'The Villainess (2017)' contains some of the craziest action-sequences in recent cinema, primarily because of the frenzied and ferocious nature of the camera itself. It is used as a tool to put you right in the centre of the violence, often literally putting you in the P.O.V. of our protagonist, and never strays further than a few feet away from any of the killing. As such, there is a claustrophobic and relentless feel to each and every such scene, which don't cut away until away until our lead has finished her dirty-work. Because of this, we don't get to rest until our hero does, instead being breathlessly whisked along from brutal but balletic beat to beat. All of the neck-slicing, blood-spilling, body-piling action feels guttural, given a visceral and grimy sense that only one person can survive. This runs counter to most high-concept pictures of the kind, where glossy, clean framing and shiny, pain-free choreography paint a picture of violence that doesn't really hurt and death that doesn't really matter. While death is depicted as similarly cold and callous here, each life that is taken feels painful and we're always on edge for the few people we care about. It's in both the tight and precise but scrappy and explicit fight-choreography, and subsequent blood-letting, and the down-and-dirty camera-work that the picture finds its footing as an 'in-the-trenches' and 'honest' depiction of despicable work, revenge in high-numbers shown from right up-close and watched with gritted teeth. The strongest of sequences are the opening first-person fight and a phenomenal sword-crossing motorbike chase. Both of these use impressive long-takes and hidden camera-cuts to appear as fluid as possible, with the former being an apparent 'one-shot' until its final moments. The use of small digital cameras allows the frame to go places it wouldn't normally be able, with the audience being transported into a one-on-god-knows-how-many battle or even through the wheels of a moving bike seamlessly, and it allows for a very intimate relationship with the lead and her struggle to survive. The only time a combat scene falls slightly short is in the feature's final movement, with some ever-so-slightly dodgy green-screen sky-replacement honestly looking pretty hokey and reducing the effect of the entire segment. Still, what was achieved on its relatively low budget is undeniably impressive and equally exciting. What isn't as exciting are its slower segments and convoluted, though completely understandable, plot. The contrast of its balls-to-the-wall action with its rather domestic, though still out-there and thematically appropriate, story is quite heavy and isn't always balanced too well. There are times where it feels as though the piece has switched gears entirely, with its initial intentions then coming crashing back down onto its new pace just as you're settling into it. This is conceptually appropriate but it does take you out of the film. As does the contrived plot-device used to inject tension and a proper antagonist in the latter half of the second act. This 'twist' feels as though it comes from nowhere, without the explanation afforded to other sequences of less importance, and is handled with confusion even within the narrative. Still, it doesn't ruin the plot and begins to inject some decent pacing back into the piece. It just feels like most of the picture is, or was trying to be, set-up for this moment but it happens too late for that to be the case, or for it to work successfully. On the whole, there isn't anything that isn't enjoyable about the picture. The eclectic, energetic and exciting action-sequences are a sight to behold and the flick plays with some intriguing themes, as well as having an appropriately 'strange', if slightly generic, story. It is always entertaining, even if it loses its drive and isn't quite as pacy as you'd expect. 6/10

The concept was intriguing and heard nothing but great things when it came out in my country a few weeks ago. It took a bit of time for me to see 'The Villainess' (being someone who wants to see as many films of the year as possible being a film buff regardless of age and genre),due to commitments and being behind on my film watching and it was well worth the wait.

In a very mixed bag year for films (which had the likes of 'The Farthest', 'God's Own Country', 'IT', 'Wind River', 'The LEGO Batman Movie', 'Spiderman: Homecoming', 'Una', 'A Ghost Story', 'Guardians of the Galaxy Vol 2' and 'Dunkirk' for examples in the good and more categories, and then 'The Emoji Movie', 'Fifty Shades Darker', 'All Eyez on Me', 'Stratton', 'The Mummy', 'Flatliners', 'Transformers: The Last Knight', 'Eat the Locals' and 'The Circle' in the disappointing or less categories'),'The Villainess' generally is one of the better films to be released in recent weeks and in the better half of the films released in 2017. 'The Villainess' to me was a very good film with many truly great elements.

By all means, 'The Villainess' is not perfect. There are a few too many twists, flashbacks and reveals in the latter parts of the film, a couple being a bit too obvious, and the somewhat piled on nature makes the middle act feel at times cramped and convoluted. Some of the characters could have had more depth too. On the whole though, 'The Villainess' has a lot of style and atmosphere but also has substance and soul.

Visually, 'The Villainess' is hugely impressive. The editing is especially exceptional and the cinematography is very clever and audacious, even acrobatic, both shining in particularly the motorbikes action sequence. The music score is haunting and heart-pounding without intruding. 'The Villainess' is directed with a keen eye for visual detail and with a knack for providing plenty of thrills and tension while keeping control of the story.

Furthermore, 'The Villainess' is written tautly and, even though it's not executed perfectly, the story has tension and suspense galore, always absorbs and intrigues and with a romantic subplot has room even for emotional resonance. The highlight is one of the most uncompromisingly violent, thrilling and powerfully startling opening sequences of any film from 2017 and perhaps in film generally. The ending similarly packs a punch.

Action sequences are similarly imaginative and exceptionally well choreographed to adrenaline rush effect, the motorbikes/sword-fight sequence is one of the most electrifying action sequences of the year. The lead character is fascinating and more complex than one would think, her back story integrated skilfully and making her more a character to root for rather than hate. The acting is very strong, with Kim OK-vin a revelation.

Overall, very good. 8/10 Bethany Cox

THE VILLAINESS is another classic of South Korean action cinema and a film every bit as exhilarating and carefully-plotted as the work of Park Chan-wook or action classics like THE MAN FROM NOWHERE. It begins with an eye-popping first-person action sequence which rivals HARDCORE HENRY before moving into twisty-turny thriller territory involving rival assassination bureaus, marriage, betrayal, and family commitment. The story is complex and full of non-linear flashbacks so it gives your brain a workout as well as your senses. As with much of Korean cinema, the violence is graphic and nihilistic, the amount of people killed during the running time incredible. Kim Ok-bin impressed in THIRST but she completely wows you with her sympathetic role here. I love action and the set-pieces, involving assassination attempts, a motorbike chase, and an incredible climax set in and around a speeding bus, are sheer bliss and unlike anything you've ever seen before, frenetically edited, using clever CGI and even handheld cameras at points. It's very much in the style of the likes of OLD BOY and THE RAID films so if you like them you'll love this dark-hearted masterpiece too.