THE STORY – In the 1970s, a covert team is determined to land a hijacked plane by any means necessary.
THE CAST – Sul Kyung-gu, Hong Kyung, Ryoo Seung-bum, Yamada Takayuki, Shiina Kippei, Kim Seung-o, Show Kasamatsu & Nairu Yamamoto
THE TEAM – Byun Sung-hyun (Writer/Director) & Lee Jin-seong (Writer)
THE RUNNING TIME – 136 Minutes
Most films based on a true story are never the accurate portrayals they claim to be. That’s why Byun Sung-hyan’s “Good News” is so refreshing because as soon as it begins, he playfully teases viewers that what they’re about to encounter may or may not be totally accurate to how it happened in real life. For the characters in “Good News,” what’s considered the truth is merely a tool. It’s something malleable: altered to deliver the desired outcome that would be the most beneficial. “Good News” is anything but a generic retelling of real life, as it’s a deliriously manic outing from Byun. Even when he spins audiences in circles with his dense approach to storytelling, his latest feature is nothing short of a frenzied romp you can’t help but be won over by.
Byun brings viewers back to 1970 as both Korea and Japan, two countries with a storied history that ties them together, find themselves crossing paths once again. These powerhouse nations, or as jokingly referenced in the film, the “little brothers of the United States,” find themselves in a major issue. The problem: a commercial aircraft from the Haneda airport bound for Itazuke, Japan, has been taken hostage by a group of young members of the Red Army Faction. These armed communists, bound by their ideology, are demanding that the pilots take them to the capital of North Korea, Pyongyang. Soon, the Korean government becomes alert as Sul Kyung-gu’s Nobody, a shadowy government spook from Seoul, is brought along to work alongside multiple countries to prevent a national incident by saving the hostages from being killed.
The freedom in Byun and Lee Jin-seong’s lively screenplay is deeply felt by the performers. Every punchline lands with intense impact, even when bordering on the silly. Their creativity brings playful energy even to tense moments. One scene stands out: Hong Kyung’s straight-laced Air Force lieutenant, Seo Go-Myung, becomes a metaphorical cowboy in a duel. His Air Force jumper is swapped for a cowboy hat and spurs as Byun frames the hacking of a radio frequency as a Wild West shootout. Byun and Lee deliver jokes from many angles—jabs at the hassle of American intervention, the naivety of unprepared communist commandos, and humorous remarks about piloting-induced hemorrhoids. Byun’s direction maintains firm control over the film’s comedic tone, letting suspenseful moments thrive while crafting an energetic narrative. His comedic sensibility perfectly matches his cast, who all understand the film’s tone.
Sul, a frequent collaborator of Byun, is dialed in as he plays up Nobody’s mannerisms; his performance as a whole is as calculated as the character he’s depicting. The occasional bumbling around makes him appear so disarming, is merely a vizard. Seo’s ability to emanate a sinister nature through Nobody’s mysterious nature complicates the audience’s feelings towards him as he’s pulling strings throughout the entire operation. Along with Sul, Hong brings a needed sincerity in “Good News.” His character becomes a moral compass and is the only constant in a wacky world of bureaucratic morality. It also adds levity to the comedy, grounding the film in some sense of reality. Ryoo Seung-bum’s performance as KCIA director Park Sang-heyon is one of the best aspects of “Good News,” giving the film that extra vivacity needed to extend its bloated shelf life.
At times, Byun and Lee’s elaborate plot twists cause the story to become confusing, with political maneuvering that can be hard to follow. The script’s division into chapters is effective until it builds tension for a climax, only to continue after what feels like a natural ending. Scenes where characters debate who will be blamed if the rescue fails feel repetitive and circular. This can be tiring for the audience, but Byun ultimately closes on a serious note. Despite its repetition and intentional silliness, the film demonstrates that Korean cinema still offers more depth than most, even when not at its best.
