The Chaser (추격자, Na Hong-jin, 2008)

The chaser movie posterWhen it comes to law enforcement in Korea (at least in the movies), your best bet may actually be other criminals or “concerned citizens” as the police are mostly to be found napping or busy trying to cover up for a previous mistake. The Chaser (추격자, Chugyeogja) continues this grand tradition in taking inspiration from the real life serial murder crime spree of Yoo Young-chul , eventually brought to justice in 2005 after pimps came together and got suspicious enough to make contact with a friendly police officer.

Former cop turned petty pimp Joong-ho (Kim Yun-seok) has a problem. His girls keep skipping out on their debts. Or so he thinks – rousing one of his last remaining “employees”, Mi-jin (Seo Young-hee), from her sickbed (and unbeknownst to him calling her away from her seven year old daughter), Joong-ho finds a phone belonging to a missing girl and realises the last number called is the same as the one he’s about to send Mi-jin off to. Suspicious, Joong-ho rediscovers his detective skills and notices this particular number all over his books. Thinking the john is kidnapping his girls to sell them on, Joong-ho hatches a plan to track Mi-jin and have a word with this bozo but unsurprisingly nothing goes to plan. Mi-jin has fallen into the grip of a vicious serial killer, Young-min (Ha Jung-woo), but may still be alive if only Joong-ho can find her in time.

Joong-ho is not a good guy. Maybe he’s not the worst of his kind but as a former law enforcement official turned unsentimental exploiter of women, Joong-ho is an unlikely saviour. His primary motivation is, unsurprisingly, commercial as the look of concern he gives to one of his ladies encountering a dangerous client betrays, the kind of irritation a taxi driver might display on noticing a large scratch on his expensive car rather than a recognition of the pain and suffering those cuts and bruises bear witness to. He never stops to consider that something untoward has befallen the missing women and is, in one sense, relieved when he thinks they’ve been sold on rather than just skipping out on him. Throughout his quest to find Mi-jin which sees him forming an unexpected paternal bond with her young daughter, Joong-ho begins to rediscover his humanity as he’s forced to confront the similarities between himself and this deranged psycho killer.

Like his real life counterpart, Young-min, is a sexually frustrated misogynist who begins his social revenge through killing off the wealthy before moving on to the less easily missed including local prostitutes which is what ultimately proves his downfall when the various area pimps begin to connect the dots. In actuality it turns out Young-min has previously been questioned in connection with a murder but was released due to lack of evidence. Likewise, this time around the police are not very interested in capturing him and Young-min is once again returned to society due to some political concerns which result in pressure from above. As if having charmed luck with the police weren’t enough, Young-min also exploits the other cornerstone of South Korean society – the church, through which he recruits his victims, subverting their trusting religiosity with his violent perversion.

For a film which largely lives on the chase, winding through the darkened, rain drenched backstreets of downtown Seoul, Na adds in plenty of twists and turns as the case proceeds down one dingy alleyway after another. Joong-ho’s gradual reawakening as a human being rather than cold blooded human trafficker is accompanied by the gradual reveal of his counterpart’s dangerous need for validation through violence but also by the realisation of his total powerlessness in the face of such a nebulous and faceless threat. The police won’t help (perhaps if they’d investigated those parking violations a little more assiduously all of this could have been avoided), the Church is just an ironic distraction, and the politicians are busy squabbling amongst themselves. Joong-ho is an unlikely figure of salvation, but he remains the last best hope for justice so long as he can avoid becoming that which he seeks.


Original trailer (English subtitles)

Asura: The City of Madness (아수라, Kim Sung-soo, 2016)

asura-poster

Review of Kim Sung-soo’s Asura: The City of Madness first published by UK Anime Network.


Abandon all hope, ye who enter here. It’s a shame the title City of Violence was already taken, Asura: The City of Madness (아수라, Asura) is a place of chaos in which carnage has become currency. Re-teaming with actor Jung Woo-sung fifteen years after Musa the Warrior, Kim Sung-soo’s Asura: The City of Madness is, at heart, B-movie pulp steeped in the hardboiled world of tough guys walking alone through the darkness, but even if film noir’s cynicism is out in force, there’s precious little of its essentially chivalrous mentality to be found in this fiercely amoral universe.

World weary policeman Han (Jung Woo-sung) has been moonlighting as the “gun-dog” of corrupt crime boss mayor, Park (Hwang Jung-min), and soon plans on quitting the legitimate force to work for city hall full time. After helping Park “relocate” an inconvenient witness, Han runs into a problem when another policeman turns up and promptly gets killed, drawing unwanted attention to his shady second job. This also brings him into contact with a righteous prosecutor, Kim (Kwak Do-won), who claims to be hellbent on exposing Park’s not quite legal operations and ousting him from power in the hope of a less corrupt regime emerging. Despite his lofty claims, Kim’s methods are little different from Park’s. Han soon finds himself caught in the middle of a legal cold war as he tries to play both sides one against the other but slowly finds neither worth betraying.

The film’s title, Asura, is inspired by the creatures from Indian mythology who are imbued with immense supernatural power yet consumed by negative emotion, relentlessly battling each other in a quest for material rather than spiritual gain. The very male world of Annam is no different as men trade blows like money and wear their wealth on their faces. There are no good guys in Annam, each is involved in a desperate fight to survive in which none can afford luxuries such as pity or morality. Han emerges as the film’s “hero” not out of any kind of nobility or a desire to do good, but simply in being the least actively bad. Able to see the world for what it is – a hell of chaos and cruelty, Han is, perhaps, the best man his environment allows him to be but this same knowledge eats away at him from the inside as he’s forced to act in a way which betrays his own sense of righteousness.

Annam is a world founded on chaos. The forces which are supposed to represent order are the very ones which perpetuate a state of instability. The police are universally corrupt, either working for themselves or in the pay of larger outside forces, and the municipal authorities are under the control of Park – a vicious, mobbed up, sociopath. Prosecutor Kim who claims to represent the resistance against this cosmology of corruption is not what he seems and is, in fact, another part of the system, willing to resort to blackmail, torture, and trickery in order to achieve his vainglorious goal. Yet for all that, the force that rules is mere chance – the most meaningful deaths occur accidentally, the result of shoddy construction work and high testosterone or in the indecision of betrayal. Death is an inevitability for all living creatures, but these men are, in a sense, already dead, living without love, without honour, and without pity.

Kim Sung-soo makes a point of portraying violence in all of its visceral reality as bones crack and blood flows with sickening vitality. The film is extreme in its representation of what could be termed ordinary violence as men engage as equals in hand to hand combat until the machetes and hacksaws come out to combat the shootout finale, complete with the Korean hallmark corridor fight.

Beautifully shot with a neo-noir aesthetic of the nighttime, neon lit city filled with crime ridden back alleys, Asura: The City of Madness is a grimy, hardboiled tale of internecine violence fuelled by corruption and self serving compliance. The ‘80s style lowkey synth score adds a note of anxiety to the proceedings, hinting towards an almost supernatural presence in this strange city populated by the walking dead and morally bankrupt. An epic of “unheroic” bloodshed, Asura: The City of Violence presents a world which thrives on pain where men ease their suffering by transferring it to others. Bleak and nihilistic in the extreme, this is the hard edge of pulpy B-movie noir in which the men in the shadows wish they were as dark as the city streets, but find themselves imprisoned within a series of private hells which are entirely of their own making.


Reviewed at the 2016 London Korean Film Festival.

International trailer (English subtitles)