'Parallel Life' Goes Off on Tangents
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By Lee Hyo-won
Staff Reporter
It somehow feels like doing math homework using a history book, with rock music blasting in the background. The seed idea of "Parallel Life" was catchy but the tree that grew from it ended up being a tangled mess.
First-time director Kwon Ho-young draws on the idea that history repeats itself. Case in point: former U.S. Presidents Abraham Lincoln and John F. Kennedy were elected to the senate in 1846 and 1946, respectively, and then the presidency in 1860 and 1960. Their assassinations both took place on a Friday, in a Ford Theater and a century later in a Ford car. Their assassins were born a century apart, in 1839 and 1939.
The film is set in modern-day Korea, and opens with a cancer-stricken academic (Oh Hyun-kyung-I) vehemently arguing in favor of the parallel lives theory. This initially sets a fine blueprint for a dramatic thriller ― but note the word "initially".
Hallyu star Ji Jin-hee stars as Kim Seok-hyeon, who has become chief prosecuting attorney at the strikingly early age of 36. In addition to his stellar career he also has the picture perfect family, with a gorgeous wife, Yun-gyeong (Yoon Se-ah), and adorable daughter.
Our protagonist's life crumbles, however, when Yun-gyeong is brutally murdered. Prosecutor Gang-seong (Lee Jong-hyuk), a friend of Seok-yeon's who has had a soft spot for Yun-gyeong, takes the case into his hands.
A young man, Jang Su-yeong (Ha Jung-woo), who has been holding a grudge against Seok-yeon for a ruling in a previous case, arises as the prime suspect, and the case is quickly closed.
Meanwhile, a reporter approaches the grief-stricken Seok-hyeon, and asserts that he is living the parallel life of Han Sang-jun, a judge who lived 30 years ago. According to the theory, Jang will escape from prison to kill him and his daughter.
Seok-hyeon is at first skeptical but becomes convinced about the validity of the theory as he discovers that almost every detail in his life ― from being valedictorians from the same alma mater and becoming the youngest ever chief prosecuting attorney to losing a beautiful wife to cold-blooded murder ― exactly coincide, down to the dates with 30-year intervals.
History thus suggests that Seok-hyeon has only 16 days until the murders begin, and he struggles to change the mapped out future. However, someone destroys the files from 30 years ago and the reporter who had been helping Seok-hyeon is found strangled to death.
Jang meanwhile escapes from prison on the same day Han's murderer did 30 years ago. Is it the predestined curse of a parallel life or plotted intrigue?
In order to heighten the importance of parallel lives, scenes naturally switch back and forth between past and present. But instead of upping the thrill factor via heightening the realism of the film's internal logic, it devalues it.
The movie's initial selling points get muddled as it proceeds with too many twists that repeatedly slap the viewer in the face. One becomes too numb and stupefied to feel anything anymore as the story zigzags through one clich?d formula after another.
The movie also embellishes the drama with too many audiovisual effects, including not one but three scenes that should rightfully belong in third rate horror flicks ― eerie sounds followed by stiffening silence and a very bad bang.
In theaters Feb. 18. Distributed by CJ Entertainment.
Staff Reporter
It somehow feels like doing math homework using a history book, with rock music blasting in the background. The seed idea of "Parallel Life" was catchy but the tree that grew from it ended up being a tangled mess.
First-time director Kwon Ho-young draws on the idea that history repeats itself. Case in point: former U.S. Presidents Abraham Lincoln and John F. Kennedy were elected to the senate in 1846 and 1946, respectively, and then the presidency in 1860 and 1960. Their assassinations both took place on a Friday, in a Ford Theater and a century later in a Ford car. Their assassins were born a century apart, in 1839 and 1939.
The film is set in modern-day Korea, and opens with a cancer-stricken academic (Oh Hyun-kyung-I) vehemently arguing in favor of the parallel lives theory. This initially sets a fine blueprint for a dramatic thriller ― but note the word "initially".
Hallyu star Ji Jin-hee stars as Kim Seok-hyeon, who has become chief prosecuting attorney at the strikingly early age of 36. In addition to his stellar career he also has the picture perfect family, with a gorgeous wife, Yun-gyeong (Yoon Se-ah), and adorable daughter.
Our protagonist's life crumbles, however, when Yun-gyeong is brutally murdered. Prosecutor Gang-seong (Lee Jong-hyuk), a friend of Seok-yeon's who has had a soft spot for Yun-gyeong, takes the case into his hands.
A young man, Jang Su-yeong (Ha Jung-woo), who has been holding a grudge against Seok-yeon for a ruling in a previous case, arises as the prime suspect, and the case is quickly closed.
Meanwhile, a reporter approaches the grief-stricken Seok-hyeon, and asserts that he is living the parallel life of Han Sang-jun, a judge who lived 30 years ago. According to the theory, Jang will escape from prison to kill him and his daughter.
Seok-hyeon is at first skeptical but becomes convinced about the validity of the theory as he discovers that almost every detail in his life ― from being valedictorians from the same alma mater and becoming the youngest ever chief prosecuting attorney to losing a beautiful wife to cold-blooded murder ― exactly coincide, down to the dates with 30-year intervals.
History thus suggests that Seok-hyeon has only 16 days until the murders begin, and he struggles to change the mapped out future. However, someone destroys the files from 30 years ago and the reporter who had been helping Seok-hyeon is found strangled to death.
Jang meanwhile escapes from prison on the same day Han's murderer did 30 years ago. Is it the predestined curse of a parallel life or plotted intrigue?
In order to heighten the importance of parallel lives, scenes naturally switch back and forth between past and present. But instead of upping the thrill factor via heightening the realism of the film's internal logic, it devalues it.
The movie's initial selling points get muddled as it proceeds with too many twists that repeatedly slap the viewer in the face. One becomes too numb and stupefied to feel anything anymore as the story zigzags through one clich?d formula after another.
The movie also embellishes the drama with too many audiovisual effects, including not one but three scenes that should rightfully belong in third rate horror flicks ― eerie sounds followed by stiffening silence and a very bad bang.
In theaters Feb. 18. Distributed by CJ Entertainment.
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