Asian gangster film
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He feels bad for acting rashly and sits next to the girl in the street, waiting for her to wake up. In that fashion, some of the most distinct scenes take place when the protagonist reconciles with his son, when he is philosophizing with his former comrades and Chatterbox, and when he watches an ostrich sprint its way through traffic in a central road, in a highly surrealistic scene. Equally, Jang Dong Gun is incredibly believable in his role as the son of an Undertaker-with-an-inferiority-complex-turned-gang-boss. DPReview Digital Photography.
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In an unprecedented one man show, Anurag Kashyap, co-wrote, produced and directed the film, in a style that is much reminiscent of early Guy Ritchie films Lock, Stock and Two Smoking Barrels, Snatch both in context, with the mafia, and technically, since the film uses extensively slow and stop motion, close cut editing, quick, explanatory flashbacks and great mixture of image and music. In that fashion, some of the most distinct scenes take place when the protagonist reconciles with his son, when he is philosophizing with his former comrades and Chatterbox, and when he watches an ostrich sprint its way through traffic in a central road, in a highly surrealistic scene. In that fashion, the movie shows how difficult it is for anyone to change truly, despite any notion one has for himself. Lee Byung Hun is superb in the role, filling quiet, tense moments with glances that speak volumes. The fact that he tricks his best friend into taking his place makes him even more despicable, despite the fact that he is actually the victim of a power struggle between powers much higher than him. How does this article make you feel. Pop Aye by Kirsten Tan Reviews.
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The general aesthetics of the movie have a distinct slapstick nature, as a peculiar sense of humor permeates a large part of its duraton, which, sometimes is offensively hilarious as with the scene where Moboroshi calls Rashido an Indian, infuriating him and sometimes seems completely out of place, as the film takes a turn for the dramatic during the end. Sashimi knives and bloodied faces are pretty much the status quo in Korean gangster movies. This trait benefits the most by Louis Koo acting as Choi, who manages to emit a constant sense of restlessness, as a man who acts in timid fashion, but is obvious that he is planning something. What can they teach us about ourselves. The power struggles between all the above characters, along with the constant shifting of both loyalties and the upper hand, are the backbone of an intricate script, which is concluded, in the most spectacular fashion, in the final sequence of the film. Some nonsensicality could not be missing from a To film, although this time is quite restrained, with the exception of the scene where Zhang is forced to take drugs.
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