Its not the first time Do-Joon got himself into a fix, given the strange mannerisms hes been taught to try and jog his memory, and Won Bin showcases his acting chops as the dim-witted boy whose disability gets frequently exploited, coming off as endearing at times, so much so that youre quick to judge and side with him as a victim of circumstances, being at the wrong place at the wrong time. Her single mom, with so much affection for her son, just dazzles and makes it convincing that shes been that single pillar of strength and shelter for her son when he gets up to shenanigans brought about by no good company of his.

Its the classic mantra of two wrongs never making one right, and how in the protection of loved ones, one will resort to extreme measures that blind common, good sense, and become a rather you than me syndrome, which I believe every one of us are capable of if we find ourselves pushed to a corner with no where to run.īong Joon-Ho is again at his element in unravelling the investigations process, which ties in black comedy with painful, dramatic moments, being evenly paced with heightened tension at appropriate moments.Īnd kudos of course must go to actress Kim Hye-Ja, who almost single-handedly carried the film on her own, since Won Bin disappears mid-way through. I particularly enjoyed the epilogue, which ties in with the inexplicable opening credits which made more sense once youve come full circle at the end. Its a standard three act structure here where the first hour establishes the strong family bonds between Mother (Kim Hye-Ja) and child Yoon Do-Joon (Won Bin), bordering quite close to being incestuous (but this is glossed over since were dealing with a man-child here), before they key murder scene beocmes the catalyst for Mother to do some serious investigations work in order to prove her sons innocence, given that the perverted justice system provided that bad after-taste. The cut (and duration) remain that same, with colour altered.

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