A Man of Reason Review: Visually Stunning But Dramatically Hollow

After a decade in prison, Su-hyuk wants nothing more than a simple life. As one of Korea’s most feared assassins, he put many enemies to the ground. But now he learns he has a young daughter, and discovering this news changes everything. All Su-hyuk wants is to care for his child, make up for lost time with his former love, and leave his past behind.

This isn’t a quest that will be easy, as Su-hyuk soon finds out. His old boss, now known as the Chairman, still runs the criminal operation with an iron fist. The chairman sees Su-hyuk as one of his most valuable assets and refuses to let him walk away so easily. He sends two unhinged killers, Woo-jin and his girlfriend Jin-A, to ensure Su-hyuk has no choice but to return to the life of violence he’s tried to escape.

Standing in their way is director Jung Woo-sung, the man behind the camera who also plays Su-hyuk. As one of Korea’s top action stars, Jung knows how to handle the genre. He aims to deliver a thrill ride with high-octane crashes and fights. Yet the story also wants to show a man trying to reform and find redemption through family. Can Jung balance these elements into an entertaining package? Or will the film struggle under the weight of its ambitions?

Only by witnessing Su-hyuk’s battles on screen can we judge if A Man of Reason hits its mark. While the plot seems ripe for explosive set pieces, crafting a protagonist we can care about offers a tougher test. If Jung succeeds in marrying these aspects together, we may have an action flick worth remembering in our hands. But to find out, we’ll have to see how hard Su-hyuk fights to claim his shot at peace.

Breaking Free of the Past

Su-hyuk has known only a life of violence. For years, he was one of the chairman’s top enforcers, eliminating anyone who stood in his boss’s way. All that earned Su-hyuk was a decade in prison. Yet when he emerges, this man of few words discovers he has a daughter he never knew. Finding out about her awakens something new: a longing to reform and provide In-Bi with the stability he never had.

But escaping one’s past is no easy task. The chairman still views Su-hyuk as his most valuable asset and is unwilling to grant him freedom. He sends Kang to ensure Su-hyuk has no choice but to return to the fold. Kang seethes with jealousy, seeing Su-hyuk as a threat to his own standing. In a twisted bid to eliminate this perceived rival, Kang hires two of the most unhinged individuals you’ll ever meet: Woo-jin and Jin-A.

This murderous duo defines instability. Woo-jin finds amusement in others’ suffering, his psychotic laughter chilling to the bone. Jin-A appears saner yet proves just as savage, using her brains and explosives expertise to aid in mayhem. Together, they gleefully torment anyone who crosses their path, and Su-hyuk soon finds himself squarely in their sights.

As for Su-hyuk, he remains an enigma. On one hand, he clearly longs for normalcy as a father. Yet underneath lies a ruthlessness that can’t be denied, awakened whenever his family is threatened. In many ways, he’s like the reformed criminals of countless films before him. But perhaps uniquely, we never learn what truly motivates this man or what he feels beneath his stoic surface.

The film strikes familiar beats of the “man wants out but is forced back in” genre. But where others inject complexity, A Man of Reason offers mostly archetypes. Its characters scream for deeper shading that may have made their climactic battles more impactful. As is, the viewer emerges less invested than one hopes in Su-hyuk’s desperate efforts to break free of the shadows of his past forever.

Steady Vision Amid the Mayhem

Jung Woo-sung proves himself a director with a steady vision behind the chaos. Throughout A Man of Reason’s many breathtaking set pieces, his skilled eye keeps audiences firmly fixed in the flow.

From the opening, it’s clear Jung understands the visual language of violence. With only a flashlight to reveal glimpses, the nightclub massacre captivates through suggestion. We catch pieces of the carnage, yet the swirling movements hold us rapt.

Beautiful cinematography enhances each brawl. Go Rak-sun frames shots with an artist’s diligence, always emphasizing form. Scenes flow like sequences from an action ballet. Within the lobby smash too, cameras glide as one with Su-hyuk, conveying each collision.

Production design also plays a part. Sets portray the dichotomy in Su-hyuk’s world: lavish modern surfaces covering criminal rot. The chairman’s high-rises impress, until he learns how his greed displaces communities. During the climactic vehicle chase, architecture becomes another tool in the mayhem.

Perhaps most astounding is how Jung paces the drama amid brutality. Lulls give weight to the carnage bookending. Major clashes arrive just when adrenaline risks fading. The nail-gun duel especially stands out with its rapid cuts and close angles, leaving viewers as exhausted participants.

While the characters could feel fuller, their portrayers’s talents kept eyes fixed on the screen. Jung ensures the visuals match the intensity promised. Whether illuminating subtle moments or explosive collisions, his steady directorial hand brings viewers into the film’s pulsating heart. A Man of Reason lives up to its name through Jung’s masterful vision behind the scenes.

Beyond the Action: A Man of Reason’s Quieter Themes

While the fights and crashes steal the spotlight, A Man of Reason subtly explores weightier themes. Jung Woo-sung’s directorial debut delves into ideals of masculinity, rehabilitation, and the criminal underground’s shifting face.

Su-hyuk’s journey questions how violence defines manhood. As an enforcer, I might command respect. Yet fatherhood inspires change; through love, he moves past brutality. His struggle shows reformation is possible, even for those steeped in darkness.

The film also ponders society’s role in reform. Despite years away, the Chairman and Kang see only Su-hyuk’s killer past. Reintegration faces opposition; peace demands proving oneself again daily. Their refusal highlights the hurdles facing real-world ex-convicts, who often face little choice but crime due to closed doors.

Some read too deeply into analogues, but the real estate plot hints at commentary. As gangs conduct “business” through legitimate fronts, crime metastasizes, hidden yet still toxic. The chairman symbolizes how criminality infects wider systems through money and influence. As development displaces the vulnerable, his wealth shields true nature.

These ideas enrich A Man of Reason beyond chase scenes. But the film could have probed them further, developing characters as mouthpieces. Still, Jung shows thoughtful eyes and gazes beyond fists and engines towards the thornier issues his native Korea undoubtedly faces. Observant viewers will find quiet food for thought.

Bringing the Players to Life

The performances in A Man of Reason prove key to elevating its gritty criminal thriller plot. Jung Woo-sung commands attention as the stoic but deadly Su-hyuk. Built like an action star, he moves with the coiled grace of an assassin, letting his fighting do the talking. Yet fleeting expressions hint at the former killer’s desire for normalcy.

An even greater strength comes from the villains. Kim Nam-gil strikes true fear as the unhinged Woo-jin. Like a deranged child, he toys with victims, oozing menace. His bond with Park Yoo-na’s Jin-A adds an emotional layer, showing evil’s roots in codependency. Calm yet twisted, she proves the more dangerous half.

Another standout comes from an unexpectedly faraway place: young Ryu Jian. As Su-hyuk’s daughter, In-bi, she brings suspenseful kidnapping scenes rich emotional depth with her captivating performance. Though imperiled, her mix of fear, longing, and hope resonates long after the final shots echo.

Together, this talented ensemble breathes life into stock characters. Jung commands respect through stoic resolve. But the true chills come from villains hinting at darkness within us all and a child reminding us of innocence in a brutal world. Their portrayals elevate an otherwise generic plot, leaving us thinking about these players long after credits roll.

Hands of a Master, Mind of an Apprentice

Jung Woo-sung puts his skills on full display with A Man of Reason’s technical achievements. Cinematography draws you in with lush dystopian landscapes and moody lighting. Action scenes truly pop, from knife fights in darkness to nail-gun mayhem. Stunt work feels fearless yet fluid, and suspense is always teetering. The choreography makes each brawl a ballet of brutality.

Yet intricate craftsmanship proves greater than the sum of its parts. Brushstrokes of genius only highlight the weaknesses holding this piece back. Character scripting stays surface-level, giving stars little room to shine beyond archetypes. The story progresses as expected, lacking surprises to grip until the climax.

Pacing stumbles where drama drags. Still, moments feel lifeless rather than meaningful. Overlong lulls dissipate tension, so impacts land limp. Had editing maintained momentum, this may have been memorable.

Ultimately, technical polish outmatches narrative substance. Visual mastery cannot carry thin writing and predictable beats. Jung’s directorial skill deserves praise. But without depth and nuance, even the finest details fail to elevate material beyond forgettable.

a promising start, yet room remains to hone the whole-work vision matching handcrafted scenes. With stronger scripts and tighter pacing, future films could truly thrill. For now, fans enjoy artistry while hoping Jung’s mind matches the mastery of his hands in later outings.

Flash Without Substance

So after all the mayhem subsides, does A Man of Reason deliver? Its technical wizardry impressed, but the storytelling fell short. Jung gifts gorgeous scenes that stole breath, yet paper-thin characters left viewers cold. Potential sizzle popped when the plot simmered too long instead of simmering tension.

These flaws weighed heavily. Style alone couldn’t mask the lack of depth below the surface. Meaningful relationships or motives never emerged to care for. The plot plodded predictably where surprises could have sparked interest. Overall entertainment value suffered for misfires elsewhere.

Yet not all hope remains lost. Jung debuts amid the difficulties many debutants face. Clear directing talent shone through, even if scripts stalled. With experience, perhaps he learns to balance brilliance above with substance below. Strong vision just needed substance to stick the landing.

For action fans seeking a solely flash-over feeling, Reason delivered its share of kicks. But those wanting a journey beyond pretty pictures walked away undernourished. With future efforts, I hope Jung’s whole package matches his patently cinematic eye. Potential in panache deserves a proper platform to fully perform. If he gains that, future films could ignite.

For this first at-bat, there are flashes of greatness, but not enough fuel to sustain interest until the end credits. Jung shows signs of mastery, though he is still an apprentice in other areas. When those develop, he may strike gold.