I must be the last to realise that Korean cinema is simply the freshest, most exciting and challenging cinema being made anywhere today. "Tell Me Something" illustrates beautifully some of the ways in which this is true. Starting with the time-honoured police thriller format, the way in which the drama plays out couldn't be more different from your average excellent but formulaic episode of "The Closer" or "Without a Trace"; as in much Korean cinema, the presumption of intelligence in the viewer means that far from being walked through every plot point, you tread the lonely road of clues and suspicion by yourself. Doubtless other viewers will predict the plot points with superhuman speed...still, I enjoy the spectacle even when I'm mystified.<br /><br />It feels as though the director has gorged himself on the full gamut of cinema, taking in not only his own cinema but glossy but predictable Hollywood and glorious, violent Japanese cinema. There's nothing more refreshing than to see a structure you recognise, used to portray a world you don't. It gives new life to any old, tired story or scenario – better still when it's harsh and good-looking and violent and surprising, like this. Here's a very brief run-down: an artist's daughter, some lovers, some murders, dismemberment. Your guide through this murky world is Detective Cho (Suk-kyu Han), who stumbles along the policeman's dirty path, labouring under suspicion and dishonour. You learn that his impassive taciturnity conceals more complex emotions, and you accompany him as he unpicks a messy, bloody and tangled knot of relationships and lies, seeking redemption along the way.<br /><br />It's romantic at heart. Detective Cho reminds me of Dana Andrews' terse, detached detective McPherson, in Otto Preminger's haunting "Laura" of 1944. That tough character finds himself lifted by the aura created by the eponymous central character of Laura into an unfamiliar realm, falling in love with her as he begins to know her. The comparison ends there – "Tell Me Something" has a finale that suits very modern tastes. I'm knee deep in Dashiell Hammett at the moment, but this is really more James Ellroy territory. It's a bit gory for my taste, but not strictly speaking gratuitous, I think. Even if it were, it would still be engrossing and disturbing, crafted with care and with a fantastic soundtrack.<br /><br />For more Korean excellence try gripping thriller "Memories of Murder" or the exquisitely turned "Spring, Summer, Autumn, Winter...and Spring". For other non-US excellence go for French TV policier "Engrenages" and Takeshi Kitano's unique Japanese gangster flick "Sonatine".