'Yadang: The Snitch' Movie Review: Kang Ha-neul Led Crime Thriller Is An Absolute Blast

There are no perfect movies in existence. It’s impossible to make a perfect movie because there are so many moving parts involved that something or the other is bound to go wrong. Yes, a lot of people can come together to loudly proclaim that a movie is perfect, but since this art form depends on evoking an emotional reaction, which is famously unpredictable in nature, it’s impossible to tug at every viewer’s heartstrings. But have these complications of judging cinema ever stopped me from giving out a perfect score? No, it has not, and it never will. I have two simple criteria, and if either or both are fulfilled, you are getting a five out of five from me. The first one is making me cry. Yeah, if I am tearing up for even a second, you are going into my “best movies” list. The second one involves wrapping things up in such a satisfying and thought-provoking way that even the possibility of finding any flaws in the plot doesn’t cross my mind. Well, which of these two requirements has Yadang: The Snitch met to get the perfect score? Let’s find out.

Hwang Byeong-gug’s Yadang, written by Kim Hyo-seok, tells the story of Lee Kang-su, a taxi driver who is falsely implicated for consuming drugs. Due to his good behavior, prosecutor Ku Gwan-hee offers Lee the opportunity to work with him to take down the intricate drug network operating on the surface and in the underbelly of South Korea. Lee is tasked with building a rapport with drug dealers and snitching on them (hence the title) to Ku and then striking an agreement between the mini-druglords and repeating the process until they can get to the kingpin. Elsewhere, narcotics detective Oh Sang-jae is on a similar pursuit too. And after nabbing an actress named Uhm Su-jin, Oh sets his sights on the dreaded gangster, Yeom Tae-soo, and the son of a popular politician, Cho Hoon. Before Oh can make his move, though, Lee and Ku swoop in and nab them, thereby moving up in the world of law enforcement. However, an unforeseen twist drastically changes the lives of the protagonists, pushing them to forge unexpected bonds in the name of justice.

At this point, the country of South Korea has made so many crime thrillers, and due to the popularity of South Korean films, we have watched so many of their movies and shows that there’s little to no space to break new ground. While some will take this as an excuse to indulge in spectacle and hijinks, Yadang digs his heels in and uses every trope, cliché, and twist that we’ve come across so far to create something compelling. The first act of the movie is passionately dedicated to setting certain characters (whose names I’m not revealing for the sake of spoilers) up for failure. The movie knows that the audience is aware that the protagonists are about to hit rock bottom. But instead of rushing through the ordeal, it lets the characters marinate in their achievements, camaraderie, and quirks. It’s only after you get comfortable watching the heroes win that the film flips the whole goddamn script in the most violent fashion possible. Now, when the protagonists have to pick themselves up and seek revenge, the movie doesn’t need to tell you to root for them. You are organically rooting for them because you’ve spent enough time with them to see them as your friends, thereby making the second act so engaging. And all that is followed by a third act that has drama, thrills, comedy, and action in just the right doses.

In addition to having a beautifully structured script (Kim Hyo-seok has been credited as the writer, but I can’t seem to find other websites or even the press notes acknowledging that), Yadang is a story about ambition, corruption, resilience, and friendship. I can’t reveal which character represents which theme for the sake of spoilers, but the full circle moment of a certain individual, complete with using cockroaches as a metaphor, serves as such a relevant commentary on consistent honesty. That character’s downfall shows that it doesn’t matter how you started your journey; what matters is that you don’t succumb to temptation in the pursuit of material wealth. Because when you leave this world, you won’t be taking the money you’ve made with you, but your legacy will remain, open to be judged for as long as humanity exists. I also think the film manages to tackle South Korea’s dicey politics and venomous media trials when it comes to drug charges. It underscores the fact that the use of illegal substances shouldn’t compel society to ring the death knell for a person, especially if they’re willing to do better. Everyone deserves a second chance to show their resilience; it’s only after they manage to fumble that opportunity that they should probably be condemned.

Yadang looks and sounds fantastic. This may sound like a pretty generalized statement, but South Korean filmmakers, especially when it comes to crime thrillers, have really cracked the code to making a city look cinematic. And I just can’t seem to figure out how they do it every time. Go and watch something like The Chaser, then watch Decision to Leave, and then look at the topic of today’s discussion. All three of these movies have three different vibes. Their cast and crew are different. Yet, they manage to find new ways to mold the cityscape to enhance the storytelling. In the case of Hwang Byeong-gug’s film, the manner in which he has used the skills of cinematographer Lee Mo-gae, costume designer Kwak Jung-ae, production designer Lee Mok-won, and stunt coordinator Heo Myeong-haeng is nothing short of spectacular. The hand-to-hand combat scenes are so gnarly and visceral with just the right hint of comedy. There’s a dolly zoom, which I am guessing has been done completely in-camera without the use of VFX-aided stitching or any other digital trickery, right at the end of the film that just floored me. To be honest, even if that shot was done with some digital effects, I’m willing to crown it as one of the most dynamic camera moves I have seen in a movie in a very long time.

The performances from the cast of Yadang are what truly complete this already perfect picture. Kang Ha-neul is simply spectacular. Seeing him use his entire body and array of facial expressions to chart the evolution of his character is mind-blowing. The range he puts on display is truly stupendous. If it were up to me, he would be getting all the acting awards in the world. Yoo Hai-jin is probably the master of subtlety. While almost everyone in the cast has the freedom to do some over-the-top stuff, Yoo is tasked with keeping things as muted as possible. And the way in which he uses those limitations to his benefit is just excellent. Park Hae-joon is brilliant, especially because of his impeccable chemistry with Kang. Their contrast between their energies is really fun to watch. Ryu Kyung-soo will make you want to reach into whatever screen you are watching this film on and punch his character, and that’s a compliment. That’s all I will say without giving away any spoilers. Chae Won-been and Lim Sung-kyun deliver two of the most understated performances in the movie, but without them, the work of the leads would have crumbled. Yoon Seong-ju, Kim Geum-soon, and the rest of the supporting cast deserve a healthy round of applause for delivering such amazing little moments that I’ll be thinking about for a very long time.

Yadang: The Snitch is undoubtedly one of the best movies of the year. Everything from its direction to the performances (especially Kang Ha-neul’s) is perfect in my eyes. I was laughing at every single joke. I was gasping at every single plot twist. I was vocally rooting for the characters, who shall remain unnamed for the sake of spoilers, during their brief but pretty emotional training montage. I was cursing at the screen while witnessing some of the most heinous crimes imaginable. And I was clapping after that splendid ending. If that sounds like a recommendation to you, please, go ahead and watch Yadang as soon as possible. In addition to all that, I want every film industry out there that’s trying to ape the success of South Korean films and TV shows, especially when it comes to action-oriented crime thrillers, to actually focus on the authenticity that they bring to the table. Those scenes where Ku is applying some medication on Lee’s bruised face, the head of the axe of Yeom’s henchman coming off during a fight, Cho clearing his throat before going for his urine test, or all the micro reactions from the characters can seem unnecessary. But those are the things that give the audience an immersive experience. Scoffing at South Korea’s success or remaking their stories simply won’t cut it; you have to dig deeper and hopefully learn something that’ll enrich the cinematic landscape in general.