Executor
The majority of contemporary filmmakers seem to sit back and celebrate the profits that spawn from the sequel-oriented movies, which unfortunately over years, have turned out to be mediocre. Seqoues which evoke disappointment are now extremely common place a filmmaker without losing faith in constructing stalwart wore can continue to make investments into the medium so as to expand the worlds he has already crafted. Ryoo Seung-wan worked his way around the issue by releasing a sequel to his 2015 film Veteran, that is much cleverer and much tougher.
As one of the most anticipated motion pictures of 2017, I, the Executioner comes loaded with expectations and hardly disappoints. It is an enthralling depiction, but not devoid of pop assaults and brutal moments, of the age of popularism and violence. Brace yourself however, as it is an absolute thrill ride.
I, the Executioner’s central plot revolves around the obsoletion of the Roundup franchise and the bouncing cracks across the Globe within the same universe, courtesy of Ma Dong-seok. Complimented with impressive visuals, Song has designed elaborate vignettes located around a narrative that interlinks all of them within the world, paying homage to Buster Keaton in the process of it.
As it had previously been presented in the Midnight Screenings of the Cannes festival, Ryoo has made the debut at the highlight of the festival with a relatively easy speech encapsulating devastating brutality and large fist fights within the first few minutes of the film.
Leading the charge through the chaos is Do-cheol (Hwang Jung-min), who was last seen dealing with a soulless millionaire in Veteran. This time around, the rough detective’s archnemesis is a wanton vigilante, Hachi, who only goes after the people he believes have received too light a punishment for their crimes.
Do-cheol and his team are soon in a sticky situation as they are ordered to save a parolee from Hachi’s violent intentions.
Having been exposed to many offenders who were acquitted, Do-cheol almost can’t help himself to respect Hachi to an extent. His morals blur even more when his boy ends up being reprimanded for hitting back at the school’s bullies.
A random encounter results in Do-cheol meeting Sun-woo (Jung Hae-in) on the street, who despite his innocent look readily unleashes his terror on suspects, just like how he did when he was involved in an astounding brawl down a long staircase which comprised of flips and rolls.
Considering Ryoo has been dropping hints about a murderer almost since the start of Haechi, it r’s identity is by no curve ball. More surprising are the relatively nuanced histrionics of the adrenaline-driven and action-packed movie regarding a rogue response to moral panic on the internet.
Almost immediately, he seems to appreciate the idea of vigilantism but is repulsed when he sees the lynch mobs actively calling for the death penalty. “Is there something like a right murder or a wrong murder?” he barks.
He is an intimidating individual who wastes no effort against those who wrong him, but at the same time appears timid when interacting with his wife, his superiors, and his critics. Hwang’s I, the Executioner has a beating heart thanks to him; it enables the film to transcend the cruder and more shallow films that it used to be compared with.
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