A lone detective who works for a secret agency, solving cases in quick, ruthless fashion. But this detective is also on a quest to exact revenge on the man who violently ruined his family's life 20 years ago. The journey will inevitably take some unexpected turns. This is a film that may divide audiences, due to its off-kilter approach to a number of different genres, time periods and visual styles, using the framework of a hard- boiled detective story to metaphorically glance at various hardships Korea has endured over the past 100 years. It takes a little while for the film's rhythm to take hold, but once it does and you completely click into its particular point-of-view, it becomes more entertaining as it goes on. Writer/director Jo Sung-hee, who impressed with the minimalist, post-apocalyptic END OF ANIMAL and the romance/drama/fantasy A WEREWOLF BOY, again moves down a different path, with a film that is heavily influenced by comic books and pulp crime novels. His smart blend of camera technique, lighting schemes, CGI animation, and set design makes this a feast for the eyes, and if it is screening at a cinema nearby, then I highly recommend that you go and experience it on the big screen.
Lee Je-hoon, who caught people's attention with his performances in the first-rate but appropriately titled BLEAK NIGHT and the acclaimed Korean War drama THE FRONT LINE, is very good as detective Gil-dong, and the relationship that develops between he and the two girls is genuinely affecting. However, he doesn't quite command the screen in the way needed to make a film like this truly soar (say like Park Hae-il), but on the strength of his work here, you know that day is not far away. Kim Seong-gyoon proves intimidating as the brutal Kang Sung-il, but the film is stolen by young actors Kim Ha-na (as Mal-soon) and No Jeong-ee (as Dong-yi), who are utterly charming as Gil-dong's hindrance-come-helpers. The director gets remarkably natural and confident performances from the two youngsters, thankfully free of cloyingly sweet mannerisms and cheap sentimentality.
The less you know about the plot details the better, as Jo Sung-hee's final vision may be somewhat contrary to what you might be expecting. But it's a surprise that definitely leaves a smile on your face when the end credits begin to roll, and has you already looking forward to what this talented film-maker will do next.
