With age comes an overall aversion to non-stop carnage and the fountains of red Karo splatter that it brings. But damn if there isn’t a beauty and force behind writer-director Jung Byung-gil’s cartwheeling camerawork that I found irresistible. There was no need to go back for a precise body count (it numbered somewhere in the high dozens), but I did have to pause and take note of the length (seven minutes) of the heightened, POV-shifting, seemingly unbroken fisheye shot that audaciously opens the picture. At the center of the action is Sook-Hee (Kim Ok-bin), a woman whose journey from childhood to motherhood involves barreling from a car hood through the window of a speeding bus, engaging in an accelerated swordfight with her fellow motorcyclists, and just about any other form of sadistic encounter the filmmakers can throw in the path of finding her father’s killer. A romantic subplot between Sook-Hee and “agency lapdog” (Shin Ha-kyun) adds a needed layer of tenderness that helps to ground this paranoid thriller. Makes Wonder Woman look like one of the Golden Girls. (2017) — Scott Marks
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