a man. It appeared, to this critic and former corporate drone, that Mayhem was written by someone with a great deal of their own pent-up, office-related rage, and I’m sure it was extremely cathartic for them to create this. I appreciated its scathing, albeit unoriginal, criticism of the elite class that “works” at the top of these ivory towers, but nearly every joke was a swing and a miss. Even Steven Yeun’s friendliness and Samara’s unique ability to get the shit kicked out of her and still smile couldn’t distract from the dumb, and at times, shockingly lazy humor, but it was still an enjoyable ride. Perhaps the best decision made in this film was the casting of Steven Yeun, but anyone with eyes and a beating heart can see that he’s an effortlessly likable leading man. Mayhem was a messy mish-mash of any and everything, for better or worse, and while the next film we watched was far more cohesive, it could’ve used more of… any and everything. Burning, Lee Chang-dong’s 2016 South Korean psychological thriller, is based on the short story “Barn Burning” by Haruki Murakami, and is inspired by elements of William Faulkner’s story of the same name—which, had I known before viewing, probably would’ve put me off because I do not love the work of William Faulkner. I’ve lived enough tragedies in the South, I need not read about anymore. But given my love for so many South Korean psychological thrillers, and my love for Steven Yeun, I knew that I had to give this one a try. Burning follows Lee Jong-su (Yoo Ah-in), an aspiring writer who’s struggling to find a job and a purpose (too relatable, I fear) until he randomly bumps into an old childhood friend Hae-mi. Hae-mi (Jeon Jong-seo)is a curious and strange girl, who often talks of adolescent memories that Lee Jong-su cannot remember. Their courtship is bizarre, but it builds into a meaningful relationship for him. Hae-mi has saved up all of her money to go to Africa, and asks Lee Jong-su if he’d look after her apartment and cat while she’s gone—to which he happily agrees. When Hae-mi returns, though, something has shifted. She arrives home, not just with stories to tell, but with a new friend named Ben—aka our baby boy Steven. Ben is mysterious but kind, rich but only subtly pretentious, and takes a profound interest in both Hae-mi and Lee Jong-su. And while it is hard to trust Hae-mi at first due to her manic pixie dreamgirl quirks (emphasis on manic), it is Ben that has the most to hide. Regardless of his suspicions, or perhaps because of them, Lee Jong-su continues to hang out with Hae-mi and Ben and only finds himself more intrigued with this puzzling character. I was getting supreme throuple vibes at this point, because this threesome, no matter how odd, seemed to all get along fine. But there was no threesome, and no sexual tension beyond the flirting that Steven Yeun seemed to engage in with every character. There are some absolutely stunning shots in Burning, with gorgeous cinematography that showcased South Korean nightlife inside low restaurants and high-rise apartments, juxtaposed against the colorful sunsets out in the farmlands. Visually, Burning is a feast for your eyes, and as far as the story goes, it was instantly compelling. Everything seemed carefully crafted and timed in this film, and our protagonist’s suspicions only grow deeper, as Steven Yeun’s character smokes a joint and delivers some sociopathic dialogue in the calmest tone ever. All of these pieces, in theory, are everything that I love. And yet… it was missing a little bit of everything. The tension this film built was divine, but what it ultimately led to was a bit disappointing to this critic. And not to be this person, but for a film based on a short story, this film did not need to be two and a half hours. Burning is the epitome of a slow burn, and an engrossing one at that. The story is excellent, the suspense is thick, I just wish the intensity had been turned up a bit more. I like a heavy dose of tension, but I love when it leads to something definitive and bold. Unfortunately, Burning may have fallen victim to the curse of the over-hype, because while it is not a bad film by any means, I really felt every minute of that two hours and thirty minutes—which is never what I want from a thriller. I want to be thrilled! And while I enjoyed every moment that I got to look at Mr. Yeun’s face, I wish there were more to be excited about here than watching him brood. I hope the art hoes who love this film forgive me, and I hope you’ll explore Steven Yeun’s work regardless of my lukewarm appreciation for tonight’s two films, because he truly is so talented, so handsome, and has whatever that “it” factor is that is so sought after. I just wanna kiss his face, and I want everyone to give him the praise he deserves!! Sometimes it’s about the journey, and sometimes it’s about watching any movie to be in the orbit of Steven’s Yeun-iverse. 🪐