“Let me show you what you’ve made me into”

Sookhee (Kim Ok Bin) wastes no time in drawing the audience in. What kick starts “The Villainess” is a pulse-racing, extended action sequence shot in the style of a first person role playing game. It is an exhilarating, unapologetically bloody, relentless scene in which the heroine hacks, stabs and shoots anyone who dares to get in her way. There is absolutely no context to the scene, and we are left with a trail of bodies in the aftermath. Sookhee gives it her all, whilst being impossibly outnumbered and outgunned.

Slowly but surely the shifting timelines fill in the details. We see the recruitment and training process, with a group of deadly female assassins being carefully monitored under the watchful eye of Kwonsook (Kim Seo Hyung), the head of a secret intelligence agency. Sookhee is guaranteed freedom after ten years of service, but of course nothing is as straightforward in their world full of betrayals and hidden agendas.

There is a tragic past involving her mentor (Shin Ha Kyun), and much of the film’s focus is on her struggle to integrate back into a normal life away from the killings and chaos. In portraying the protagonist, the film is shameless in borrowing from the iconic female assassin movies of the past, namely “La Femme Nikita” and “Kill Bill”. And Kim Ok Bin, who made her explosive debut in “Thirst,” is up for the challenge, as she takes centre stage with her commanding screen presence. She effortlessly transitions from a ruthless killer showing no mercy going head first into deadly situations, to a vulnerable, layered heroine processing the complicated events of her early days. The unforgettable image of her carrying out a mission at her wedding in her dress sums up the beautiful combination that the lead actress fully embodies. Kim Seo Hyeong, as her handler, exudes charisma and is a remarkable scene-stealing presence. The chemistry between the two women is palpable, and the plot takes even more dramatic turns when Shin begins to have increased presence.

Given its explosive start, it is not surprising the rest of the film fails to keep up with its adrenaline fuelled momentum. With more characters entering the narrative it inevitably muddies the waters, that also includes an awkward foray into the misplaced rom-com territory. There is of course the need to fully flesh out Sookhee and delve into her background, but the constant use of flashbacks and flashforwards rather detracts from the taut pacing that certain parts succeed in achieving. Despite the lead’s captivating performance, there is not quite enough material here to justify its two-hour running time.

However the real highlight is without doubt the action set pieces. Aside from the note-perfect opening, what follows are breathtakingly satisfying scenes that more than match the kinetic energy of the first ten minutes. Particularly memorable is what starts as a tense motorbike chase that escalates to all sorts of chaos on an unsuspecting bus. The wonderful camerawork makes sure that we do not miss a single important beat of the action, and the many clever tricks it uses (presumably with some help from CGI) gives the impression that everything was captured in one sweeping shot.

It is by no means a big budget action flick; but when the solid fight choreography and the intricate editing come together, it is a visual treat to behold. Warmly received at the Cannes Film Festival in 2017, it not only adds to director Jung Byung Gil’s already impressive filmography (“Action Boys”, “Confession of Murder”), but solidifies Kim Ok Bin’s status as a versatile star.