Blab Entertainment
Michael Fassbenders Korean Thriller Hope Opens in U.S. With 79% Audience Score
On September 9 2026, Michael Fassbender made a bold move by front‑lining the South Korean sci‑thriller Hope, a film that has already sparked conversation in both the U.S. and on Rotten Tomatoes alike. Neon, which secured U.S. distribution rights, opened the 157‑minute feature in North American theaters, inviting audiences to follow a police chief, his rookie partner, and a trio of hunters as they confront a mysterious creature threatening a remote harbor town.
The movie brings together Fassbender and Oscar‑winner Alicia Vikander, who portray alien beings that haunt the story’s characters. Supporting roles are filled by Hwang Jung‑min, Zo In‑sung, Taylor Russell, and Jung Ho‑yeon, who steps into her first film role after the breakout success of Squid Game. In South Korea, Hope earned $37.8 million at the box office against a $46 million production budget.
Critics and audiences have responded with a surprisingly uniform rating. Rotten Tomatoes lists a 79 percent score from both critics and viewers, based on more than 250 verified reviews. The percentage places the film as Fassbender’s 13th‑best work, tying it with his 2009 drama Fish Tank. For Vikander, Hope ranks as her seventh‑highest‑rated release, while it is the third‑best film of director Na Hong‑jin to date.
Reviewers praised the film’s high‑adrenaline action and tense suspense. Nerdist called it the “most unhinged movie” of the year, and critics singled out Hoyeon as a standout performer. Hwang’s take on the police chief was noted for its fresh perspective. Yet several reviews and audience comments flagged uneven pacing and underwhelming visual effects, elements some viewers felt pulled the narrative down. The 157‑minute runtime also split opinion, with some audiences deeming it excessive.
Neon’s opening weekend is expected to bring in $3.6 million over the first three days, according to Deadline. The film will face competition from releases such as Practical Magic 2, The Uprising, and Runner. Neon’s track record of handling Palme d’Or winners—including Parasite (2019) and Anora (2024)—suggests confidence in the film’s potential.
In a ScreenRant interview, director Na spoke about a possible sequel. “I would need one or two more movies to tell the full story, but the story I’ve told might be enough,” he said. He added that future projects would require more time to develop.
Fassbender, who first rose to prominence as Magneto in the X‑Men series and as David 8 in the Alien prequels, has recently slowed his film output to focus on television. He stars in the spy series The Agency and is set to reprise his role as Joseph P. Kennedy, Sr. in Netflix’s upcoming biopic series Kennedy. Hope marks the first collaboration between Fassbender and Vikander since The Light Between Oceans (2016).
The film is currently in theaters, and its performance will be closely monitored as a barometer for continued interest in Korean genre cinema within the United States and for the viability of international releases for actors like Fassbender and Vikander. While a sequel has been discussed, no official announcement has been made. Industry observers and fans alike will keep an eye on Neon’s distribution strategy and the movie’s box‑office trajectory in the coming weeks.
In summary, Hope has entered the U.S. market with solid critical and audience reception, a respectable opening weekend, and a clear place in the careers of its leading actors. Its performance will inform decisions about potential sequels and further international releases of Korean genre films.
The movie brings together Fassbender and Oscar‑winner Alicia Vikander, who portray alien beings that haunt the story’s characters. Supporting roles are filled by Hwang Jung‑min, Zo In‑sung, Taylor Russell, and Jung Ho‑yeon, who steps into her first film role after the breakout success of Squid Game. In South Korea, Hope earned $37.8 million at the box office against a $46 million production budget.
Critics and audiences have responded with a surprisingly uniform rating. Rotten Tomatoes lists a 79 percent score from both critics and viewers, based on more than 250 verified reviews. The percentage places the film as Fassbender’s 13th‑best work, tying it with his 2009 drama Fish Tank. For Vikander, Hope ranks as her seventh‑highest‑rated release, while it is the third‑best film of director Na Hong‑jin to date.
Reviewers praised the film’s high‑adrenaline action and tense suspense. Nerdist called it the “most unhinged movie” of the year, and critics singled out Hoyeon as a standout performer. Hwang’s take on the police chief was noted for its fresh perspective. Yet several reviews and audience comments flagged uneven pacing and underwhelming visual effects, elements some viewers felt pulled the narrative down. The 157‑minute runtime also split opinion, with some audiences deeming it excessive.
Neon’s opening weekend is expected to bring in $3.6 million over the first three days, according to Deadline. The film will face competition from releases such as Practical Magic 2, The Uprising, and Runner. Neon’s track record of handling Palme d’Or winners—including Parasite (2019) and Anora (2024)—suggests confidence in the film’s potential.
In a ScreenRant interview, director Na spoke about a possible sequel. “I would need one or two more movies to tell the full story, but the story I’ve told might be enough,” he said. He added that future projects would require more time to develop.
Fassbender, who first rose to prominence as Magneto in the X‑Men series and as David 8 in the Alien prequels, has recently slowed his film output to focus on television. He stars in the spy series The Agency and is set to reprise his role as Joseph P. Kennedy, Sr. in Netflix’s upcoming biopic series Kennedy. Hope marks the first collaboration between Fassbender and Vikander since The Light Between Oceans (2016).
The film is currently in theaters, and its performance will be closely monitored as a barometer for continued interest in Korean genre cinema within the United States and for the viability of international releases for actors like Fassbender and Vikander. While a sequel has been discussed, no official announcement has been made. Industry observers and fans alike will keep an eye on Neon’s distribution strategy and the movie’s box‑office trajectory in the coming weeks.
In summary, Hope has entered the U.S. market with solid critical and audience reception, a respectable opening weekend, and a clear place in the careers of its leading actors. Its performance will inform decisions about potential sequels and further international releases of Korean genre films.
