Jung forever
The story takes place in a post-apocalyptic universe where, in order to win a civil war raging from the flood of the Earth, a researcher tries to clone the brain of her mother, a heroic fighter who died at the front, to make it an overpowered android. Pure sci-fi universe with its Apple designs, rebel robots and desperate humanity, Jung_E tips quite an exciting universe on paperbetween trade in Artificial Intelligence and violent military conflict.
With its system of duplicating deceased individuals that prolongs the life of the richest, but turns the poorest into android slaves, Sang-ho Yeon’s scenario is part of the more political vein of the director, already present in his previous films. If it is not manifested in the subtlest ways, in particular through extensive explanatory dialogues, this thematic side shows with precision and bitterness the violence of a capitalist system that exploits and markets the bodies of the neediest.
The American nightmare syndrome, or how to screw up a promising concept
However, the potential interest of this post-apo universe is quickly shelved in favor of a story almost entirely confined to a small robotics laboratory. Exit the big out-of-reality show promised by the trailer and first action sequence of the film: Jung_E completely stifles the breadth of his narrative focusing on poor little scientists stuck in front of their giant iPads.
He barely hides it as his first action scene, his only one for nearly an hour of film, is literally a simulation. The director admits it implicitly, voluntarily or not the film he promised us does not exist and that is just a virtual promise. Instead, we are presented with a story with stakes, at best arbitrary (Jung_E’s character has to succeed in his mission only for the good eyes of the army) and at worst frankly gritty and predictable (this unfamiliar area of the brain that no one can identify…).
Misleading advertising
hemorrhoids
The roots of history Jung_E they are fragile, thus stifling the viewer’s engagement. Moreover, the crumbs of the sci-fi universe of the filmfull of platitudes, they are not there to catch up, between the evil director who goes to great lengths to achieve his ends and the scientists who tap many screens to look smart.
Let’s add a summary artistic direction and already seenlambda military robots with generic high-tech decor and the universe of Jung_E in the end it sounds very fake. Apart from a large robot dog on wheels, nothing is really original and/or a bit imaginative Jung_E. Without going on autopilot, Yeon Sang-Ho never questions his sci-fi tools and ultimately delivers a little B-series too superficial to really intrigue its viewer, but not generous enough to entertain them.
Matrix autopilot
wrong side reinforced by very irregular special effects, between random overlaps, plastic CGI and soft digital choreography. As long as you are sensitive to computer visual effects, the technical shortcomings of Jung_E create a copious emotional barrier between the viewer and the film.
A barrier all the more sustained when, to reduce post-production work, the camera limits its movements and multiplies close-ups with no background. In addition to stepping on our retinas, the technical limitations of Jung_E cut the speed of the Last train to Busan for the benefit ofa static staging, which suffocates the scale of the whole.
A climax that wakes up (a little)
Jung_Bis
An aesthetically firm film, therefore, like its heroine, Seo-Hyun, who has an interesting background and strong stakes, but who he remains passive for two-thirds of the story. Ditto for director Sang-Hoon, an awkward archetype who transforms into a complex character, but whose problems are never really embodied. Like its protagonists who are stuck in their own pseudo-scientific tests, the stakes of Jung_E go in circles for an hour of film (!).
But fortunately the laborious installation of the characters takes shape in a sequence that is finally a bit moving where the character of Seo-Hyun comes out of his lethargy. From there, the protagonists finally begin to carry the narrative forward, and the climax awakens the staging (and the viewer). Fighting robots and exploding airplane trains, all reinforced by some slow motion and elegantly filmed choreography: the spectator finally finds the director’s generosity Bis, in a rather satisfying climax.
If the latter third is far from being visually and technically more complete, it has the merit of reinforcing it Jung_E and to offer its spectator what he has come to seek, but above all what he had promised her, which was fun.
Jung_E is available on Netflix from January 20, 2023 in France
#Robrote #review #Netflix
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