Hunting is — interesting or disappointing, depending on your taste — not a character-based reboot of Mission Impossible franchise, but instead a political thriller from Korea, made by Squid Game’s breakout star Lee Jung-jae in his directorial debut. In fact Hunting It’s clearly a premiere, with all the messy, bumpy executions implied, offset in part by the sheer energy of the film and its hefty budget, which helps turn the entire episode The battle turned into an epic shooting battle.
When starting Hunting, a series of stern title tags and amusing wide-open intros give us a lot of information about the political situation in which the film is nested: it was the peak of military dictatorship in Korea in the 1980s, when the country was looking for a path towards Western development. In these opening scenes, the camera is busy, swiping through the crowd, zooming from place to place, and often with a distinct sense of urgency, as intelligence agents monitor a demonstration. student romance has the potential to turn violent — which it does, abruptly and almost parody, tossing the film into completely different territory, because then it turns into a straight shot, essentially is non-political. Here, with up to eleventh level of violence, Lee Jung-jae enjoys some big movies that clearly interest him, and therefore have been given more budget than all things related. political conspiracy. This pre-credits sequence gives the film a gauge as a whole, which sometimes seems to lose its own purpose or become eerily boring with its own narrative beats, before engaging some energy for a crunchy fist fight on the stairs.
About the story itself: Jung-jae, directing one of the two leads himself, plays Park Pyong-ho, an intelligence officer with an investigation into the existence of a mole in his organization. puts him in conflict with Kim Jung-do (Jung Woo-sung), another police chief. Park and Kim aren’t brilliantly demarcated, with both actors bringing steadfastness and rigor to their roles. Indeed, the animosity, and then the partnership, between these two mismatched cop figures recalls, in a not-so-welcome way, the bruising dynamics between Guy Pearce-Russell Crowe in the movie. LA Privacy: in that film, both characters are allowed to oppose each other, complement each other, and grow together — while Hunting, the protagonists are merely given a series of bloody encounters, a massive dusting of the corridors of power, and a final piece with the world exploding around them. This is perfectly fine for the purpose of providing a messy action vehicle, but starts to get a bit dull at the 80-minute interval, as the movie goes on, trying but half-heartedly, trying to get you to interested in an emotional subplot.
“This is perfectly fine for the purpose of providing a messy action vehicle, but starts to get a bit dull at the 80-minute interval, as the movie goes on, trying but half-heartedly, trying to get you to interested in an emotional subplot.”
Hunting quite a bit more fun in its action sequences: a massive gunfight at a dry cleaner; a smaller shootout torture scene in the villains’ secret digs; a car chase, followed by a medium-sized gunfight; a massive shooting during the president’s official visit. Here, although the edit needs a neat edit and there are a lot of action movie clichés, Lee Jung-jae summons an idea that is lacking elsewhere. That can be seen in HuntingAbsolute bloodthirsty. Although the war in the movie is somewhat stylized according to the rules of the genre, we are still allowed to hear its costs: broken bones, blood drenched in shirt collars, stamps -the wicked stamp of a boot on a rapidly changing face. There’s a surprisingly large amount of machine guns in this movie, as well as hand grenades, shotguns, and sundries, which transform into a truly iconic number of bodies upon completion of the film. Sometimes, HuntingViolent adult behavior (with a lot of torture too!) runs the risk of turning into a parody or cartoon: sometimes it’s reminiscent, in this respect, of a fake car chase in The Blues . Brothers that went on for so long that one of the main characters started to fall asleep. These bloodthirsty approaches also detract from the movie’s plot, about love and betrayal or whatever, without ever having the slightest chance of coming home.
Lee Jung-jae, who co-wrote the script on both directing and performing, shows some promise in this film, which can be quite versatile from an official standpoint: light in the air, convenience score and a good eye for composition helps keep the show on track, even as the series drags toward its final ending with some wildly misguided end results. Hunting score when it shows focus instead of trying to do too many things at once: here’s the neat arrangement a gimlet eye maker hopes can bring to an actor’s later ventures cum director. Perhaps the sequel doesn’t need to take the temperature of a country, dissecting masculinity, providing a twist and playing out some violence, but could instead aim to merely bring out a number of murders that are completely weightless, clearly unencumbered by Meaning.
