First of all, lets discuss what this film does right.
The build up of the relationship between the two protagonists is well structured and is an amazing reenactment of Korean male social culture and how friendship is built among Korean men in film. Jang-hoon (the prosecutor, played by Seung-woo Cho) and Sang-gu (gangster turned whistle-blower, Byung-hun Lee) both put in a great performance that really bring out the writing of their characters' relationship. However, as far as compliments go I cannot find any more beyond the character development and the performances of the two actors.
Another positive comes with the choreography in a few of the fight scenes and the cinematography involved in delivering the sequences. A stand out moment is the night fight sequence involving Sang-gu. The first half of the fight are rapid cuts of close ups mixed with full shots and 3/4s - this keeps the sequence's visual adrenaline while maintaining a sense of space for the viewer. The real cinematographic magic happens after Sang-gu destroys the only bulb lighting the area and gives himself the upper-hand by fighting in the dark.
The scene is lit (or not lit) to perfection, giving the viewer just enough detail through character rim- lights and silhouettes from stray background lighting to comprehend what is happening in the scene but dark enough that the illusion of fighting in the dark is never lost. The sequence is also shot as a long(-ish) take in 3/4s that gives the viewer a clear view of the scene. This is an amazing spot of cinematography that deserves a point of commendation.
The remainder of the film is standard business as there is not much to complain but, equally, not much else to commend.
The first two acts of the film could use another visit to the editing room as the movie was paced too slowly for its own good. With a running time of over two hours, this is a rather standard story that drags on for far too long. Even Taratino's Reservoir Dogs, in which elements of the storyline reveal themselves and develop in regularly spaced intervals, has a run time of 99 minutes.
The twist on the twist aspect in the ending of the script is a great attempt to finish the film with a 'bang', however, perfect happy endings of a protagonists' victory are far too common to make it a surprise.
Overall, this movie leaves a feeling of "something that could have been". A brilliant movie in parts, yes. But primarily a visit to the editing room and a writers' session short of being a great film.
The build up of the relationship between the two protagonists is well structured and is an amazing reenactment of Korean male social culture and how friendship is built among Korean men in film. Jang-hoon (the prosecutor, played by Seung-woo Cho) and Sang-gu (gangster turned whistle-blower, Byung-hun Lee) both put in a great performance that really bring out the writing of their characters' relationship. However, as far as compliments go I cannot find any more beyond the character development and the performances of the two actors.
Another positive comes with the choreography in a few of the fight scenes and the cinematography involved in delivering the sequences. A stand out moment is the night fight sequence involving Sang-gu. The first half of the fight are rapid cuts of close ups mixed with full shots and 3/4s - this keeps the sequence's visual adrenaline while maintaining a sense of space for the viewer. The real cinematographic magic happens after Sang-gu destroys the only bulb lighting the area and gives himself the upper-hand by fighting in the dark.
The scene is lit (or not lit) to perfection, giving the viewer just enough detail through character rim- lights and silhouettes from stray background lighting to comprehend what is happening in the scene but dark enough that the illusion of fighting in the dark is never lost. The sequence is also shot as a long(-ish) take in 3/4s that gives the viewer a clear view of the scene. This is an amazing spot of cinematography that deserves a point of commendation.
The remainder of the film is standard business as there is not much to complain but, equally, not much else to commend.
The first two acts of the film could use another visit to the editing room as the movie was paced too slowly for its own good. With a running time of over two hours, this is a rather standard story that drags on for far too long. Even Taratino's Reservoir Dogs, in which elements of the storyline reveal themselves and develop in regularly spaced intervals, has a run time of 99 minutes.
The twist on the twist aspect in the ending of the script is a great attempt to finish the film with a 'bang', however, perfect happy endings of a protagonists' victory are far too common to make it a surprise.
Overall, this movie leaves a feeling of "something that could have been". A brilliant movie in parts, yes. But primarily a visit to the editing room and a writers' session short of being a great film.