Tag: Jung-jae Lee

Assassination (2015, Choi Dong-hoon)

Assassination is not effortless. Director Choi makes it look effortless, whether he’s doing an intricate action sequence or one of the film’s many complicated expository scenes. But then there’s also the entire structure of the film, which opens with one character as protagonist, slowly moves to another, but keeps the initial character around as antagonist. All of the film’s storytelling gymnastics work because Choi actually wants to let his actors impress, not the plot machinations.

The script, from Choi and Lee Ki-cheol, is phenomenally constructed. Assassination is about Korean freedom fighters–in 1933–plotting to assassinate a Japanese general and a collaborating Korean businessman. There’s all sorts of double-crossing, all sorts of complications. Choi takes his time with what should otherwise be contrivances, working the scenes–in no small part thanks to some beautiful photography from Kim Woo-hyung–until he finds the honesty in them. Choi, through his direction and he and Lee’s script, wants the viewer to understand what Assassination is doing and how it’s getting there. There’s a sincerity, which lets contrivances pass, but there’s also the acting.

Great performances all around. Jun Ji-hyun, Ha Jung-woo and Lee Jung-jae are the leads, but it takes the film a while to get them all introduced. Assassination runs almost two and a half hours and couldn’t really be any shorter. When Choi does run into problems, it’s because he can’t go twice as long. But the supporting cast is all great too–especially Oh Dal-su and Jo Jin-woong.

Only in the last few minutes of the film does Choi go too far. He knows he can do it, but his victory lap–which is a combination of that sincerity towards the filmmaking and letting his actors show their considerable talent–is one too many. I’m not sure where Choi could’ve taken Assassination to maintain the sublimeness he finds in combining period espionage and action and, although I wish he’d found it, he brings the film to an uneven, but considerably successful conclusion.

Assassination is excellent, epic filmmaking. Somewhat odd title though. A little too on the nose.

3.5/4★★★½

CREDITS

Directed by Choi Dong-hoon; written by Choi and Lee Ki-cheol; director of photography, Kim Woo-hyung; edited by Sin Min-kyeong; music by Jang Young-gyu and Dalparan; production designer, Ryu Seong-hie; produced by Ahn Soo-hyun and Choi; released by Showbox.

Starring Jun Ji-hyun (An Ok-yun), Ha Jung-woo (Hawaii Pistol), Lee Jung-jae (Yeom Seok-jin), Jo Jin-woong (Sok-sapo), Choi Duek-mun (Hwang Dok-sam), Oh Dal-su (Young-gam), Heo Ji-won (Myeong-Woo), Lee Kyoung-young (Kang In-Gook), Kim Eui-sung (the butler), Park Byung-eun (Kawaguchi) and Kim Hae-suk (the bar owner).

RELATED

Oh! Brothers (2003, Kim Yong-hwa)

I saw the director’s cut of Aliens when it first came out in 1991. I didn’t have my own laserdisc player (and going downstairs was too far), so I probably didn’t watch Aliens again for quite a few years, if ever. Once you’ve seen the director’s cut, there’s no point in going back to the original. Oh! Brothers runs 109 minutes and it seems like there are a number of missing scenes, including visible ones, when characters talk about something they’ve done and the audience is supposed to be familiar with… but they never did it. There’s a 134 minute director’s cut, but it’s not available with English subtitles. Twenty-five minutes is a long time and it might have helped Oh! Brothers a little, because the film’s a mess.

Essentially, the film’s a remake of Rain Man, only instead of autism, the brother has a fictionalized version of progeria–a disease which causes accelerated aging–and Oh! Brothers portrays it as the kid in the adult’s body. I’m not sure why it bothers, since the disease is infrequently taken seriously and when it is, it’s forced. Given the main character’s angst–over his half-brother’s mother being the woman who drove his (the main character’s) mother to suicide–it seems like overkill. In fact, it’d probably have worked better if the kid had just been a kid, especially since the film never fully convinces. Lee Beom-soo does a fine job, but he never makes the audience forget (and, geez, that guy on “Maniac Mansion” made me forget). His performance is so generic, like the film, he leaves little impression.

As the lead, Lee Jung-jae is stuck. The film expects the audience–I assume because it’s Lee Jung-jae–to know the character’s got a heart of gold deep down, but it never shows us any evidence. He’s a blackmailer who works for a small-time gangster and a dirty cop (who’s got fraternal issues of his own), and he’s a constant dick to everyone in the film. Given he doesn’t have a character, Lee Jung-jae does a great job, but it’s still plastic. He’s not the kind of actor who can do this plastic work… he’s not a movie star, he’s an actor. The character doesn’t engage the audience and the film only does it with melodrama.

There are a lot of good moments in Oh! Brothers, a lot of funny ones. As the crooked cop, Lee Moon-sik is fantastic and easily walks off with the film (he doesn’t really have any competition). Overall, the film manages to amuse and engage and it’s hard to believe it isn’t offensive in its treatment of a tragic disease, but it isn’t (it’s oblivious as opposed to insensitive). It just isn’t particularly good….

2/4★★

CREDITS

Written and directed by Kim Yong-hwa; director of photography, Park Hyeon-cheol; edited by Park Gok-ji; music by Kim Deok-yun; produced by Park Moo-seung; released by KM Culture Co.

Starring Lee Jung-Jae (Oh Sang-su), Lee Beom-su (Oh Bong-gu), Lee Mun-shik (Jeong), Ryu Seung-su (Heo Ki-tae), Ryu Yong-jin (Mr. Park) and Lee Won-jong (Mr. Hong).

RELATED