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The best sequence in the entire movie is in fact the credit-sequence montage, in which an alternative history of the flourishing Japanese colonial empire is told with a series of ingeniously doctored stills, Forrest Gump -style, a minor triumph for the CGI and editing staff.
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Scenes like this remind me, instead of the romanticized violence in a John Woo film, of an old propaganda TV drama in which North Sex video of anwar ibrahim Communist guerrillas mow down Commie-hating South Korean children in, what else, excruciating slow motion.
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With luck, someday we may look back upon this film as a first step in the rebirth of Korean animation.
Bad boy director Kim Ki-duk has been eagerly sought after by international film festivals ever since his third movie Birdcage Inn
In Public Enemy there are no conventionally sympathetic characters: