The tight time-frame gives the excellent cast a chance to play with intensity, making even old genre hands hold their breath and feel their minds sufficiently shaken up.
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The opaque ethics of The Chaser elide the reductive nature of binary pairs, focusing instead on the far more piquant complexity of human behavior.
Pulse-pounding third act expertly pushes the audience’s buttons, to excruciatingly ironic and ultimately devastating effect. Pic does turn overwrought in the final stretch and would have been wise to end on an earlier note, though action fans won’t mind.
The film is distinguished by the grubby velocity of his foot chases, and the effectiveness of its craft.
While it could stand to lose 20 minutes and several plot twists, Mr. Na’s debut manages to be thought-provoking and adventurous while providing solid thrills.
Some of the tension drains from a slow middle act, but it remains a gripping tale of sleuth-work and moral awakening.
A late-act tragedy drenched in bloodlust slow-mo epitomizes the film's poseur bleakness, with its treatise on individual and institutional amorality sabotaged by broad-stroke characterizations and a knotty narrative too reliant on twin modern-day horror tropes: preposterous decision-making and lousy cell phone service.
It's atmospheric but derivative, and I didn't find the denouement's Christian imagery convincing.
The Chaser is an expert serial-killer film from South Korea and a poster child for what a well-made thriller looked like in the classic days.