Cinema-Maniac: The Merciless (2017)

The Merciless tells the crime genre age old tale of young, and spirited undercover cop, in this case being Hyun-soo (Im Siwan) infiltrating a criminal organization to take down Jae-Ho (Sol Kyung-Gu), and his boss empire. It sounds by the number, but when it comes to execution it delivers a pleasant surprise, and only for the first half. I can’t name you another movie in general that opened up with two criminals talking about eating raw fish, and killing people. This unusual opening show traits of the film capabilities to make something fresh out of a generic concept. For half of the movie, it does that perfectly fine. It does the usual plot points of showing the undercover cop infiltrating the prison, the preparation before the operation, and information regarding the criminals the officers are attempting to capture. Moving along in the prison where it also contain scenes you would expect; the undercover cop gaining the powerful criminal trust, rescuing powerful criminal from death, capturing the top criminal attention in a prison brawl, and eventually bonding. Familiarity easily could have been this film biggest enemy, but it turns it around, add its own spin on things, and feels fresh.

For about an hour, it does a superb job sprinkling plot points that could eventually become rewarding the more the film progresses. Showing early on shades of grey on both the officers Hyun-soo works for, and the criminal he’s infiltrating. All the while balancing Hyun-soo ever growing bond with the target, what it does to him mentally, and showing how his loyalty wavered. Another nice approach to the matter is taking a setup that is usually played dead serious, and adding much needed levity to make it stand apart. Giving the prison portion of the movie more charm than one would expect. Providing a host of laughs without tonal whiplash when it goes back to being serious. The fun nature become part of the characters we follow, and makes them likable. While in prison, the story doesn’t forget to thicken the story by providing Jae-Ho his own conflicts. Ensuring even if Hyun-soo isn’t on screen something significant does feel like is happening. It’s unfortunate that once both characters make their eventual exit from prison it’s all a series of bad choices.

Criminals always have to look professional when cracking skulls

A slight twist to liven up a generic set up is the film antagonist knows our protagonist is an undercover cop for half of the movie. This makes the dynamic far more interesting by avoiding the usual pitfall of “the lier reveal” climax movies of this nature tend to heavily rely on. It’s a shame the film decides to do very little with this twist. Hyun-soo plays both sides conflicted about where he belongs, and goes in the direction you expect it too. The police officers begin to doubt his loyalty, and so do some of the criminals. It never becomes a greater of two evil since the decides to remove the shades of grey it set up early on. A singular plot point derails the shades of grey undoing its own fresh take on a generic story.

Another aspect where the film falls apart is the police chief. This character is just here just because the film needs a stubborn chief to keep the undercover cop in check. There’s nothing done with her whereas Jae-Ho is meant to be a surrogate father to our protagonist. With this major flaw it’s impossible for the film to make a good case for why Hyun-soo loyalty should be solely with the law when the film frequently shows Hyun-soo getting berating, and the police chief mistreating him constantly for a job he didn’t want. Jae-Ho on the other hand also suffers from the lone fact him, and Hyun-soo relationship isn’t shown enough on a personal level. When it comes to them doing their criminal deeds there’s no expense of those scenes to find, but showing them interact in non job related activities is virtually absent. Doing a disservice to the viewer for detailing the growth of Hyun-soo, and Jae-Ho relationship.

What The Merciless was trying to go for is also questionable. The first half of the movie attempts to be a crowd pleaser while the second half takes a more arthouse approach both of which aren’t balanced. Instead of weaving a story that handle both style of cinema it went the easy route, and simply separating two vastly different style instead of combining them together. The second half attempts to make the viewer think on the story, and what it’s protagonist has to live with. Problem is, what the viewer is meant to take away from the story largely is unknown. It has a bleak ending, and that doesn’t means much when characters lose their appeal overtime the longer it goes on. Once outside of prison, the movie fails to further develop it leads in engaging ways. Reiterating traits about them already established. If it was trying to be a tragedy than it didn’t provides the characters needed to be worth caring about. Failing as a crowd pleaser since it goes from a fun, and occasionally grim undercover cop movie to a contemplated piece about human nature, and loyalty. It’s a messy movie with clear potential, and it dropped the ball.

Story is a mess, but Sung-hyun Byun eye for visual is perfect

On the acting, and technical side of things it’s well rounded. When it comes to style director Sung-hyun Byun gives the film a sleek, and cinematic look to it. Always finding creative ways to shoot on paper would be mundane scenes. For example, when Sol Kyung-Gu is getting beaten by police officers outside of an office. Byun shows the sequence play out from the inside of the office out the window, and follows it to be more visually interesting. The film biggest set piece in the middle portion of the movie has a huge between two gangs. He doesn’t simply keep the camera in place with a wide view to make everything visible. A few time during this sequence he’ll have a take go on longer than expected to show the chaotic fighting, have the camera follow actor Siwan as he gets tossed across the room, and in a instance he rotates the camera full circle during the brawl. A rotation shot that could been seen as self indulgent, and distracting, but works thanks to his excellent eye for detail.

Im Si-wan falls into the category of what some viewers familiar with Asian movies would call a pretty boy. Typically this is an in-circle phrase for Asian cinema insistence to cast “pretty boys”, typically pop stars, in leading roles they shouldn’t be in from gangsters, to criminals, serial killers, and so forth that would make it difficult to accept them as the character. Asian cinema isn’t the only film industry guilty of this so I typically pay it no attention. Especially here since the physical appearance of Im Si-wan works in his favor. It’s easy to buy from him that he gets drawn to the allure of the criminal world. He plays his role exceptionally well, especially during his dramatic turns as some of his work in this movie. Combining a certain level of vulnerability, or arrogance within his performance.

Another one of Byun creativity behind the camera coming through

Sol Kyung-Gu is another standout. His role is more complicated to decipher. He’s able to demonstrate a more caring side within his portrayal despite him playing a character aiming to be number one through any means. Expressing his character enjoyment in his dangerous business weather it be beating up criminals, or climbing up the ranks. Displaying a ruthless within him, even when coming off as playful. Yet, he never loses his darker side whenever on screen with Im Si-wan. When together, they both bounce of each other naturally. The only other actor with a noteworthy performance is Kim Hee-Won. A more playful performance to counteract Sol Kyung-Gu subtle performance. Kim Hee-Won gets most of the film jokes, and delivers them perfectly thanks to his comedic timing. Despite being the most lighthearted among the cast, he too is able to dramatic pick up the slack when it comes time to it. Other actors do just as well in their more straight laced role. Jeon Hye-Jin who plays the police chief, and Lee Kyoung-Young who plays the criminal boss play them straight. Despite that, both are given enough time to leave an impression.

The Merciless was a tough watch for the sole reason it’s the kind of movie that could have been more, but didn’t know how to. It’s unfortunate because you have half of a good movie, and the other half that derails it with a misguided direction in writing. It wants to be a movie that appeals to the general crowd, and cinephiles alike, but just end disappointing both. Lavish production values, good performances, and very little, but decently action sequences barely helps it raise above the mediocrity of similar movies. However, when the writing unwillingness to commit to taking risks, and gamble big prevented The Merciless from possibly being another classic piece of crime cinema.

Rating: 6/10

Cinema-Maniac: The Man from Nowhere (2010) Review

In the action genre it’s difficult to find a universal meaning for what classifies a great action movie. For some it could simply mean the film in question has plenty of violence to satisfy adrenaline junkie. While for others it could simply mean the story took it time to make the preceding events meaningful if it comes of the cost of little violence being shown. If there is a middle ground in the genre it’s often not dictated by it main character, but rather the writer. Anyone who writes action films must understand their main character thoughts, and physical limitations (if any) before the presence of a threat ever appears. If not accounted for this crucial building block can misguide the writer. For example, if the writer is attempting to do the everyman hero archetype correctly than viewer exposure to seeing them perform superhuman feat, and surviving multiple impossible scenarios will serve against the everyman hero archetype. There’s also the argument that the action genre already peaked unable ever surpass the classic films whose influence is still present in the genre today. I on the other hand would say since the 80s the genre has been improving in certain areas, especially when it comes to crafting characters, and stories that never loses the viewer attention even when no violence seems presence. Jeong-beom Lee’s film, The Man from Nowhere/Ajeossi, understands the genre, but thanks to smart choices in the script, and execution of a familiar template creates a film that embodies the best aspect it genre at it most meaningful.

Go make me a sandwich you emo!

The Man from Nowhere follows a quiet pawnshop keeper with a violent past taking on a drug trafficking ring in hope of saving the child who is his only friend. Our leading character is Tae-sik (Bin Won), who on the surface is the every man action hero archetype who seems distant from people. In the action genre, the mysterious loner who some innocent person (usually a child or navie young woman) befriends by being persistent isn’t new in films. What matter most when it comes to familiar ideas, and plot devices is the usage of them. In The Man From Nowhere it gets virtually everything right about good writing from the very first scene. Setting up story elements that will later be expanded into greater significance as it progress. It sets up important story pieces for about half an hour establishing its central relationship with simple key scenes, and setting up intrigue in Tae-sik without directly revealing anything about him. You know from the premise Tae-sik cold attitude towards his neighbor child isn’t without reason. How writer, and director Jeong-beom Lee uses this plot device correctly was not reserving, displaying Tae-sik emotional attachment solely for its climax. By doing this, Jeong-beom Lee film benefits from this decision since it allows Tae-sik to be further developed as a character, and let the film not be reliant on showing the cold hearted protagonist become emotional for its central storyline.

It’s first thirty minutes are significant to how well the story is structure. Starting off like a character drama before switching gear in its second act to be an action thriller. For example, one moment in the film shows Tae-sik paying his respect to a woman whom nothing is revealed about. As the film eventually reveals Tae-sik connection to this woman the pieces fall into place for his attachment towards his neighbor daughter Jeong So-mi (Sae-ron Kim). It becomes a meaningful revelation since before Tae-sik past is revealed he is shown to care for Jeong So-mi. Another example of a well executed plot device is from a simple phone call. It’s between two criminals where a simple exchange is in placed to move the story forward. What detail is given, but not placed directly at the viewer attention is a snippet of dialogue. In context, it does more than move the story forward as a couple lines is given more significant later in the film. One of the best part of the story is how plot devices are more meaningful by the way they were used, and when to use them at the right time. The only serious issue to be found with the writing in its first act is in a scene where Jeong So-mi talks to Tae-Sik in a alley. It’s basically the equivalent of Jeong So-mi breaking the fourth wall to tell the audience to feel bad for her since she has a terrible life. It doesn’t help that the way it filmed explicitly shows Jeong So-mi character turning around, and describing how she is use to being neglected. It’s a heavy handed moment despite being well acted by Sae-ron Kim.

Freeze…get it guys cause it cold, and raining?

Once the story kicks in it never lets up, nor does it undermine the importance of focusing on characters. As it story expands into something larger Tae-sik becomes more developed as the film progresses. Another positive of the film is never forgetting about its characters preventing itself from oversimplifying the conflict. While it is easy to know whom to cheer for in the film, the execution of it the story makes it clear that a good guy, or a villain is not just a label certain characters carry. Succeeding in giving characters small traits that attempt to make them more human than just an obstruction of its main character goal. The film weakest character are easily the policemen whom serve to reveal information on the current situation, and discovers details on the protagonist of the film. What Jeong-beom Lee accomplishes through his writing, and choices is delivery an action film that places equal importance on providing a good story as well offering familiarity within the genre. Action junkies, and casual viewers will probably know the beats of this specific premise, but it’s much more than a well written film. It’s a step forward for the genre that often recycles ideas by giving it more depths than what was expected of it in the past. Displaying a willingness to take the genre to greater heights in a different way.

Actor Bin Won takes the lead as the quiet, hardened pawnshop keeper. Striking a balance between the everyman, and the cold character he display on the surface. One contributing factor to his performance is being able to balance the material he’s given with ease. Won does not deliver his dialogue emotionlessly when he speaks. Knowing through his delivery how to properly express himself in the context of certain scenes. When it comes to scenes where Bin Won has to display other range of emotion it feels consistent for the character. Bin Won does not overact in any facet of his character so he is never too robotic sounding, nor too emotional when it demands him. Another advantage to Bin Won performance is seeing him performing the action sequences himself. There’s a stunt in the film where Bin Won is an executing a leap from the second storey of a building, leaping through the window followed by a roll on the ground to break his fall, and all done in one swift take. Moments like these further emphasizes not only Bin Won ability as an actor to commit to a role, but further makes his character more involving knowing the actor himself is performing these scenes blurring the line between actor, and character. 

Little girl. You begging doesn’t work like this right?

Actress Sae-ron Kim does well in the role of playing the film naive, persistent child Jung So-Mi who befriends the quiet pawnshop keeper. She makes her character sympathetic, and in the few scenes she shares with Bin Won they play off each convincingly. Never once does she come across as pouty, or annoying the film. It’s remarkable that in her young age in the film, she actually has an understanding of how to deliver her material properly. Kim Hyo-seo plays Hyo-Jeong (So-Mi’s mother) is in few scenes, but contributes to the film nonetheless. Her few moments in the film shows the actress playing a struggling mother. Despite the length of time she’s actually makes good use of her time. Then there’s Kim Hee-Won, and Kim Sung-Oh both of whom do a good job in their roles. Usually in action movies whenever an actor is given a villainous character they go all out. However, both Hee-Won, and Sung-Oh performances are grounded making their characters more human. By portraying them as criminals it helps take them more seriously if they simply went out to be comically evil.

The supporting cast in general places good effort into the film no matter the size of their role. Actor Thanayong Wongtrakul is probably the last actor worth mentioning in the film. Wongtrakul plays Ramrowan who’s basically the adversary of the film protagonist. Like his other co-stars whom play criminals, Wongtrakul performances is also grounded making his character more memorable than it would have been otherwise. The film score is composed by Hyun-jung Shim. His score does include the bombastic sound one might expect from the action genre, but the noteworthy tracks are the ones that evoke feeling of a different genres, or uses unorthodox instruments to compose an epic sounding soundtrack despite its modern setting. Two outstanding tracks from the film are Chain of Mystery that evokes feeling of uneasiness perfect for a horror film, and the tracked named after the film itself. Thankfully, director Jeong-beom Lee knows when to implement the soundtrack to emphasizes a scene to make it more impactful, and when not to use too.

Maybe it wasn’t a good idea to just chill here until one guy arrived.

From a technical standpoint Jeong-beom Lee film has the polish look of a blockbuster. Tae-yoon Lee cinematography is simply beautiful to look at, even during the film’s darker moments. Lee isn’t afraid to show the few instances of darker material thus giving the conflict a greater sense of weight. Thankfully, Jeong-beom Lee also knew to use shots of dark material sparingly so the effect wouldn’t diminish over time. When the film finally gets to the action scenes they are well worth the wait. Despite the gap between action scenes, and length between them all of the set pieces aces good filmmaking techniques. Not only does Lee use long takes of his actor performing the action sequences, but make sure to never lose the audience. The film first fight scene last less than a minute, but the performance, and the way it shot doesn’t diminish it’s a good action scene. Bin Won convincingly performs the fight in the speed it was required to pull it off. The film’s climax is easily the film’s most memorable sequence. Not only contextually is it the most satisfying set piece since the film builds up to this moment, but the actual action scene by itself is well choreographed. It doesn’t exaggerate Bin Won ability within the scene, and does a good job in giving multiple performers within in the scene something to do. So you won’t see an actor in the background simply seeing the hero killing someone making it also feel grounded. There’s also some practical blood splatter effect in the film for added effect in its brutality. When the film gets to the knife fight between the hero, and his adversary it’s more believable than one might expect. The blades of the knives barely clash with each other with the fight sequence playing more on overpowering the other opponent. It also doesn’t last too long to take away from the serious tone of the scene.

The Man from Nowhere excels in execution, and delivery of its own material creating a must see film. There are films I shower with endless praise, and there’s also films I personally would recommend reader to check out, even if it means they might trust my viewpoints on films less if we disagree. This is a film I would personally recommend to anyone reading this. While it does the carry the label of an action film, and contains familiar story beats the execution makes the film more meaningful than the simple label of being an action film. It might not succeed in making you emotionally invested, but an action film like this that places equal importance on good characters, and story as well as providing of what expected of it within the genre are commendable traits. Standing as a good example of pushing the action genre forward in a positive direction, and offering more than what audiences demanded of such films from the past. It’s a masterpiece in the genre, and is one of the most satisfying (and crowd pleasing) film the genre has produced.

10/10

Cinema-Maniac: No Tears for the Dead (2014) Review

On the surface U-neun nam-ja/No Tears For the Dead in English simply looks like another polish Korean action film. Well that is correct, but the man behind it, director/writer Jeong-beom Lee is famous for doing a film named The Man from Nowhere (US English title). It was the highest grossest film in Korea in 2010, and gained international attention that only a handful of Korean films have reached. There’s a (as expected) Indian remake named Rocky Handsome set to release somewhere in 2016, and (typical reaction) an announce US remake of the film. With these remakes it’s safe to say The Man from Nowhere cemented its place in Korean, and action cinema. Another thing that occurred was it made Jeong-beom Lee a talent on everyone’s radar. Unless you’re Jee-woo Kim (I Saw the Devil), Joon Ho Bong (Gwoemul), or Chan-wook Park (Oldboy) the Western world will more than likely forget great filmmakers if they fail to follow up on their success. If they do prove their big hit wasn’t a fluke, than they might get a call from Hollywood to direct a film in English language production. Jeong-beom Lee won’t join the likes of his other peers as No Tears For the Dead is not a good film, let alone one that comes close to matching half of the traits that many loved about The Man From Nowhere.

Getting into the rhythm of making my new rap album. Crying Bullets.

No Tears for the Dead is about a hit man traumatized from accidentally killing a young girl during a job, and is given the mission to eliminate her mother. The killer for hire who becomes remorseful is a premise that grants leeway in exploring themes, and character traits that would otherwise be ignored in the action genre. Aspects like the protagonist becoming accustomed to taking lives, addressing how the character views change on the matter on killing growing older, and in some instance showing an inability put it behind them for a normal life. These are aspects for these kind of characters could be explored helping to create an action film that could be more meaningful than good guys killing bad guys. However, an hour into the film you’ll realize nothing within that span of time ends up becoming meaningful. For the first hour, the film is more in line of a drama setting up the pieces before changing gear into an action film for its later half. What is problematic about this is, within the first ten minutes, the film relays the information of what’s protagonist Gon (Dong-gun Jang) has to find for his boss, and that Gon is guilty about murdering an innocent child. Scenes beyond these ten minutes beat you over the head with the fact Gon feels guilty for killing a child. If you didn’t understand within the first ten minutes of the film then the film will dedicate an hour to make sure you get plot point.

Gon guilt over killing a child isn’t contemplative in the way it’s written. There is one flashback inserted into the film that show Gon past, and his drug addicted mother (Kim Ji-Sung). What purpose this flashback serve is not clear as Gon decision on whether or not to kill the mother, Mo-Kyung (Kim Min-hee), is determined by his past experiences. There isn’t any monologue, nor a discussion he has with the other characters as to why he made the decision that he did. The most that get elaborated on this is Gon saying “I’m tired”, but exactly what aspect of his old ways he’s tired off doesn’t come across plainly. Before Gon utter those words he kills a couple of people, and after uttering those words one would assume Gon stops killing for the remainder of the film. Except for the fact Gon makes a bomb to take out one of the goons who is trying to kill him which derails that possibility. So even when grasping at straws there’s no depth to the theme the film brings up on redemption, and killing. Another aspect of this writing that fell through was lacking scenes incorporating Gon with his mother. His mother is never given a name, never shows what led his mother to the situation she’s in, and how this led to Gon becoming a gun for hire. As a character, Gon mother has little value in the story, and as a plot device isn’t developed further then when it’s introduced.

Want to know why I’m angry lady? It’s hard finding a still without me holding a gun.

Then there’s the interaction between Gon, and Mo-Kyung which instead of building on what’s established only reiterates the same point in the first hour. Gon is guilt ridden for killing Mo-Kyung’s daughter, and Mo-Kyung is dealing with it in her own way. Their interaction could have developed them both into more complex characters, but alas it does not. Aside when Gon, and Mo-Kyung meet in an elevator there’s no scenes of them interacting like regular people. Gon observe Mo-Kyung from the sidelines. Having already mentioned the lack of monologue preventing an understanding of what Gon is thinking leads to pure speculations. Connecting loose dots while stimulating does not amount to much if there’s nothing concrete to connect them together. Gon does have a complete character arc, but there’s not much to his character. The whys he suddenly feel guilty about taking lives is left blank, as well as other aspects of his character. Other issues also include the script making a big deal of the desired item in question when found being made into a big deal when it reveals, even though the first ten minutes confirmed what the item is, and who likely has it. A subplot involving the police ends up contributing little to the story as well as other characters whom contribute little in the long run. The second half of the film is more like an action movie, but the lack of emotional resonate from the buildup makes the ensuing violence lacking in weight to what was presented. It’s first half got across it does not want to be a piece of mindless action which conflicts with the brainless approach in viewing the film second half. Then there’s the film’s ending which plays against expectation. It’s a good ending completing Gon arc, though the other underdeveloped elements prevent from staying in the mind.

So you want me to kill a man? Pfft. I’m head of security at Jurassic World in my spare time.

Now time for some actual compliments for what the film did correctly. Starting with the man behind it Jeong-beom Lee. He’s confident in his craft which is evident throughout the film. His selection of shots, with the help of cinematographer Mo-gae Lee, gives the film a sleek look. There’s also good stunt work, and fight choreography in the action sequences. Jeong-beom knows how to film action, and using shaky cam accordingly. Usually adding to an action scene than obscure the set piece. Another aspects of these action sequences is they come mostly in the form of hand to hand to combat. While some of the scenes require leap in logic when it comes to how characters survive none of the action sequences suffer any serious issues. There’s a fight scene that has actor Jang Dong-gun fighting in a small hallway that is very inventive. Using the small space to create a sense of enclosure, and Jang Dong-gun character skill in hand to hand combat to convincingly turn an outnumbered fight in his favor. The one set piece that emphasizes gun fighting is staged elaborately. Usually in gun fights you’ll have the duck, and cover approach which is boring if not done right. However, Jeong-beom Lee one only gun fight makes use of the actors moving across the environment besides narrowly dodging bullets. Jeong-beom made sure to show one character shooting while going to cover, and the person who being shot at not testing his luck for a kill. The gun fight also have the actors moving to different level of a single building visually adding a nice change in scenery in the set piece. Lee makes the right choice to keep the action sequences small, and manageable never going to big making them work as well as they do. As a director, Jeong-beom does nothing wrong from the selection of music that fits the tone, to editing action sequences to make as coherent and wisely framed as possible, and putting trust faith into his crew which shows through out with good production values.

Leading actor Jang Dong-gun is the best part of the film. His performance is complex putting his all into his character. Coming across as both a no non-sense assassin in body movement, and getting across he’s a troubled soul through his eyes. Never once in the film is Jang Dong-gun afraid to reveal the more emotional side of his character. Dong-gun performance is more compelling than the actual film. There’s several scenes in the film where Dong-gun is silent, but thanks to the way be expresses himself through facial expressions, and body movement what his character feels comes across clearly. He also performs in the action sequences convincingly not being afraid to take a couple of hits. Regardless of what Jang Dong-gun is shown doing on screen he’s the easily the best actor in the film.

Don’t worry about us. We do very little to help you.

Kim Min-hee has the second largest role in the film. Her character visibly goes through more series of emotions. For the first hour of the film nothing about her performance is noticeable since her character is all over the place, and Kim Min-hee is unable to make her character come across as putting up a facade like the writing intended. However, pass the forty minute mark of the film Min-hee shows a gradual mental downfall of her character. Slowly showing her character becoming broken in her state.

Supporting cast includes the likes of Brian Tee whose solid in his role. Tee is simply meant to be the adversary to the hero of the film, and nothing more. For the role, Tee is also convincing in his performance in the action scenes he’s in. Anthony Dilio is plays one of Tee’s henchman, though the only noteworthy thing about his performance is speaking in Korean, English, and Spanish (only in scene) in a single movie. Dilio only meant to look tough aesthetically. Same thing applies to Alessandro Coumo who is only aesthetically needed for his small role. Byun Yo-han, and Jun-Seong Kim deliver one note in his performance which fine because of the characters they play. Not so much for Jun-Seong Kim who has more screen time making his lacked in varied expressions noticeable. Finally, there’s Kim Hee-Won who shines in the final act of the film, though doesn’t leave much of impression anywhere else in the film.

No Tears for the Dead (2014) has a polish look, and good set pieces, but hampered down by bad writing, and actors who are unable to elevate the material. It has good setup to create meaningful characters, and has the desire to provoke the viewers unlike your average action film, but sadly aimless writing, humorless story, lack of depth presented in its theme, and lack of emotional resonates makes the entire film self-conflicting for the whole run. No matter what way you attempt to view the film from there’s always more issues than positives in the writing. It’s too serious to be entirely brainless, but it’s lack depths to punch the viewer with a series of emotions like it wanted. Dong-gun Jang, and the action sequences are the only consistently high quality aspect of the films, but whenever one isn’t on screen the film is unable to stand as strongly. Despite the conflicting material, Dong-gun Jang performance was a highlight of the film no matter what he was doing. Unfortunately, the good qualities wasn’t enough to save the film from being a messy film that couldn’t live up to its potential.

4/10