Raised to be a killer from a very young age in Yanbian, China, Sook-hee (Ok-bin Kim) is a deadly government assassin whose life is complicated by her blossoming relationship and double life as a stage actress. Being a hitwoman is certainly not her chosen vocation in life, but she agreed to at least ten years of service as a special agent following the tragic death of her tutor. However, it seems that her violent past is not ready to be put to bed just yet. With the arrival of two men she once knew named Joong-sang (Ha-kyun Shin) and Hyun-soo (Jun Sung), she starts to piece together some disturbing truths about her past which awaken the unwilling executioner within - and now she only has one thing on her mind: revenge.
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Priest Sang-hyeon (Song Kang-ho) voluntarily enters an African monastery to help research a deadly disease. But the mysterious illness leaves him craving human blood. He finds peaceful solutions to this, but things get complicated when he meets the sparky Tae-joo (Kim Ok-vin), who he's known since childhood in the orphanage. She's still living with her adoptive mother (Kim Hae-sook), and is now married to her adoptive brother Kang-woo (Shin). When they plot to kill Kang-woo so they can be together, this is only their first step across the line to inhumanity.
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Fired from his job on the eve of having to pay for his sister's kidney transplant, Ryu turns to black market organ peddlers, an unwise decision that leaves him penniless, kidney-less and desperate for a means to save his beloved sibling. With the help of a radical terrorist girlfriend (Bae Du-na) who spends her days passing out pamphlets on the street while advising passersby to "Drive out the American products" and "No U.S. Army," Ryu decides to kidnap the young daughter (Han Bo-bae) of his callous fatcat former boss (Song Kang-ho), and Park posits their abduction as an act of class warfare orchestrated by the downtrodden working class against the wealthy urban elite. Profound cultural commentary, however, isn't in the cards, with the hectic, convoluted action quickly devolving into a spectacle of simple-minded, slogan-heavy pontificating and abject ghastliness characterized by suicide, self-mutilation, a foursome of teenage boys aggressively self-gratifying themselves, close-ups of slit throats and Achilles tendons, and - in the film's most unrealistic, offensive, and pointlessly dreadful moment - a grieving father forced to watch his recently drowned daughter get sliced open on an autopsy table.
Continue reading: Sympathy For Mr. Vengeance Review
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