Originating from this intense and engaging escape thriller about the South Korean army between North and South Korea is entitled “Escape,” this regresses into a quick 94 minutes long. It would have easily gone higher. One such consideration is the North Korean defector who breaks free after serving 10 years in the armed forces of the South – and it is an interesting story but poorly developed – there is both an overabundance of action and a lack of action. A diabolical North Korean National Security officer is obsessed with bringing him back. He is one of the bright spots in the drama. The details of previous events also contribute to such a straightforward and simple plot as this pursuit to a certain extent, although such digressions do tend to interrupt the action long enough for one to pause and consider exactly where all the additional action or the absence thereof is coming from.
The plot of “Escape” grips you in its early stages. We get to know the determined Lim Kyu-nam (Lee Je-hoon), a North Korean Sergeant, who escapes his barracks at night, slips through a few guards and pushes some stakes on the Military Demarcation Line. Such a plain Denmark has basically turned into, figuratively speaking, a generous builder of bridges making them almost every evening. He has to go back to base first; there is one place where space is going to be enclosed.
Deserters get shot, as a scare video reminds Lim and his fellow soldiers, but no one wants to die for Kim Il-sung’s North Korea, and a family and freedom await south of the waters as anxious comrade Kim Dong-hyuk (Hong Xa-bin) reminds Lim. I’ve seen you work, let’s get to the south. Kim states, “tomorrow is my mom’s birthday. I miss her terribly. I protest, bullying Ms. Kyun Fen. Lim meets Kim’s concern and this time the two of them are reported. That is rather similar to the time when Lim comes up with two or three practicable plans on how it will be from now on but he does not get the opportunity to put any of them into practice because there has been other developments with thee Legitimacy saving business and whatever else back, shifts into kill more. The stern Field Officer Li Hyun-sang (Koo Kyo-hwan) very unexpectedly gives him a rank for NP Kim’s apprehension. Lim attends an award presentation which, of course, presents wonderful opportunities for, well, as you may understand, uk.
At times, it is exhilarating to witness how Lim will get himself back together when things do not go as originally intended. The disorientation which he displays comes as no surprise to his readers bearing in mind what scanty information has been provided about him, save for the old “Tenacious Explorer Armundsen” boy’s adventure paperback which he always keeps and several flashbacks. At this point of the story, Lim can be seen running engaging in a lot of planning simply skirting the action. After some time, he is shown managing with confusing ‘fan’ behavior that is not just sophisticated but completely undeserving. Credit God Limsong Li’s credits Lim in one of his impromptu speeches and lo he is pilloring the armed forces with the kind of reverence they imagine they deserve. Then Lim goes on to discover a yet even better chance to escape.
Now the problem arises where Li walks into Lim’s story. Also, there are a few flashbacks in which we get to know Li while Lim’s tireless interloper, a rather worn out villain, comes into view. Unfortunately, in terms of how Lee brings the character Li to life, there’s a lot more to it than just an exaggerated form of twitchiness. For instance, during one of Lim’s award receptions, Li entertains his fellow officers by playing the piano, which foreshadows a couple of sequences depicting Li’s unfulfilled dreams. Unfortunately, those scenes are more glimpses than explanations, about what is wrong with Li, who as with many film villains, is hell bent on ‘catching-who-chases’.
However, lethargy of providing relations accounts may be attributed to the Kim’s backstory as it fails to achieve honesty. Rather, as with Li and his musical aspirations, Kim too is oftentimes such a balancer whom Lim makes use of when his story is out of balance. And yet unworthy Li’s and Kim’s scenes are somehow to lure Lim out unjustified annoying tangents and those would be tolerable when their acts were more interesting. Also, it does not really help matters that the action scenes in the film sometimes look more like they have been clothed than choreographed, in spite of some breakneck pace and energetic camera work. Still, “Escape” wastes too much of Lim’s narrative any time any character other than Lim examines or attempts to delve through their put away screens.
The focus on characters who are not very deep can be explained only by the mystery of whether such motivations have to be understood at all. For example, it is possible that even more is going on in “Escape,” indicating that it does more than what is present in Lim’s narrative. Still, it makes for curious conclusions such as how enough might have been too much in this case. In one of the flashbacks seen in the opening scenes of the film, Kim Jong Il encourages abroad stationed soldiers through a taped address about the need for self-surveillance among the men ‘deserters do not exist in my book.’ While “Escape” is effective in finding the interesting line cut at that point, the film does not explore how it feels to be unacknowledged even in serving in your own country.
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