L'assassina

'The Villainess (2017)' contains some of the craziest action-sequences in recent cinema, primarily because of the frenzied and ferocious nature of the camera itself. It is used as a tool to put you right in the centre of the violence, often literally putting you in the P.O.V. of our protagonist, and never strays further than a few feet away from any of the killing. As such, there is a claustrophobic and relentless feel to each and every such scene, which don't cut away until away until our lead has finished her dirty-work. Because of this, we don't get to rest until our hero does, instead being breathlessly whisked along from brutal but balletic beat to beat. All of the neck-slicing, blood-spilling, body-piling action feels guttural, given a visceral and grimy sense that only one person can survive. This runs counter to most high-concept pictures of the kind, where glossy, clean framing and shiny, pain-free choreography paint a picture of violence that doesn't really hurt and death that doesn't really matter. While death is depicted as similarly cold and callous here, each life that is taken feels painful and we're always on edge for the few people we care about. It's in both the tight and precise but scrappy and explicit fight-choreography, and subsequent blood-letting, and the down-and-dirty camera-work that the picture finds its footing as an 'in-the-trenches' and 'honest' depiction of despicable work, revenge in high-numbers shown from right up-close and watched with gritted teeth. The strongest of sequences are the opening first-person fight and a phenomenal sword-crossing motorbike chase. Both of these use impressive long-takes and hidden camera-cuts to appear as fluid as possible, with the former being an apparent 'one-shot' until its final moments. The use of small digital cameras allows the frame to go places it wouldn't normally be able, with the audience being transported into a one-on-god-knows-how-many battle or even through the wheels of a moving bike seamlessly, and it allows for a very intimate relationship with the lead and her struggle to survive. The only time a combat scene falls slightly short is in the feature's final movement, with some ever-so-slightly dodgy green-screen sky-replacement honestly looking pretty hokey and reducing the effect of the entire segment. Still, what was achieved on its relatively low budget is undeniably impressive and equally exciting. What isn't as exciting are its slower segments and convoluted, though completely understandable, plot. The contrast of its balls-to-the-wall action with its rather domestic, though still out-there and thematically appropriate, story is quite heavy and isn't always balanced too well. There are times where it feels as though the piece has switched gears entirely, with its initial intentions then coming crashing back down onto its new pace just as you're settling into it. This is conceptually appropriate but it does take you out of the film. As does the contrived plot-device used to inject tension and a proper antagonist in the latter half of the second act. This 'twist' feels as though it comes from nowhere, without the explanation afforded to other sequences of less importance, and is handled with confusion even within the narrative. Still, it doesn't ruin the plot and begins to inject some decent pacing back into the piece. It just feels like most of the picture is, or was trying to be, set-up for this moment but it happens too late for that to be the case, or for it to work successfully. On the whole, there isn't anything that isn't enjoyable about the picture. The eclectic, energetic and exciting action-sequences are a sight to behold and the flick plays with some intriguing themes, as well as having an appropriately 'strange', if slightly generic, story. It is always entertaining, even if it loses its drive and isn't quite as pacy as you'd expect. 6/10

This movie reminds me of Batman vs Superman, fantastic action sequence, good cinematography and great score but terrible script. The movie action sequence are like Kingsman except much more brutal. The cinematography was also beautiful. However the main characters were dumb and the villains were cartoonishly evil. You could see the plot twist and the characters motives as soon as you saw the character. If the movie had a simple plot like Raid or Die Hard, it may have been spectacular but instead it tries to be Shakespearean Hamlet saga and fails.

It shows that this film was written and directed by novice Byung-gil Jung, and although most of the directing was decent (some was bad), he really failed in the writing department. There were too many convoluted flashbacks that were mainly out of place. The editing was also terrible, as this film needed to be mended much better. The fight scenes where choreographed really well, and the acting was on point, especially from the lead Ok-bin Kim. Had this film been screen-written properly and most of the flashbacks organized and edited correctly, and the 129 min length trimmed down to about 90 or 100 mins, this film would have been great. Still, an impressive production that deserves my 7/10

Sook-hee (OK-bin Kim) was just a little girl when the assassin training started in Yanbian, China. After the death of her mentor, she went to South Korea to work as a government agent. They promised her that she would be free after ten years of service, but the truth was not so easy.

Everything you need to know about "The Villainess" comes in the first ten or fifteen minutes. The opening scene is a first-person, frenetic fight scene that just never seems to end. Much like the hallways fight scenes on Netflix's "Daredevil", the punches and kicks are well-coordinated and just get more enjoyable as they go. And despite ultra-violence that goes well beyond Peckinpah, Tarantino, or maybe even Miike, in "The Villainess" it never seems gratuitous. There is an art to the whole thing, which may be less surprising once the viewer discovers the assassin's ballet background.

Some viewers may compare the lead character to the Bride from "Kill Bill", which is not altogether off-base. There is also something of a connection to "The Professional" and "La Femme Nikita" (coincidentally both from Luc Besson). But any comparisons will only go so far, because Sook-hee is a character all her own. While she is trained by her assassin school to be a world-class actress or gourmet chef, this only enhances her ability to get the job done when she needs to fight off several thugs on motorcycles while using a katana. Each fight scene manages to dwarf the previous, going so over-the-top you have to wonder how the stunt people and fight choreographer managed to work it all out.

While writer-director Byung-gil Jung is relatively new to film, genre fans will likely recognize his star, OK-bin Kim, from her role in "Thirst" (2009). If she was not already a big deal, this is the perfect showcase for a wide range of talents and on-screen emotions. To say that Sook-hee carries the film would be an understatement. Amazingly, cinematographer Jung-hun Park and editor Sun-mi Heo have practically no other credits to their names. With the impeccable lighting and clever editing to make long shots seem continuous, it boggles the mind how these folks could not have been in the business for years.

If any criticism of the film needed to be made, it would have to be in the lack of real depth. The characters are two-dimensional at best, and most of the plot twists are fairly obvious up front. While this sort of criticism would be correct, it would also be completely beside the point. "Villainess" is a fun movie, and a real popcorn-munching escape. This is not a cerebral tale with any satire or symbolism, but it never pretends to be.

The Fantasia Film Festival picked this visceral action flick to be their 2017 opening picture (July 13). This was a wise choice. Whether or not it will be considered among the best films at this year's festival remains to be seen, but it is easily one of the most satisfying. Nothing puts rabid genre fans in the mood for three weeks of insanity like a fast-paced ninja-themed bloodbath. Standing ovation? You bet! (For those not attending Fantasia, the US rights were purchased by WellGo earlier in 2017, so expect a limited theatrical run and a home video release in the not-too-distant future.)

I'm feeling very underwhelmed by this film despite being a great fan of the best of Korean cinema. It's been well advertised of late, but don't fall for any possible hype on the movie posters. I don't even think the title makes sense for this movie.

The biggest problem is that this film is simply too close a homage to the classic French film Nikita, and it's not unfair to say a blatant steal. If you've never seen Nikita then you'll likely enjoy this, otherwise you'll be slumped in your chair for the duration. As there has already been a US remake and TV series based on Nikita, most will already know the premise, further denting its value.

Basically think of 4-5 core characters and themes in Nikita, and you'll find their mirror in this film. Run the two side by side and they are probably the same. Some of the scenes should had a copyright watermark from Luc Besson in the corner they were that alike.

The greatest selling point is the action, with a handful of exceptionally well choreographed and filmed scenes that will leave you applauding, especially the opening run in. Hollywood should take a look in. I haven't been excited and amazed watching action scenes for a long while.

Beyond that, there's little to write home about. Story is a copy, the acting is rarely challenging (although our lead is very good) and the dialogue is so so. Shame really.

The twists and turns are unexciting, and are quite frankly poor and unchallenging. There's little good to say there.

Saying all that, our lead has a young child who steals the scenes whenever she's there, so that's a small saving grace and release valve from all the rest.

Disappointing, but still very watchable for the action scenes if little else. If you do want to watch a great alternative Korean film this year, then I would very much recommend The Handmaiden, watch that instead of this.