Terrorism is not exactly a natural adjustment for screen comedy. Going with challenge where few people have passed before – a rare anterior example being the clumsy Djihadist satire “Four Lions” 15 years ago – “good news” made a surprising degree of variable and noisy humor of his rotation in real lifestyle a century ago. The last of the South Korean director byun Sung-Hyun (the most poker criminal thrillers “Kill Boksoon” and “The Impitled”) is an impressive and winding construction that only spreads out in the fact that the delicate tonal balance can support it. After the arcs of the well -received festival in Toronto and Busan, he launched into the world on Netflix on October 17.
Squirrelly opening text (“Inspired by real events. But all the characters and events described are fictitious. What is the truth then?”), More a mixture of introduction of archive and staging sequences, immediately establish that this film will make fun of its own historical authority Ersatz. There is a brief study of the relevant events preceding the people represented at the center, including the arrest of the management of the Municipal Communist group militant in Japan, the faction of the Red Army, and the diversion of a different Japanese plane towards North Korea, where (most of the) civil kidnapped were finally “returned to freedom”.
But the members of the Red Army still generally remain attached to a violent reversal of a government they deem have subjected their nation to “high capitalism”. With the safety of the airport practically nonexistent in early 1970, eight of them rose aboard an interior commercial flight from Tokyo to Itazuke. They quickly burst out many weapons to terrorize 130 passengers and demand that the co-pilotes (Kippei Shina, Kim Seung-O) cover the ship in Pyongyang. But it is clear that these hysterically emotional disbelievers know nothing about aviation. They are unhappy to learn that a path to the favorite destination cannot even be drawn without cooperation of North Korean officials. They are convinced that the jet does not have enough fuel to cross international borders and must stop to reconstruct themselves before leaving Japanese territory. Administering as planned in Itazuke, they reluctantly release children, the elderly and the sick, reducing their hostages by a few tens.
But additional attempts to put an end to their failure of their getaway, with the plane to take off once again, heading west. To date, there is a considerable assembly of the quarrel authorities massed on land to address the emergency, although they spend most of their time in the throat of the other. Among them are the South Korean director of the CIA (Ryoo Seung-Bum) and the Deputy Minister of Japanese Transport (Takayuki Yamada). But they are not more reliable as decision -makers than the staff of the faction of the Red Army, Denji and Kasamatsu) affected and affected (show Kasamatsu) and a combustive lonely woman Asuka (Nairu Yamamoto).
Indeed, these high-ranking high-ranking bureaucrats regularly criticize themselves by changing the responsibility of shaking, in particular the mysterious fixer which prefers to be called “person” (Sul Kyung-Gu). There is also a SEO (Hong Kyung), a young Lieutenant of the Korean Air Force written for his training on advanced foreign air radar control systems. Soon, of course, North Korea is also involved, causing its imminent donation expected from a free Boeing 727. Seeing this rapidly evolving situation as a crisis in the Cold War, the regional American military command is also added.
If the first section suggests an “airport” film of the 1970s with deliberate rather than involuntary laughs – because the dynamics half -theft between terrorists and terrorization has an absurd point and slapstick – the introduction of so many government edges which argued the “good news” in a different satirical kingdom. It is a very aligned with the sharp and antic shipment of Realpolitik that we see previously in “In the Loop” by Armando Inannuci and “The Death of Stalin”, as well as “Dr Strangelove” and the “Great McGInty” by Preston Sturges. All depend on an in-depth overall work and a daring but incisive writing to expose the fear and the vanity of corrupt power, with the public well-being pushed to a last distant priority in the middle of the fight.
There is no shortage of funny series here, including the impromptu “doubleparent” of a jet on a track to block the escapade of the diverted plane, and the elaborate costumes of a South Korean airport as North Korean to deceive the pirates of the air. But most of the laughter here are based on characters, with artists who perfectly present their contributions for a complementary contrast, such as individual players in an orchestra. The most visible comic turns, such as sul or yamamoto, would not work as well half if it is not completed by a judicious restraint of others.
It is a high-thread act, the director and his co-series Lee Jin-Seong make largely, although, ideally, the “good news” would be more compact-at 136 minutes, it loses comic steam after a point. The attempt to hit more serious dramatic notes later does not completely land. As energetic and cleverly rhythmic, this story takes place simply longer than the maximum participation of the spectator can resist, its buoyancy ultimately deflating somewhat.
However, too much of a good thing is better than nothing. Although he is not also focused on the FX or the action you might expect from an almost catastrophe aeronautical story, he has the elegant wider look required, lent a blue steel casting by the filmmaker Cho Hyoung-Rae and the production creator Han Ah-Rum. The atmosphere of the period is maintained discreet, mainly relegated to oldly chosen Oldies Golden (including a fence track of Sinatra) that Abet Kim Hong-Jip and Lee Jin-Hee of the original score.
