Kill Boksoon Review: A Training Trip For Mother And Daughter | Netflix Film
Cast: Jeon Do-Yeon, Sol Kyung-gu, Esom, Koo Kyo-hwan, Kim Si-a, Lee Yeon, Park Kwang-Jae, Jang In-sub, Choi Byung-Mo, Kim Seung-o, Kim Ki-Cheon
Director: Byun Sung-hyun
Streaming Platform: Netflix
Filmyhype.com Ratings: 3.5/5 (three and a half stars) [yasr_overall_rating size=”large”]
Kill Boksoon is a Korean Netflix action movie. The story of the number 1 killer in the industry, but when he returned home, she is the mother of a teenage daughter. that must try to cover up and balance this life. With the Oscar success of Bong Joon Ho’s Parasite, a door has opened in the international perception of South Korean cinema in 2020. The Korean film industry is one of the most productive, creative, and artistically sophisticated in the Asian region but, only in recent years, South Korean cinema, with its full spectrum, has entered the global cinematic consciousness. Korean cinematography owes its diversity not only to a state-funded system but also to the lively dissolution of the boundaries between auteur culture and pop culture. Netflix’s new Korean production Kill Boksoon, which premiered at this year’s Berlinale, is the best example of this.
Kill Boksoon Review: The Story Plot
With Kill Boksoon, Byun Sung-hyun creates a world where contract killings take on the form of entertainment and violence becomes art. Gil Boksoon (Jeon Do-Yeon), the protagonist of this South Korean thriller, is by no means naive or reckless: she is a trained killer, employed by an agency that makes its clients do the dirty work, until, as usual for these stories, the inevitable happens: Boksoon’s position of prominence crumbles. The plot of Kill Boksoon intertwines private and structural conflicts, which concern a wider working system, starting from the protagonist who is shown to us as a character with rough features who struggles with the double role she is forced to play, that of mother and assassin. As she sits with friends over coffee, she overhears them talking about their children and the holidays. Gil is physically present, but his mind goes elsewhere. He thinks of his business “trips” and the first association he makes is that of a slit throat: not exactly the epitome of a model mom.
Gil is one of the top killers of the MK Agency, a contract-killing firm that holds annual assemblies and, Hogwarts-style raises the next generation at its university. At home, however, Gil is fighting on a completely different front. Fifteen-year-old daughter Jae-young (Kim Si-A), who knows nothing of her mother’s secret professional life, is increasingly reluctant to open up to dialogue with her. As good as Gil is at predicting the actions of her opponents, her abilities fail with her daughter. She, too, has her secrets about her: she’s in love with a schoolmate and the class bullies threaten to make this relationship public. When Gil announces his intention not to renew his contract at the agency to be able to take care of his daughter more, her colleagues are shocked.
Kill Boksoon Review and Analysis
The generational conflict that develops with Boksoon ‘s daughter, Jae-Young, plays out intelligently, as it elevates the conflict over the issue of violence to the next level. Byun Sung-Hyun uses the environment of the mafia and gangsters to tell a social system that lives on eating and being eaten: either you learn to adopt a violent lifestyle to know how to defend yourself, or you end up in the predators’ cage. When Boksoon’s daughter already comes into contact with these mechanisms in everyday school life, the situation becomes explosive and, in this sense, the staging becomes even more functional to outline this dual conflict, struggles for power and domination, and at the same time personal. Violence becomes an expressive dance in Kill Boksoon, with influences from recent great action films such as The Raid and the Indonesian The Night Comes For Us.
With ingenuity and a lot of attention to detail, director-writer Byun Sung-hyun crafts a classic genre story, particularly convincing with its breathtaking and aestheticized fight sequences. From the middle of the film, the mother-daughter relationship becomes increasingly central and determines the contrasting dynamics of the narrative. Convincing and with gentle irony, the protagonist Jeon Do-yeon draws the character of her, who makes her way in a male-dominated professional environment between the skilled murder and the emotional overload that being a mother entail.
Director Byun Sung-Hyun captures the mother’s emotional conflict best, not by bringing the world of contract killers closer to a real model, but by outlining the boundaries of an opulent and colorful world. Professional killers follow school and college programs; they complete their training to be distributed in more or less prestigious companies. Those who reach level A work for the biggest chains; those who don’t do well have to make a living as small freelance entrepreneurs. Employers meet regularly for a kind of congress, while employees exchange ideas together at the regulars’ table.
In addition, people hope that they can just watch the action scenes. Let’s just say you are open to the first scene that tries to make the action comedic. In a duel with the Yakuza, he must have felt embarrassed. that looks deliberately funny Then the story disappeared for almost an hour before it appeared again. (The film ends two hours), where the action settings are different. Nothing has been created to wow at all. Like an ordinary hit-action movie. And after a long time before coming Even the final scene, which was supposed to be fun, but it wasn’t, it turned out to be nothing, almost like a budget movie. Ready to end in a way that makes it addictive to drama with a slight twist It’s not a full-length action movie to enjoy full entertainment. As expected even less Again, he will be drowsy and want to sleep even more.
The counterpart of all this for Boksoon are the worries of his daughter: the parents’ reunion evenings, the talks with the principal, and the verbal confrontation with the teenager who is just discovering his sexuality and the vulnerability that comes with it. Indeed, everything that her daughter has to go through in her high school life has far more serious consequences than the sum of all the contract killings that her mother carries out in the meantime. The dramatic component inherent in the daughter’s training process has a far greater emotional weight in a much smaller space than the mother’s murderous action, which is light and ironic by its very nature. Indeed, Byun Sung-hyun ‘s production is at its best when the small acts of violence in the daughter’s world are juxtaposed with the comical and emotionally insignificant escapades of the mother’s professional life, upsetting the balance of both worlds.
At crucial moments, much hinges on Jeon Do-Yeon, who here, as throughout her career, travels effortlessly between genres, effortlessly transitioning from art murder to the hardships of being a mother, and making visible the enormous effort that this entails for his character. Returning from a deadly fight in a bar, she calmly and triumphantly makes her way to her car, watched by the survivors. When the door closes, Gil Boksoon is just the wounded mother who can’t wash the blood of her adversaries from her fingernails, and work and life are in balance.
The character’s performance in the story doesn’t look like a logical assassin. The whole story still sticks to acting like a drama, a little too much to make it look funny, even though the heroine herself may look good. But the script didn’t help send any emotions as expected to the audience. The mother-daughter drama part is dull and even tried to get Korea to play LGTB problems with the heroine’s son, believing that if it weren’t for Netflix’s capital, they wouldn’t have thought of picking it up to play as a crux. but this one is like there is a fight rule forcing it to have, so I put it in which looks polished It didn’t help the story look a bit heavier.
Kill Boksoon Review: The Last Words
Byun Sung-hyun’s production is at its best when the small acts of violence in the daughter’s world are juxtaposed with the comical and emotionally insignificant escapades of the mother’s professional life, upsetting the balance of both worlds. Overall, if you don’t expect anything at all. I think it’s just watching action movies that focus on a lot of drama. from Korea Which Koreans themselves may not be a fan of John Wick cinema movies already. It’s like watching a movie, following the trend, just as John Wick shows a theater that can only be surrounded by snacks. But if you’re already watching this genre, skip it. Don’t waste your time with this extremely frustrating copy of the world of John Wick.
