Reseñas de la crítica

Some of the plot’s manoeuvres are perhaps not as clever as the film-makers seem to think they are... But the performances are rich and perfectly pitched...

Kim Yong-hoon, has a promising command of black humour, seamy locations and extreme characters.

Yong-hoon offers a refreshing update on a cliched genre with this examination of absurdity, stupidity, and criminality.

It serves as a colourful critique of the capitalist free-for-all that underpins Korean society... It is also an elegantly shot, rambunctiously elaborated tale (or three) told with good humour and a real sense of panache, ensuring that Kim Yong-hoon is a filmmaker to watch.

If you enjoy crime capers and don’t get over-icked by loads of blood, this is a good way to pass an evening.

The actors here are almost uniformly good, each one doing what they can with roles that are either over- or under-written, but director Kim seems never to have come across a single noir cliché he doesn’t like.

[T]he film is an overstretched yet fun joyride sure to do big business at home...

Kim’s debut spins its tale of desperation and class conflict with a precision and ironic edge that would make fellow South Korean Bong Joon Ho proud.

A glockenspiel-heavy score emphasises the quirkier elements of the story and this, together with some of the broad supporting performances, can be a little off-putting. But in fact, this almost Coen-sian tale of ordinary folks undone by greed is a lot smarter than than its occasionally crude execution would have you believe.

Winner of best actress honors at Cannes in 2007 for Lee Chang-dog's Secret Sunshine, Jeon has a ball here as a calculating, delightfully ruthless and amoral femme fatale of the old school. She dominates the second half of the film, during which the various elements of the plot click together with smooth precision as the bodies start piling up.