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Lee Geum-ja has spent the last 13 years in prison for a murder she didn't commit. Now she is back, seeking vengeance on the man truly responsible for it. With the help of fellow inmates and reunited with her daughter, she gets closer and closer to her goal.
The films strain to present some kind of moral compass, a philosophy of revenge's human toll. But in the end, their sadistic glee in creative bloodshed trumps all.
Squanders plot impetus, and even with constant crosscutting it's lethargically paced, slogging through soap-operatic back stories and maddening irrelevancies.
Apart from Park's impressive but ultimately hollow style (his images are impeccably composed and visually inventive), Lady Vengeance is still an exercise in wretched excess (though less extreme than its predecessors).
in Lady Vengeance, revenge is ultimately a shabby, sordid business that leaves everybody soiled and in need of purification - or at least of a pie in the face.
Park Chanwook works his Grand Guignol sense of humor against Korean social conditions to effect a call-and-response logic to the metaphoric and literal things that happen onscreen.