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Another problem is the strangely unconvincing characterization of Han Suk-kyu's Agent Jeong, compared to his Northern counterparts. DP Choi Young-hwan (The Thieves), reunited with Ryoo after a decade following their collaboration in No Blood No Tears (2002), and Lighting Director Kim Seong-gwan portray Berlin, through impressively extensive location shooting, as a city pregnant with old secrets, bustling with busy population yet pocketed with dark corners and wood-paneled back rooms.The hand-to-hand combat choreography, designed by Ryoo's longtime collaborator Jeong Doo-hong and Seoul Action School, actually works better when it is essentially two people smashing each other with various kitchen implements and office tools in a narrow apartment corridor.Rather than paying lip services to the "Northerners are human beings too" rhetoric of ethnic reconciliation, the film addresses the fact that the Cold War ideology still survives in North Korea precisely because it serves the interests of the top-of-the-food-chain jackals like Dong (and his clan, the paterfamilias of which is played by Myung Gye-nam in an amusing cameo), who continued to fatten themselves at the expense of ordinary working stiffs like Pyo and Ryeon.As Dong sneers at one point, "People always change," even if the ideology remains unchanged.What I actually saw, however, was nothing like that.

Ha may not be as brilliant as, say, Song Kang-ho, in conveying tormented psychological inner workings of the outwardly taciturn warrior, but he still commands the screen with bristling charisma (one of his best-known, pre-stardom stage roles, by the way, was, appropriately, Othello).

fter a record-breaking box office run in 2012, Korean cinema continued to flex its muscles in the early part of 2013.

Theatrical admissions for local films in the first quarter of 2013 were the highest of any three-month period in Korean film history, thanks to hits like Ryoo Seung-wan's The Berlin File, gangster epic New World and especially the sentimental comic drama Miracle in Cell No. The latter film, featuring an ensemble cast led by RYU Seung-ryong, became the third best-selling Korean film in history with close to 13 million admissions.

Oh is a theater actor who has appeared in many supporting roles over the years, but his performance in this film has earned him special attention.

Despite being the object of ridicule in numerous scenes, his underlying, offbeat charm runs constant throughout the film.

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