Indeed, the film's domestic launch suffered boycott threats after Byun was called out for making sexist comments on Twitter, prompting him to make a public apology.Feeling at times like a Korean-language cousin of Martin Scorsese's On the surface, Hyun-su is an insolent young punk trying to pick a fight with anybody who crosses his path.
The unspoken homoerotic tension between Hyun-su and Jae-ho, for example, is very vaguely teased but never honestly addressed. The Hollywood Reporter is part of MRC Media & Info, a division of MRC. Original title: "Boolhandang: Nabbeun Nomdeului Sesang.” Author: Bryce Harrington
A solid 4 stars for me. Paul, a dissolute, profligate and jaded Parisian, takes in his naïve, innocent and idealistic cousin Charles from the provinces who is something of a mama's boy while they both attend law school. The Merciless. Paul takes Charles to a club at which he meets the beautiful Florence, who has the reputation of being a slut because she has slept around with every man in Paul's circle of friends. The flashy red sports car and even flashier red-clad Russian escort Jae-ho offers him sets the film’s racy, live-fast-die-young spirit.Jae-ho, who’s the No. Les Charlots, known as The Crazy Boys in the English-speaking world, was a group of French musicians, singers, comedians and film actors, who were popular in the 1960s, 1970s, and early 1980s..
This darkly comic vignette seems to promise a more arch, knowing, Tarantino-esque take on the gangster genre. The book goes back and forth between her time at a mental health facility (after a serious breakdown) and her time after-visiting her friends in Italy. Der neue Film von Sung-hyun Byun feiert bei den Filmfestspielen von Cannes 2017 seine Premiere. Running time: 121 MIN. The Plot. This ticks off Byung-gab, who turns out to be the nephew of boss Ko (Lee Kyoung-young, “Inside Men”), as well as Jae-ho’s buddy since their days in an orphanage. A largely generic crime thriller in which a ruthless gangster and his protege fight for dominance in and out of prison, the third film by South Korean director Byung Sung-hyun barrels forth with riotous energy, but two-thirds into the picture, the switcheroos get so ridiculous one eventually stops caring about any character. But the plot soon settles into a more familiar mix of supercharged machismo, casual sadism, one-dimensional characters and profanity-peppered dialogue spiced with misogyny and homophobia. This is complicated by Jae-ho’s discovery of who put him behind bars, as well as something Byung-gab is cooking with the Russian Bratva, even as Ko is plotting against their boss, Vitaly.
Grishnak the Merciless. He’s picked up by Jae-ho, who became his protector and bro during their incarceration. Launched in domestic theaters last week, with a French release scheduled for next month, the production announced sales to 85 territories to coincide with its Cannes launch.Set in the coastal city of Busan, the pic begins with a wry exchange between a pair of squeamish junior mobsters drawing parallels between eating seafood and committing cold-blooded murder. Apparently, Jae-ho was supposed to be bisexual, which makes his responses to Hyun-su’s overtures more understandable, but this got edited out.Despite the themes of loyalty and trust being both overdone and muddled under Byung’s treatment, the two leads make it look like their lives depend on every moment they spend together. © Copyright 2020 Variety Media, LLC, a subsidiary of Penske Business Media, LLC.
Quelle: Filmstarts.de. This has been a bumper Cannes festival for South Korean cinema, with five features playing across the official selection, two in the genre-friendly Midnight Screenings slot that helped springboard Yeon Sang-Ho's zombie apocalypse thriller Byun Sung-Hyun's violent underworld saga brings little new to the genre, but its reliable cast, slick visuals and testosterone-drenched mood should draw a readymade global audience of Asian action fanboys.
While Jae-ho runs a cigarette monopoly behind bars, lording over the inmates and wardens, the slightly built and delicately featured Hyun-su (“even his bruises are pretty,” marvel the inmates) emerges from obscurity to save Jae-ho from a lethal assault.Action choreography by Hur Myung-hang is bluntly tactile and seethes with red-blooded intensity, as when Hyun-su single-handedly escalates a face-slapping game into a take-no-prisoners roughhouse. I’ve enjoyed the Merciless series and this one certainly didn’t disappoint.
2 in a Busan mob that smuggles cocaine from Russia under the guise of a seafood import business, takes Hyun-su under his wing. After a point, however, the characters lose any credibility as each becomes turncoat, switching sides so frequently the motives for their decisions no longer make sense.