On April 16, was released. The film features Lee Kang-soo (Kang Ha-neul), who becomes known as 'Yadang,' a broker providing information on drug cases, Prosecutor Gu Kwan-hee (Yoo Hae-jin), who thrives by collaborating with him, and Detective Oh Sang-jae (Park Hae-joon), who is nicknamed 'Hwang's Emperor,' but finds himself in a difficult position because of the duo. portrays South Korea through these three characters and immediately captured the number one spot at the box office upon its release. Despite receiving a rating that prohibits youth viewership due to its graphic depiction of the dangers of drugs and the naked truths of the country's power structure, the audience turnout and reactions on the opening day suggest it may become a notable hit in 2025. We've gathered the brief reviews of Cineplay reporters who attended the preview screening. If you're still contemplating whether to watch it, give this a read.

"A Clean Dish Made with the Same Ingredients, Reviving the Virtues of the Genre"

_Lee Jin-joo

What kind of image comes to mind with the term 'Korean cinema'? Profanity, violence, melodrama, and tears. While there used to be films that balanced mass appeal and artistry, there is now an overwhelming fatigue under that name. This is why, even when a new work is released, caution often takes precedence over excitement.

doesn’t seem unfamiliar on the surface either. Prosecutors and criminals, betrayal and revenge. These are keywords that have long been at the core of Korean crime films. The film evokes memories of a golden age created by , , and . As numerous similar attempted films that followed have failed one by one, the genre has gradually lost credibility.

On the other hand, has created a cleaner dish using the same ingredients. The audience already knows what kind of film it is, and it responds precisely to those expectations. It does not forcefully attempt to restore the trust that has been lost within the genre. Instead, it recaptures past virtues and strips away unnecessary exaggerations. The attitude of attempting to restore genre authenticity is, in fact, refreshing.

could signal that 'Korean cinema' is once again trustworthy. Without excessive mise-en-scène or an overflow of meaning, this film pushes forward with a focus on storyline and characters, rekindling the potential of a genre that has been overlooked for a while.

"Provocative, Outspoken, Yet Dignified – The Pinnacle of Korean Crime Noir"

_Editor Joo Seong-cheol

"The train runs straight ahead; is there anyone who will jump off here?" Park Hae-joon, who plays the righteous detective Oh Sang-jae in , stated this while leading a coup in . In a way, feels like a train that is going straight in real time. In that sense, it shares a resemblance with Director Kim Sung-soo’s , in which he participated as part of the production team for and . A military vehicle, the Hummer, driven by Lee Kang-soo (Kang Ha-neul), visually captures this notion as it weaves through Seoul. As 'Yadang' oscillates between the crime world and investigation, Kang Ha-neul experiences both rise and fall like a fish in water, Yoo Hae-jin proves himself to be an actor with many faces, and Park Hae-jun plays a character reminiscent of Yang Kwan-sik from - he elicits both sympathy and admiration, embodying a detective with a complex charm that refuses to surrender. The sheer entertainment of it all intertwines with recent political realities, creating a surpassing effect that goes beyond the film. However, the alluring point specific to is clear. Everything contributing to the film is quite excessive but never crosses the line, is extremely provocative and outspoken yet retains its dignity. The pinnacle of the Korean crime noir genre has now been unveiled, from (1997) through (2010), (2015), and (2016), where prosecutors, police, media, gangsters, and informants (Yadang) intertwine chaotically.

"A Cozy Restaurant Blending Great Ingredients with a Touch of Star Performances"

_Seong Chan-eol

It is not fresh. It’s cliché. However, to be cliché means that it has been confirmed to resonate with the public. Among recent films, fits the word 'cliché' perfectly. It accurately distributes and combines elements that the audience likes, would like, and resonates with. Blending good ingredients deliciously is a condition for what one might call a 'tasty restaurant.'

Aside from the setting of 'Yadang' providing crime information, isn't greatly different from the previous Korean noir films. (Of course, Kang-soo is framed in the movie) There’s a dandy criminal, an ambitious prosecutor, and a detective struggling yet encountering failure. This peculiar love triangle may appear to represent a familiar good vs. evil dynamic in crime films, but inserting 'Yadang' transforms the power struggle. As the story unfolds, a naturally formed good (whom the audience empathizes with) and evil (whom the audience despises) takes shape; however, until then, the indistinct gray area breathes vitality into the characters' appeal. This process allows to successfully deliver entertainment that is both cliché yet not cliché.

From genre-specific fun to contemporary thematic consciousness, the proper use of clichés and subversive developments, leaves no rough edges, and its shining stars are especially notable. Yoo Hae-jin, whose eyes glint with power hunger, Park Hae-jun, who portrays someone secretly burdened with guilt, Ryu Kyung-soo, the embodiment of arrogance, and Chae Won-bin, who wipes her past image clean to become a character the audience can’t help but sympathize with. And Kang Ha-neul, whose unique unwarranted confidence transforms into charm. Often, the expression 'acting showcase' denotes a flaw in a film, but in , it could be described as the cherry on top of an already good film. I encourage not to miss this stellar showcase of performances from these brilliant actors.

"A Trendy Evolution of Tteokbokki with the Core of Yubok"

_Kim Ji-yeon

Metaphorically speaking, is like 'Mala Roje Tteokbokki.' It may seem questionable why one should eat 'Mala Roje Tteokbokki' when the signature dish of Dongdaemun's Yubok Tteokbokki is so delicious. However, the reason Mala Roje Tteokbokki is so tasty is that it retains the core of Yubok while highlighting trendy flavors, thereby expanding the genre of Yubok.

In the worldview where is Mala Roje Tteokbokki, the basic Yubok would be films like and , but maintains the core of the bestsellers while adding new seasoning to create a 'familiar yet fresh taste.' No matter how many similar brands to Dongdaemun Yubok Tteokbokki pop up, only Yubok can satisfy the craving for it. However, adopts the grammar of beloved bestsellers and actively utilizes clichés while also twisting them, satisfying both those who wanted traditional Yubok and those seeking new flavors wonderfully.

The new seasoning of lies in the charm of its characters, including Lee Kang-soo (Kang Ha-neul). The line "A prosecutor in Korea can make or kill a president!" coincidentally arrived at just the right timing, but would be unfortunate to be merely categorized as a political satire film. Honestly, before watching , I no longer wanted to see stories interwoven with crime and corrupt power. However, when I actually watched , it was filled with a liveliness that contrasted with the weighty, musty aroma suggested by the title, poster, and trailer. Despite utilizing all sorts of provocative material, remarkably maintains its freshness, and the charm of its characters played a significant role in this ability to pick up pace. Because of their appeal, as the credits rolled and the post-credit scene arrived, I found myself hoping for a sequel. I ended up discussing tteokbokki more than the film itself.

"The Thrill Offered to Audiences in a Frustrating Reality"

_Chu Ah-young

The film has come as 'the most exhilarating crime action film of 2025' following the end of a long winter, welcoming spring in South Korea. The film’s catchphrase cleverly aligns with a narrative reflecting reality. The story of corrupt prosecutors and the political arena in recalls the overwhelming realities that have constrained us for a while. Gu Kwan-hee warns Jo Hoon (Ryu Kyung-soo), the son of a powerful presidential candidate who has his back, saying, “A Korean prosecutor can make or kill a president.” His arrogant words, born from the greed of power, resonate sharply as they do not remain within fiction. Jo Hoon, who faces the prosecutors due to drug use, whispers a sarcastic threat to the righteous detective Oh Sang-jae, urging him to stay quiet. Oh Sang-jae responds lightly, “Just because I stay quiet doesn’t mean the world will become quiet.” His resolute statement counters the foolish desires represented by Gu Kwan-hee, who speaks for personal and particular group interests, providing a sense of exhilaration to audiences who have endured frustrating realities.

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