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How entertaining? ★★★☆☆
Thought provoking? ★★☆☆☆ 25 November 2014
This article is a review of KUNDO: AGE OF THE RAMPANT.Seen at the London Korean Film Festival 2014. (For more information, click here.)
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"I was no better than a beast to my father; there’s nothing I cannot do," Jo Yoon (Gang Dong-won)
When babies are the focus of murderous intentions, your movie is likely headed for a harsh place. For all the homicide, KUNDO: AGE OF THE RAMPANT just dinks darkness without being subsumed; it unexpectedly reverses into humour just when ominous tone threatens to dominate. After all, this is a Robin Hood-esque tale, and lack of banter/put downs would be noticed. Mainstream movie-making tends to iron out atmospheric crinkles; so good on director Yoon Jong-bin (NAMELESS GANGSTER) for attempting to sidestep expectations, by not giving us a heads-up when a laugh or death is approaching.
When babies are the focus of murderous intentions, your movie is likely headed for a harsh place. For all the homicide, KUNDO: AGE OF THE RAMPANT just dinks darkness without being subsumed; it unexpectedly reverses into humour just when ominous tone threatens to dominate. After all, this is a Robin Hood-esque tale, and lack of banter/put downs would be noticed. Mainstream movie-making tends to iron out atmospheric crinkles; so good on director Yoon Jong-bin (NAMELESS GANGSTER) for attempting to sidestep expectations, by not giving us a heads-up when a laugh or death is approaching.
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1862, poverty, famine, corruption, a triple threat to societal happiness. Authoritarian chokehold has caused justice absence. Escapist catharsis abhors moral turpitude. Focal points for audience ire come in two-pronged form: Macrocosmic gentry conscienceless behaviour, and microcosmic scheming illegitimate noble offspring Jo Yoon (Gang Dong-won – WOOCHI: THE DEMON SLAYER). Daddy issues subsuming Yoon, at being cast aside for a legitimate heir, awakened a sociopathic drive to dominate the region. Architect of the first public-private partnership (nod to modern woes), he, with the help of the authorities, cheats local farmers into losing their land and effectively becoming indentured serfs.
Population exploitation cries out for the Kundo gang. When in full swing they cut a swathe through the wealthy enemies of the people. Wild West-style music score alludes to THE MAGNIFICENT SEVEN. KUNDO: AGE OF THE RAMPANT joins THE GOOD, THE BAD, THE WEIRD as a new breed of “kimchi” Western from South Korea. The benevolent gang redistributes spoils. Not a faceless, personality-less entity, the driving force of the Kundo are distinctively brazen. No guarantee of crossing the finish line makes for a tension normally absent from blockbuster crowd-pleasers. And be in no doubt, that is the aim; especially when the opening credits have listed someone in charge of “demolition”.
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Butcher Dolmuchi (Ha Jung-woo – THE YELLOW SEA) is the light to Jo Yoon’s dark. Though neither man is painted in such simplistic hues. Family murdered, and out for revenge, Dolmuchi catches the eye of the Kundo (in a humorous montage referencing his attributes, relevant and seemingly otherwise.) Like the best vengeance pics, catharsis comes with a price. Narrative scene setting and multiple character introductions are well paced in the revelations (an act and header structure aids).
When a movie unveils a Gatling gun, you know it’s going to be used. KUNDO: AGE OF THE RAMPANT does not skimp on the action. Despite the use of firearms, fisticuffs using swords, knives and clubs are the modus operandi. Anachronistic dialogue (“I’m a walking sh*tstorm”, “Look at this douche”), as well as modern music themes, betrays an eagerness to satisfy over realism.
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