In the procedural genre, where “bad cops” frequently reveal themselves to be law-enforcement geniuses, it remains shockingly refreshing to see a film where the bad cops are, in fact, bad cops.
Of course, this isn’t the only way in which Bong Joon-ho’s Memories of Murder distances itself from the Hollywood standard—not even close. Imbued with the mercurial, melancholic tones and indignant social consciousness of the Korean New Wave superstar’s finest work, Bong’s 2003 masterpiece remains a haunting chronicle of impotence, frustration, systemic dysfunction, and unfathomable injustice wrapped up in a rain-slick neo-noir coat. Loosely based on the real-life serial murder case that shook South Korea during the late 1980s, the film follows a task force of baffled detectives, led by schlubby everyman Park Doo-man (longtime Bong collaborator and Korean New Wave mainstay Song Kang-ho), as the bound and violated corpses of young women begin turning up...
Of course, this isn’t the only way in which Bong Joon-ho’s Memories of Murder distances itself from the Hollywood standard—not even close. Imbued with the mercurial, melancholic tones and indignant social consciousness of the Korean New Wave superstar’s finest work, Bong’s 2003 masterpiece remains a haunting chronicle of impotence, frustration, systemic dysfunction, and unfathomable injustice wrapped up in a rain-slick neo-noir coat. Loosely based on the real-life serial murder case that shook South Korea during the late 1980s, the film follows a task force of baffled detectives, led by schlubby everyman Park Doo-man (longtime Bong collaborator and Korean New Wave mainstay Song Kang-ho), as the bound and violated corpses of young women begin turning up...
- 5/4/2021
- by Eli Friedberg
- The Film Stage
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