It is quite hard to dislike a film like “Confession of Murder.” It certainly has its drawbacks, such as its hyperbolic narrative and occasionally silly segments, but it retains a sense of gripping fun throughout, as well as leaning heavily towards easily digestible entertainment. Director Jung Byung-gil's second effort is thus something which one could pick plenty of holes in, but at the same time certainly walk away from thoroughly fulfilled by.
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Crucial to proceedings is detective Choi Hyung-goo (Jung Jae-young), a tethered, bitter member of the police force who is plagued by events which in many ways shaped his life. 15 years ago, he was left by a fleeing serial killer with a scar on his cheek and a lingering promise about reconvening down the line, but with the statute of limitations set to expire and no sign of the man who killed 10 women and took Choi's own fiancé from him, he finds himself at a loss. Add to that the suicide of a family member of one of the victims, which takes place right in front of the policeman's eyes, and it is clear why suddenly, all turns bleak for the experienced hand.
However, two years after the expiry of the statute of limitations, Lee Doo-suk (Park Si-hoo) appears on the scene with a book, titled “Confession of Murder,” in which he attempts to confess to all the wrongdoings, and repent. The smarmy, charming man quickly becomes the centre of media attention, with even schoolgirls entranced by his aura, but something appears off to detective Choi. As a result, an investigation begins, with the bitter, vengeful policeman hoping to get a sense of closure and revenge for the alleged wrongdoings committed by the self-proclaimed killer.
The main flaw with “Confession of Murder” is not that the plot becomes overly convoluted, nor the fact that the lines of realism become blurred to an exaggerated degree, but rather that it never seems to reach the same level of breakneck intensity and edge-of-your-seat action than in the opening sequence. The breathlessness of the chase, and subsequent showdown between protagonist and antagonist was gripping in a way nothing else in the movie is, which ultimately leaves a sense of disappointment, and a pondering of whether director Jung failed to meet the potential he laced his second effort with from the onset.
That is not to say that there is an absence of positives, though. For one, the constant twists and turns, however unbelievable and bizarre they might be, ensure that a breezy pace is kept to, and that audience is never bored. Additionally, the dashes of humour help keep an understated accessibility amongst a narrative which veers towards solemnity, whilst also keeping those watching engaged with some of the more prolonged, dialogue-heavy portions of the release.
Continuing, “Confession of Murder” does benefit from a strong cast too. Jung Jae-young is excellent as detective Choi; he is rugged without being too brittle, and emotionally resonant without needlessly hitting the reefs of melodrama for cheap sympathy. Consequently, he makes for a compelling protagonist, one with enough roughness to be investable to a wider range of thriller fans. Similarly, Park Si-hoo puts in a strong performance as Lee Doo-suk, a confident man who appears to take pride in his proclamation of killings, but also someone who leaves enough doubt in the audience's mind to maintain a sense of unpredictability to the film. Together the two have a strong chemistry, and play their depictions off against one and other with a consummate flair.
Technically, things are rather impressive too. The grit of the night-time settings and uneasiness of the television studio courtesy of cinematographer Jung Yong-kyeon is a particular highlight, whilst the brilliantly choreographed stunts led by coordinator Kwon Kwi-deok leads to impressive viewing.
Overall, “Confession of Murder” is a highly enjoyable genre film. It may come filled with flaws, but if one is willing to overlook them in favour of being wholly entertained, then there is no reason to avoid giving this a chance.
