‘The Old Woman with the Knife’ Review: A South Korean Assassin Drama Bogged Down By Flashbacks

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Min Kyu-dong’s South Korean production titled “The Old Woman with the Knife,” based on Gu Byeong-mo’s novel, offers a blend of languid and overly detailed scenes. Although it presents an intriguing concept by placing a 65-year-old woman in the role of an assassin, typically occupied by grizzled men or young females, the narrative is heavily burdened with excessive details that are distributed awkwardly.

Indeed, just like any action-packed movie, it’s important to consider if the fast-paced action sequences are effective. The answer can be a bit ambiguous: Rapid visual transitions at the beginning make the fighting seem chaotic and sometimes hard to follow. This confusion about setting initially makes the film feel disjointed, but it eventually settles into a rhythm. However, the movie’s main trick – portraying its elderly assassin characters (known as Nails, Hornclaw, and Godmother) in an engaging manner – never fully convinces the audience.

Lee Hye-young delivers a remarkable performance as Hornclaw, a stoic, solitary elderly woman reluctant to retire from her gang of professional assassins. Scenes where the camera catches her agile physique and lively movements are thrilling and engaging. Regrettably, the film often exposes its technical aspects due to actions that exceed Lee Hye-young’s physical limits. Accepting stunt doubles and cinematic tricks is commonplace when watching action films; however, “The Old Woman with the Knife” pushes credulity too far on several occasions, with editing and framing choices that frequently reveal the film’s inner workings. This gives an overall feeling of carelessness, and the emotional depth often fails to overshadow the part of one’s mind that picks up on such inconsistencies.

Lee Hye-young gives a commendable portrayal as Hornclaw, a resolute, isolated elderly woman unwilling to retire from her band of hitmen. Scenes where the camera highlights her athletic prowess and energy are captivating and convincing. Unfortunately, the movie frequently exposes its technical aspects due to scenes that exceed Lee Hye-young’s physical abilities. Accepting stunt doubles and cinematic tricks is typical when watching action films; however, “The Old Woman with the Knife” pushes believability too far at times, with editing and camera work choices that often reveal the movie’s inner workings. This results in a sense of sloppiness, and the emotional depth is frequently overshadowed by the part of one’s mind that notices such inconsistencies.

In the movie, certain visual imperfections such as the poorly done CGI snow in the beginning scene can be overlooked as whimsical embellishments when a young, homeless character named Hornclaw (played by Shin Si-ah) is welcomed into a kind restaurateur’s home, who also claims to work in pest control. The dual nature of his profession becomes apparent when a local American soldier attempts to attack Hornclaw and ends up meeting an untimely end on the sharp end of a long skewer, with the owner efficiently disposing of the body. Over the next five decades, we see Hornclaw’s transformation into a skilled assassin through a montage during the opening credits. However, this brief glimpse into his past proves insufficient as the story progresses, and it becomes clear that both the past and present are equally crucial, if not more so.

In her sixties, Hornclaw keeps her health issues private from her bosses, who give her documents detailing how and where to locate lawbreakers – from drug traffickers to domestic abusers who have managed to evade justice. However, this story about aging and dealing with vigilante justice becomes tangled in more flashbacks, making it seem like the author initially planned for us to watch a whole prequel to “The Elderly Woman with the Blade.

Instead, the plot frequently unfolds either just prior to its resolution or in certain instances, even during or afterwards, resulting in a hurried, chaotic storyline that appears to be constantly playing catch-up. It attempts to express emotional intricacy, often through the young and rebellious newcomer, Bullfight (played by Kim Sung-cheol), whose relationship with Hornclaw serves as the primary narrative focus, alongside the dilemma of whether Hornclaw will prioritize her personal ties over her professional ethics.

As the connections between past and present characters in this movie become more apparent, the suspense of unraveling its twists and turns feels less like an exciting surprise and more like anticipation for the predictable next event. The dialogue is abundant but lacks both a strong emotional or physical punch, making it feel rather dull. Despite reaching a confident finale filled with shootouts and intricate stunts, it’s challenging to consider the build-up worthwhile.

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2025-02-16 23:46