The Villainess (2017)

O'Hara gives the film a strongly positive verdict, despite finding its plotting overly complicated. She especially praises the dazzling, inventive action and the tenderness added by Sook-hee's relationship with her daughter.

Langlais finds the film enjoyable overall, though its shaky storytelling keeps it from working as a whole. She praises the precisely choreographed action, singling out fights, a night motorbike chase, and an axe clash on a speeding bus.

He presents the film as an audacious, thrill-packed action extravaganza. He singles out its delirious opening sequence and praises how the director gradually reveals the heroine’s backstory.

Hans calls the film overstuffed and overcooked but riotously entertaining. She especially praises its climactic set piece, which combines apocalyptic rain, a bus, a machete and a self-driving car.

The critic calls it a familiar but fun female-assassin thriller. They single out its energetic ride, while noting its debt to earlier films in the genre.

Hunter describes it as a visceral action thriller. The standfirst singles out Kim Ok-vin's energetic performance.

Rife finds the film delivers overstuffed thrills but strains under familiar storytelling and a lack of innovation. She praises its boldly staged, visually striking action, especially the electrifying showdown aboard a speeding bus.

Young calls it a high-voltage thriller whose character-focused stretches interrupt the action, but expects it to find a warm reception among international genre audiences. She praises the imaginative set pieces, especially the motorcycle chase and bus-set finale.

The page could not be accessed, so its verdict and specific praise or criticism cannot be verified. The URL identifies it as a New York Times review of The Villainess.

Abrams finds the film an uneven but energetic action thriller. He praises its inventive, visceral action while faulting its familiar story.

Watson finds the film’s action thrilling but its story convoluted and ultimately hollow. He praises its inventively staged, expertly choreographed action sequences, while faulting the plot for making Sook-hee’s revenge difficult to understand or connect with.

Lee finds the film a delirious, distinctive action spectacle, but says its muddled plotting and derivative melodrama undermine it. She singles out the kinetic choreography and opening sequence for praise, while criticizing the story’s excess and misogynistic treatment of its heroine.

Chang finds the film’s action deliriously inventive but its character-driven storytelling wearying and ineffective. He especially praises Kim Ok-vin’s physical conviction and the film’s imaginative action sequences.

The critic calls the film a thrilling, innovative advance for action cinema. They especially praise its inventive, kinetically staged fight scenes and the surprising romantic-comedy turn.

Kermode calls it a thrilling must-see for action fans, despite an overlong and overly sentimental ending. She particularly praises Kim’s emotionally raw performance and the film’s breathtaking, seamlessly assembled action sequences.

Crump finds the film memorable and often thrilling, but weighed down by an overcomplicated plot and stalled pacing. He praises its inventive, wildly committed action and visual style.

The review finds the film impressive for its action but less successful as a story. It singles out the choreographed fights and striking camera work for praise, while criticizing the confusing narrative and weak emotional connection.

The headline suggests a mixed verdict: the action is terrific, but the storytelling is muddled. The critic singles out the action for praise and the storytelling for complaint.