The Roundup (범죄도시 2, Lee Sang-yong, 2022)

Force of justice Ma Seok-do returns five years after The Outlaws to right more wrongs in jet-setting action comedy, The Roundup (범죄도시 2, Beomjoidosi 2). By this stage in his career, actor Ma Dong-seok has succeeded in creating a persona for himself as a loveable bruiser whose violence is just a way of being and always in service of a greater good. These are qualities very much in play as Seok-do (Ma Dong-seok) finds himself defending the interests of Korean citizens abroad against crooks the cops failed to catch at home.

Seok-do is however in the dog house for being accused of using excessive force in the papers after neutralising a hostage incident in a convenience store. To keep him off the front pages, the higher ups decide to send him on a mini mission abroad bringing home a Korean fugitive who has apparently turned himself in to the Vietnamese authorities. Given that this is quite an odd thing to do and the criminal’s explanation that he was suddenly overcome with guilt and wanted to repay his debt to society doesn’t ring true, Seok-do smells a rat. As he discovers, it all points back to the kidnapping and murder of a rich man’s son by vicious gangster Hae-sang (Son Seok-koo) who preys on unsuspecting tourists. Rather than get the police involved, the boy’s father has decided to hire a bunch of mercenaries to take revenge further destabilising the local underworld in Ho Chi Min City. 

It has to be said that there is something a little uncomfortable in the quasi-nationalist posturing of the film’s central premise. Korea has effectively been exporting crime by allowing dangerous criminals to flee abroad where the law can’t touch them. Korean crooks then make trouble for Korean tourists even if not quite to the extent of Hae-sang, all of which ignores the effects on the local Vietnamese population in concentrating on Korean on Korean crime. At the end of the film it’s even suggested that Korean police officers might be dispatched to other areas of Asia to look after Korean tourists which shows a certain lack of respect for national sovereignties while more or less letting the same police officers off the hook for failing to catch criminals in Korea or address the issues which led to them entering lives of crime. A maverick cop, Seok-do does rather throw his weight around in a foreign country, caring little for protocol and threatening to spark a diplomatic incident every few seconds. 

Then again he is just particularly keen on shutting down Hae-sang and exposing him for his heinous acts, cleaning up a mess that has ended up spilling over abroad. Ironically enough, the bereaved father, Choi (Nam Moon-cheol), maybe a powerful CEO but he made his money loansharking and is pretty much a petty gangster himself so of course he wants personal vengeance once again uncomfortably hiring mercenaries from China. Meanwhile, Seok-do ends up enlisting the help of a formerly undocumented migrant when Choi ends up getting kidnapped himself by a cornered Hae-sang.

In any case, Seok-do more than holds his own against the bloodthirsty villains in a series of well choreographed action sequences culminating in a one-on-one showdown on a bus. Much of Ma’s appeal lies in his effortless ability to take down bad guys which he does a plenty, even dispatching one via escalator to his waiting teammates below. Even so, he knows not to take himself too seriously and is keen to cede screen time to the ensemble allowing a gentle camaraderie to appear among his squad members despite their separation while Seok-do and the Captain are in Vietnam trying to have a covert holiday and the rest of the team are left behind to do regular admin work in the office. Though it may present some rather uncomfortable ideas in a kind of Korean exceptionalism that implies a degree of superiority over and disregard towards other Asian nations, the film is nevertheless a charming retro action comedy and perfect showcase for the charismatic star as his no-nonsense policeman makes a point of slapping down bad guys and fighting international crime while generally living his best life hanging out with similarly justice-orientated buddies. 


The Roundup screens in Amsterdam on 27th October & 4th November as part of this year’s Imagine Fantastic Film Festival.

International trailer (English subtitles)

Nothing Serious (연애 빠진 로맨스, Jeong Ga-young, 2021)

Through her first three features in which she also played the lead, Jeong Ga-young had established herself as a provocative indie voice casting herself as an often unsympathetic if transgressively frank heroine contending with the vagaries of the modern society. Nothing Serious (연애 빠진 로맨스, Yeonae Bbajin Romance), by contrast, marks her debut as a commercial film director and perhaps softens some of her harsher edges but nevertheless maintains her characteristic saltiness and often witty dialogue in what is otherwise closer to Nora Ephron than Hong Sang-soo. 

Though played by Jeon Jong-seo rather than the director herself, 29-year-old Ja-young is a classic Jeong heroine transgressively frank in terms of her sexuality and finding herself in something of a tailspin as she approaches her 30th birthday as a single young woman drowning in debt with neither career nor relationship success to boast of. Meanwhile across town nerdy magazine staff writer Woo-ri (Son Suk-ku) finds himself having to write almost all of the magazine himself in part he suspects as punishment for having helped a friend leave to start up their own online publication. His particular problem is that his boss has asked him to take over his friend’s sex column which is really not his thing especially as he’s in an on again off again non-relationship with colleague Yeon-hee (Lim Sun-woo) who has just informed him she’s getting engaged to her old boyfriend. 

Inevitably the pair end up meeting through dating app Love Bridge to begin with just for a no strings New Year one night stand only to inconveniently realise they quite like each. Even so, their personal issues continue to overshadow the relationship, those being Ja-young’s hurt and anxiety on hearing that an old boyfriend who treated her badly and broke her heart is getting married, and the fact Woori signed up to Love Bridge mainly to find inspiration for his column which becomes an unexpected hit with readers who prefer the slow-burn tease of their romance to the X-rated content of Woo-ri’s predecessor. 

While not really “dating” the couple continue to share their relationship woes with each other, Ja-young continually fed up with her attempts to meet “normal” men who don’t invite their mother on dates, turn out to be married, or are just plain odd. Her previous boyfriend branded her an insanely jealous “alcoholic nymphomaniac” while she simply tells it like it is as a sexually liberated young woman who refuses to feel ashamed for feeling desire but is also in her own way lonely and looking for companionship as perhaps is Woo-ri while conflicted in his betrayal of her even if he is careful not to use any identifying details in his column. 

Along with their romantic woes, the pair also share a sense of hopelessness about the future, Woo-ri disappointed in himself for his lack of success as a serious writer and Ja-young staking her hopes on a career in podcasting after being forced to leave a job at a radio station because of the awkwardness between herself and a colleague she’d previously dated. Interviewing her grandmother and a series of other women she fears were denied the right to become the protagonist of their own lives, always someone’s wife or mother looking after children or in-laws, she wonders if she’s managed it herself or if things are really as different now as she had thought them to be while she continues to struggle drowning in debt and loneliness with very little hope for the future. 

Jeong’s prognosis is, however, a little more hopeful than in her previous films Ja-young and Woo-ri each flawed but basically good falling in love despite themselves only to see their connection undermined by its superficial inauthenticity. If nowhere near as caustic, she retains her sense of playfulness, even throwing in a reference to her first film Bitch on the Beach not to mention the tiny animated heads emerging from the pair’s phones, through sophisticated dialogue instantly capturing a sense of the everyday life of the average 20-something in the contemporary society longing to overcome their sense of cynicism and believe in a genuine romantic connection. Strangely charming in its breeziness, Jeong’s commercial debut loses none of her wit but gains a little in warmth as these crazy kids learn to put their anxieties aside and give love a chance even if it turns out to be nothing serious after all. 


Nothing Serious screens at UltraStar Cinemas Mission Valley, San Diego April 23 as part of this year’s SDAFF Spring Showcase.

International trailer (English subtitles)