The Korean “squid game” meets the movie “Cheese Theft”

The Korean "squid game" meets the movie "Cheese Theft"

As regular viewers and dedicated viewers alike know, there is a lot of TV programming these days – both in terms of the number of shows and the length of their prolific installments. In the wake of Weird things Overgrown in Season 4, this overabundance can now be seen by Money Heist: Korea – Joint Economic Area, which is part of Alex Pena’s successful Spanish crime series that all six episodes of the first season run over an hour, three of which top the seventy minutes. As is often the case with modern affairs for small screens, more certainly isn’t better, with a lack of brevity leading to wheel spinners and unnecessary subplots. But even more disturbing to the excitement of director Kim Hong Sun is the same thing that plagues Pina’s original origin: an excess of cheese.

Money Heist: Korea – Joint Economic Area Its actions are set in 2026 as North and South Korea put aside their differences and agree to reunite. The first step in this process is to create a common economic zone where they can come together financially and culturally, filled with a new common currency. The center of this area is the Korean Unified Mint, where this money is printed, and is also the target of Professor (Yoo Ji-tae), a criminal mastermind who plans to storm the heavily fortified building and walk away with four trillion won. To do this, he has assembled a diverse crew, each with a specialized skill suitable for the operation. When it’s time to pull off the robbery, they don matching red suits and smiley face masks as if they were the racers’ cousins. squid game The mint employees were taken hostage while carrying out their illegal undertaking.

In other words, Money Heist: Korea – Joint Economic Area It resembles his Spanish counterpart as well as countless other theft-related novels. There is no real misrepresentation of these actions that distinguishes them from similar efforts, which place the burden of storytelling on the scripts of Ryu Yong-jae, Kim Hwan-chae, and Choe Sung-jun. These immediately focus on the elegant forty-year-old genius professor and his recruits, all of whom take on foreign city nicknames as a way to hide their identities from each other, their hostages, and the police. Tokyo (Jeon Jong-seo) A North Korean expatriate is saved from a life of decadence by a professor who is deeply loyal to her. Berlin (Park Hae-soo) is a ruthless labor camp survivor who believes that instilling fear is the best way to exercise control. Nairobi (Jang Yoon Joo) is a fake and fraudulent woman. Ryo (Lee Hyun-Woo) is a reckless pirate. Moscow (Lee Won Jung) is a former miner and demolition expert. His son Denver (Kim Ji Hoon) is a street fighter. Helsinki (Kim Ji Hoon) and Oslo (Lee Kyu Ho) are the Professor’s fierce muscle.

Although there has been talk of the fragility of the two-state alliance, and how unification widened the divide between the haves and the have-nots, why the Professor wanted to break into the mint remained a mystery, it is best to save some revelations for a possible second season. The least perverted thing is that the professor doesn’t want anyone to be hurt or killed during the robbery, both because he is a good guy (deep down) and because he ultimately means to use public opinion to his advantage. Unsurprisingly, this is easier said than done, given that there are 50 bizarre and contentious hostages inside the mint, led by facility manager Cho Young Min (Park Myung Hun), who has a habit of causing trouble for everyone, starting with his lover Yoon Mi -seon (Lee Joo-bin) who was abused a lot. However, there is little tension when it comes to these explosive dynamics since then Money Heist: Korea – Joint Economic Area Lets quickly that he doesn’t have the guts to kill any of his characters.

By directing a hand in regards to the danger everyone faces, the series itself presents a low-stakes (if intricately designed) game of cat and mouse, highlighted by the professor’s back with Seon Woo-jin (LostKim Yoon Jin), the negotiator tasked with managing the National Police Agency’s Response Task Force. In an early development, it is revealed that the Professor has already had a romantic relationship with Woo-jin (whose lover doesn’t know who the Professor is) – one of the many ways he seeks information on his opponents and stays one step ahead of capture. While this may not be entirely plausible, it’s a development that at least speaks to the narrative’s focus on divisions, many of which—like Woo-jin’s friction with second-in-command, Captain Cha Moo-hyuk (Kim Sung-oh)—are rooted. In the still harsh feelings that North and South Koreans have toward each other and their democratic/authoritarian ways of life.

However, there is little tension when it comes to these explosive dynamics, as the movie ‘Money Heist: Korea – Joint Economic Area’ quickly allows that he doesn’t have the guts to kill any of his characters.

Those hostilities are exploited by the professor and Berlin to maintain order and achieve their goals, but Money Heist: Korea – Joint Economic Area He is only superficially interested in politics; Her main interest is fast-paced thrills and romance. Director Kim Hong-sun indulges in the genre of flashy and hilarious compositions (full of posing characters), punch-inducing graphic photography, and continuous recording that recalls American cinema in the early 2000s, when every other director was desperately trying to imitate Michael Bay. . This style certainly prevents things from being drawn out, however it can’t make up for a bunch of fluffy characters. Whether they preach loyalty and rectitude, disobey orders in a rebellious manner, put their own desires and safety over those of their fellow countrymen, or fall in love, the show’s characters go through their motions like stock characters modeled on a million ancestors of the literary genre.

Money Heist: Korea – Joint Economic Area She becomes so preoccupied with her various personal dilemmas that carrying out the actual robbery soon falls by the wayside; For the majority of his six expiring installments, no one is even talking about the very money that is the purpose of this entire venture. This might be its own clever twist if it seems purposeful, but when paired with a handful of bright plot holes, it often feels like a byproduct of the ‘superficial’ series. Determined to deliver sparkling thrills, he comes across reading the Netflix equivalent of a frivolous paperback beach, even though it has been unreasonably – and unsustainably – expanded to include war and peace– The size of the transverse dimensions.

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