When they talk, he's all mouth and she's all ears. His entire body, mind and soul spews style in a not so everyday manner. He flows freely with this laid back charm and style.
See Cross is more than just a stereotypical rich man. Hanna Carras (Joan Severance) as the police psychiatrist who studies him trying to get inside his mind. So when one turns up brutally murdered after a night-cap with Cross, he's held by the police as they try to put something together. His money, attitude, rugged looks perhaps? No doubt. Needless to say some are attracted to him. I recommend this one to fans of this thriller genre out there.Īdrian Cross (Lance Henriksen) is a rich businessman who likes the night life and the woman that go along with that scene. A tight well constructed thriller, much more worthy of it's B grade appeal. After all, a leopard can't change his spots. He too could be a killer, and probably is. An in the aftermath of the truth, Cross surfacing is still menacing. This is a motive tight thriller that works, where up until the end, Cross has our undivided attention.
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Really getting to know Cross, we really don't want to believe it's him, but our finger points so towards him, as in the opening, we see a quick series of shots, where we see him making him love with the victims, but also he keeps these sick intimate journals. Or is he? Cross does push this cop's buttons in one scene, it's mutual hate on a grand scale. The least amused is an old ex flame of Severance, a cop working the case, who really has it on for Cross, thoroughly convinced he's the killer. Assigned to his case is public defender, Joan Severance, who of course of falls in love with him, where she could be jeopardizing her life. Here's a guy who just has to roll up in his slick sports car, outside a club, and within the next thirty seconds, she's his, and he's taking the soon to be murdered beauty home. The killer leaves a neatly folded damp towel around as a trademark.
Adrian Cross (Henrickson) is the successful philanthropist/investment banker, (and I love the earring) who's the prime suspect in a series of brutal murders, involving beautiful young women. Here's a good, psychological sexual thriller, where everything fall into place, where up until the end, you've been totally fooled. On the international stage, however, its prospects remain relatively strong due to its generic appeal and some eye-catching cinematography.Here's a b grade, when finally acquiring it, I was not disappointed.
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The presence of popular actor Jung Jae-young ( Moss, 2010) and TV star Park Si-hoo who are well-cast as the leads should aid in increasing the film’s profile domestically, but with the local hit A Werewolf Boy currently dominating the Korean box office, it faces stiff competition during its theatrical run. It’s a grave shame though that much of this momentum is lost in some of the subsequent scenes that are in contrast surprisingly more conventional and less innovative. Jeong who made action-documentary Action Boys (2008), demonstrates he is more than capable of pulling off astounding action moments as illustrated in the film’s opening sequences, which are beautifully orchestrated through some visually dazzling camera techniques that are relentlessly mobile. Two years later a man publishes a book claiming to be responsible for the killings, which is further complicated after another man comes forward claiming to be the real perpetrator, but it gives Choi an opportunity to finally solve and close the case. When the statute of limitations expires, a member of the victim’s family commits suicide in front of detective Choi who is in charge of the case.
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The film centres on a high profile serial murder case, in which 10 women have been killed. Reminiscent of other local iconic crime thrillers, most notably Na Hong-jin’s engaging The Chaser (2008) and Bong Joon-ho’s superb Memories Of Murder (2003), director Jeong Byong-gil’s feature shares much in common with these two films through its impressive cinematography, thumping soundtrack, choice of locations and underlying narrative, but given the film’s unbalanced tone owing to an attempt to include some unnecessary humour, the film loses its focus in the middle section. Jeong demonstrates he is more than capable of pulling off astounding action moments as illustrated in the film’s opening sequences. Following a visually spectacular and pulsating opening act Confession Of Murder struggles to maintain the pace and stylistic flare of the first few minutes, which is further hampered by an uneven middle act, but it’s bound to stir interest amongst fans of the Korean thriller genre as it seeks to build on the multiple sales it secured at the recent American Film Market.
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