The horror of standing across from your enemy and suddenly feel your mind and control slipping away is definitely palpable. For fans of Korean thrillers, there's a certain charm to Memoir of a Murderer as an exaggerated, almost comic book-like highlight reel of past glories in the genre, whether its the tunnel of Memories of Murder, the catch-and-release chase of I Saw the Devil or all the usual car crash and family trauma beats that often litter these stories. And boy, did they succeed. In the end, the thriller has a few problems because it takes itself too seriously and uses too many twists instead of fleshing out the thriller's motives, which could have made the remake stand its ground against the original. With excellent turns across the board, bringing a fantastic diversity of evil cunning, integrity, hard-line investigation and pure madness across all of the characters, particularly the lead three, the murderer, the cop and the journalist, there's even more to enjoy and delve into in this film. Byeong-soo can immediately sense that he's come face-to-face with another serial killer.
Yes, but not in a good way. The placing of the cuts frequently aims to give the narrative space its continuous character — or, in the case of flashbacks, consistency at the level of the character. A collective interest that, for the victims, constitutes a repeating confrontation with the impact of the trauma, but also enables them, as Sonezaki drapes himself with the image of the murderer, to orient their anger, an anger that could not be oriented for twenty-two years. You can help Wikipedia by. To save his daughter, Byung-sop must fight Tae-ju as well as his own mind. This movie hits all the right notes.
A newly introduced 15 year statute of limitations law has left the Tokyo police force frustrated at their inability to capture the notorious Tokyo Strangler, who in 1995 brutally murdered five victims in front of witnesses from their own family. Furthermore, his performance is seconded by the performances of Hideaki Ito and the other members of the cast; each actor bringing enough soul and body to their respective characters. Trivia: This film should not be confused with the 2017 Japanese movie Memoirs of a Murderer, directed by Yu Irie. The editing in the film is one of its better assets, with the editor unfortunately I could not find his name doing a great job in connecting the various visual aspects in a fashion that is everything but confusing. Directed brilliantly by Yû Irie, and featuring impressive performances across the board, Confession Of Murder is rapid-fire, gripping and hugely entertaining watch from beginning to end. The media are all over the case, while the families of the victims are enraged with him.
Just two weeks after V. Notes: Narra-note 1: Stature of limitations is the maximum time after an event within which legal proceedings may be initiated. What's more is that Irie gives the film a brilliantly modern vibe, which fits perfectly with its look at the media's role in crime investigations. But only until you see the superior original will that hold up. Toru Nakamura as Toshio Sendo is quite good, emitting the seriousness and professionalism his character demands. Lots and lots of murder! Detective Makimura Hideaki Ito , who investigated the string of strangulations as his first murder case, feels powerless. From a young age, Byeong-soo channeled his murderous desires by mostly targeting bad people but he's hasn't killed in over a decade.
The twists are unexpected and surprising. The perverse pleasure that the media and the public derives from Sonezaki, as the one who went beyond the law, is very sensibly brought to the fore in the narrative and becomes even slightly disturbing for the spectator. The acting is decent and there are small changes to the original, though none improving on what the original did. As Memoirs of a murderer progresses, the spectator captured by his wish to know, some surprising and some less surprising twists are introduced. Given that the film occasionally delves into somewhat melodramatic territory surrounding its more out-there twists and turns, I wasn't expecting the actors to hold up so well, but I have to say they really did. Does the film stand out in its own way? The problem is that after setting several layers of intrigue in motion, the film proceeds to get tangled up in its own mystery, pushing its already strained credibility to breaking point. Cine-note 1: The opening sequence condenses a whole of 15 years into 3 minutes of narrative.
The cinematography, the production values, the editing etc; all blend together in to make a porridge-like package that does nothing to stand out, making the film tedious and inconsequential. Confession of Murder 2017 is a crime,thriller movie remake from a South Korean movie with the same name about a book written by a serial killer exposed his past crime that raise a lot of attention not only from the cop but also from the media about whenever it real or fake. This film tells the story of a series of five unsolved murders in Tokyo back in 1995. Hideaki Ito on the other hand, plays the police detective and simply lacks some sort of charisma. Watch it when you get the chance — whether in a movie theater or at home when this becomes possible. Review: Over the years I watched numerous movies and it is a huge advantage to just remember small stuff here and there. Kaho, Ryo Iwamatsu, Koichi Iwaki, Misuru Hirata and Anna Ishibashi lend presence and that is basically it.
He doesn't believe Sonezaki and wants to expose him. A collective interest that, for the victims, constitutes a repeating confrontation with the impact of the trauma, but also enables them, as Sonezaki drapes himself with the image of the murderer, to orient their anger, an anger that could not be oriented for twenty-two years Psycho-note 1. Memoir of a Murderer is a great story and extremely well-produced movie. Besides the fluidity of the cinematography, it is also the acting in m emoirs of a murderer that makes the narrative so enjoyable and exciting. That his role stays in the dark for the most part is understandable, as the necessary mystery around him needs to be kept alive. The supporting cast are all good in their roles, although the script does not help them much.
No offense, but you can only take so many surprises and still find them believable. The placing of the cuts frequently aim to give the narrative space its continuous character — or, in the case of flashbacks, consistency at the level of the character cine-note 3. This is one of the things I truly love about these movies; The characters are flawed and real. This fluidity in the cinematography is also present in the framing of the action. Also, one a the main characters in this movie also played the lead in which is on Netflix now. The film may not provide Sul with one of his best parts, and it brings to mind his many protective father roles in routine mainstream fare such as Voice of a Murderer, No Mercy and Troubleshooter, but between this and The Merciless earlier this year, it's good to see him have fun with some slightly more novel characters, even if they remain strictly within the thriller mould.
The original managed to cover up the credibility problem with its special kind of humor so that the end result was just fun to watch, and taking the concept of the movie into consideration it also came up with an intelligent script - or at least with a playful one. However, some flashbacks, which are supposed to remind us of important information given before and key scenes, do seem unnecessary. Even though fixed camera viewpoints are often used — especially near the end, the grim and bleak narrative world tends to be framed with slow moving shots, giving the narrative space of the shot, as it eliminates unnecessary cuts, often a certain consistency cine-note 1, cine-note 2. It also challenges the society's unhealthy worship of the cult of celebrity that is whipped up and exploited with some dynamically staged scenes that take place in the full sensationalised glare of the media. As we watch, his face begins to twitch. I remember watching the original movie thinking how insanely clever the entire plot was.