"Resurrection Man: The Red" arrives with expectations riding largely on one name: Koo Kyo-hwan, the actor who has built his presence through "If We" and later "The Swarm" and "Everyone Is Fighting Their Own Worthlessness." Beyond director Baek Jong-yeol's remark that "the title says it all," the film is drawing praise as a fantasy action piece that sets itself apart from earlier works of similar material and genre through its brightness, humor and warmth.
Adapted from the popular webtoon of the same name, the film centers on Seok-hwan (Koo), a 31-year-old job seeker packed with unfounded confidence. "Why is it so hard to have that ordinary life where you grab a beer after work?" His grumbling pulls viewers in from the opening. Foolishly brave and needlessly honest, Seok-hwan fails one interview after another, yet keeps hoping that ordinary daily life will one day be his. Then his life turns anything but ordinary. He gains the power to come back to life within 72 hours of dying — and each time he returns, he is reborn stronger than before.
Onto this the film layers the story of abandoned children sacrificed as test subjects for those chasing eternal life, adding genre thrills that deliver what amounts to a dopamine rush in 4DX. On premise alone, "Resurrection Man: The Red" carries a sense of déjà vu from dramas and films such as "Wonderfuls," "Family Plan" and "High Five." But by folding the dark, familiar tale of superpowers and human experiments into an ordinary job seeker's daily routine, dreams, friendships and family ties, the film generates a light, bright and warm mood free of the discomfort that often marks the genre — another point in its favor.
"Don't worry, I won't die."
That line from Seok-hwan, who revives no matter how many times he dies, doubles as the film's message and its consolation. The premise that each death makes him stronger lands especially as reassurance for job seekers who keep getting rejected: "Don't worry, it's fine if you don't get it. You pick up more know-how every time you fall short." In this way, "Resurrection Man" recasts the frustrations of ordinary young people as a narrative of revival and growth.
Koo's performance, in particular, is credited with making even the unreality of the fantasy genre convincing. He moves between a job seeker who is foolishly brave and needlessly honest, failing interview after interview while dreaming of nothing more than a beer after work; a young man who could be living somewhere in your neighborhood; the kind of easy friend you can fall apart in front of; and a superhuman who keeps dying and coming back. Even in setups that seem to offer no room for laughs, Koo never loses Seok-hwan's peculiar quirkiness and wit. That is where his instinct for pinpointing the exact moment a laugh is needed stands out. He never pushes too hard for comedy, placing humor precisely where it belongs to release the tension of the action. As a result, Seok-hwan's resurrections come across not simply as a process of getting stronger but as a growth arc the audience laughs along with and roots for.
The chemistry between Seok-hwan and Yeong-ha (Kang Ki-young) is another of the film's selling points. Kang nails Yeong-ha as "the protagonist's good-natured friend." His trademark relaxed, natural acting raises the hit rate of the comic beats and injects lively laughter into every scene he shares with Koo.
Black (Shin Seung-ho), who pursues Seok-hwan, establishes a villain's presence with a heavy baritone and composed charisma. He has the power to control others, but it does not work on Seok-hwan alone, which sharpens the tension in their confrontation. Seok-hwan's younger sister Ye-rin (Kim Si-a) draws attention with a natural portrayal of the bickering that defines real sibling relationships. The addition of an ordinary family's daily life makes the story of people with superpowers feel far more approachable.
Director Baek's stylish, fast-charging direction also leaves an impression. Within a rapidly moving plot, action and comedy are placed at the right intervals, carrying the film nimbly through its running time and delivering the impact of 4DX-caliber action even in 2D. Baek, considered one of the top stylist directors in the Korean film industry, directs in a way that leaves viewers wondering throughout what the original webtoon must have been like — and the stylish visuals that a webtoon could never render are themselves a reason to see this film. Seok-hwan's "first-day-at-work ending," in particular, is singled out as a scene so lovable and joyful that audiences may find themselves silently cheering, "Seok-hwan, congratulations on your first day." Koo said he acted it "so you could even smell the commute," delivering with fine detail the flutter and buoyancy of that first walk to the office in his expression and his stride. Opens on the 30th. Rated 15 and over. 101 minutes.
