Film Review: A Man of Reason (2022) by Jung Woo-sung

This year&amprsquors Korean choice at the Toronto International Film Festival (TIFF) is remarkably split. 3 of them &#8212 by trustworthy auteurs Hirokazu Koreeda, Hong Sang-soo, and Park Chan-wook &#8212 are noticeably quiet, sophisticated tales about a located household (&#8220Broker&#8221), a homebody filmmaker in conversation (&#8220Walk Up&#8221), and a murder mystery (&#8220Decision to Leave&#8221). 1st-time actors-turned-directors Lee Jung-jae (identified for &#8220Squid Game&#8221) and Jung Woo-sung (&#8220The Very good, the Poor, the Weird&#8221), even so, clearly lack the elegance of the former. They look to capitalize upon Hollywood-esque sensationalism as an alternative, displaying a penchant for senseless violence &#8212 and in turn, extremely boring films.

A Man of Purpose is screening at Toronto International Film Festival

In Jung Woo-sung&amprsquors &#8220A Man of Purpose,&#8221 Jung himself stars as Su-hyuk, a previously-incarcerated criminal who basically desires to reside a typical life. His history with the underworld haunts him, even so &#8211 threatening to swallow his former girlfriend and daughter complete. These provocations motivate Jung to fight fire with fire. In accordance to the Korean title (which additional closely translates to &#8220Guardian&#8221), he braves vehicle chases, bombs, and a number of gun fights in an all-out work to defend his kid from the bloodthirsty employer of his previous.

On paper, this film sounds like a very good time. In reality, &#8220A Man of Purpose&#8221 is, politely place, a time sink. Jung Woo-sung is not sparing in his price range explosions regularly envelope the screen and he freely wrecks the initially floor of a luxury hotel set for the camera. The method of the craft does small to mask the weak script and poor acting, even so. In contrast to Superman, Su-hyuk&amprsquors Kryptonite is mysteriously &#8211 and all of a sudden &#8211 his partnership with his newly-found (and as a result, mainly estranged) daughter. (Funnily adequate, In-bi&amprsquors confusion at Su-hyuk&amprsquors sudden bravado is reflective of the audience&amprsquors personal. Why does he all of a sudden care about this kid? Why is he nevertheless so very good at fighting just after getting locked up for ten years?) This sudden shoe-in of a character&amprsquors vulnerability leads to an effortlessly suave ex-gangster front. Like an extended PR stunt, Su-hyuk &#8211 and in turn, Jung Woo-sung himself &#8211 appears unremarkably invincible on the major screen.

The film&amprsquors missing heart bleeds into the action as properly. The thrill is completely lost on the inexplicably flat cast Jung Woo-sung loses sight of the film&amprsquors stakes. Every new fight scene is only momentarily stimulating each and every sudden jolt only appears like noise. It is difficult for one particular to love the thriller with no any emotional investment. Why must one particular care about the subsequent close to-death practical experience, when one particular does not care for the characters anyway?

&#8220A Man of Purpose,&#8221 then, ends up getting a far (and mainly disappointing) cry from his final action thriller, &#8220Beasts Strawing at Claws.&#8221 Alternatively, it resonates additional with &#8220Hunt,&#8221 but with a considerably easier and equally nonsensical storyline. The two films love the spectacle of violence the only genuine distinction is who gets impacted as an alternative. In &#8220Hunt,&#8221 Lee Jung-jae subjects himself to &#8220Squid Game&#8221 levels of torture at the hands of the North Korean CIA. &#8220Man of Purpose,&#8221 on the other hand, feels additional like an extended PR stunt as an alternative. Jung Woo-sung pats himself on the back for his cool effortlessness in his new character &#8211 emerging, of course, from each and every close to-death practical experience unscathed.

All in all, &#8220A Man of Purpose&#8221 is basically bland. It plays into the well known hype about gorey Korean cinema, but does so with no considerably good results. Aside from the specific effects, the production does small to excite, considerably much less thrill. This formless appeal to visceral stimulation reveals an innate, naive clumsiness in Jung Woo-sung&amprsquors path &#8212 probably signaling that the man is probably superior-suited to basically getting in front of the camera.



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