THE STORY – A pastor and a detective, driven by their beliefs, pursue a missing person case, with the pastor seeking retribution after a divine revelation identifies the culprit who abducted his son.
THE CAST – Ryu Jun-yeol, Shin Hyeon-bin & Shin Min-jae
THE TEAM – Yeon Sang-ho (Director/Writer) & Kyu-Seok Choi (Writer)
THE RUNNING TIME – 122 Minutes
Yeon Sang-ho has forever earned a pass in my book because of his exhilarating zombie-action flick “Train to Busan.” The South Korean filmmaker who grew in popularity with his adult-oriented animated films has explored a variety of genres with live-action works that showcase his unique talent. Although Sang-ho still hasn’t reached that level of acclaim since 2016, even with a “Train to Busan” sequel “Peninsula” a couple of years later, his new film “Revelations” sees Sang-ho sideline his more heightened sensibilities for a grounded crime thriller almost in the vein of Denis Villeneuve’s “Prisoners.” While it doesn’t entirely work, “Revelations” is an entertaining entry in Sang-ho’s filmography that entertains more than disappoints.
The film follows Pastor Min-chan (played by Ryu Jun-yeol) and police detective Yeon-hee (played by Shin Hyeon-bin), both of whom come off as two sides of the same coin. Individuals who adhere to a strong moral code that keeps them centered in not only their professions but also in their personal lives. Yet the two strangers are struggling to maintain any sense of normalcy. Min-chan is a humble member of his community, working to build his congregation at the small church where he’s located. His kindhearted nature is often unappreciated by others, whether it’s his unfaithful wife or manager, who doesn’t consider him a serious option to take over the new megachurch being constructed in his area. On the other hand, Yeon-hee is transferring to a new dangerous crimes unit while she is still held back by the trauma of a previous case that hit too close to home. Soon, these two unfamiliar individuals inadvertently head on a collision course with one another as a local girl from Min-chan’s congregation goes missing. It’s a tragedy that puts these two individuals not only at odds but also pushes them to their limits. Within the first minutes of “Revelations,” Sang-ho instills a sense of dread that sets thrillers of this register typically operate in. It’s a shame that what follows only stutters to maintain a steady rhythm that is as interesting as the film’s first half.
The screenplay by Sang-ho and Kyu-Seok Choi is filled with plenty of ideas mostly pertaining to Min-chan’s character, none of which haven’t already been explored in other films from this genre. Watching a man of god not only have a crisis of faith but further accelerate his spiral into a path of darkness isn’t anything groundbreaking. At least Sang-ho’s sensibilities as a director maintain a steady level of tension that keeps viewers engaged throughout.
Unfortunately, the story is unbalanced for a majority of the film’s runtime, and it seems far more interested in Min-chan’s perspective than Yeon-hee. It makes sense when it comes to framing the story mainly due to Min-chan being the propelling force that sets this series of events forward. Despite that, large portions of “Revelations” have Yeon-hee sidelined until her character becomes far more prevalent, which isn’t until the film’s back half. They are both very much connected through an entity that almost comes off as supernatural, only further cementing them into their established beliefs. At least the pacing of “Revelations” is mostly enough to keep the intrigue of it all intact, and once the story of these two characters becomes more intertwined, the writing of “Revelations” becomes more cohesive.
Jun-yeol’s performance is fantastic as he’s displaying someone whose welcoming presence is ripping apart at the seams for something far more sinister. There’s an almost pathetic nature that comes off as Min-chan. He can never speak for himself, constantly allowing others to walk over him at the slightest hint of confrontation. It’s what makes seeing his evolution as a character one of the most appealing aspects of “Revelations,” even if it’s a performance that far outweighs the material given to him. Hyeon-bin is also good, although her character is far less layered than Min-chan’s. Whenever Yeon-hee becomes more integral to the plot in the latter portion of the film, it allows Hyeon-bin to do more as a performer, whether it’s being haunted by a ghastly presence or fighting against the clock to save the missing girl. Another notable performance in the film is Shin Min-jae, whose turn as demented serial kidnapper Kwon Yang-rae is nothing short of nightmare fuel. His ability to have his bold eyes sear into your mind leaves a terrifying mark. From the first moment he appears on camera, it’s clear that his presence makes all the difference for the audience and every performer around him.
There is a great film within “Revelations,” which, while familiar, is executed on a far more efficient level. It’s a shame that its somewhat disjointedness and overall conventional nature hold it back, yet it’s still very entertaining. It’s a more than competent thriller with something on its mind that’s carried by Sang-ho’s ability as a filmmaker. Although it’s nowhere on the level of “Train to Busan” or even “Psychokinesis,” “Revelations” is still a more than worthy entry in what has only been an ever-evolving career for Sang-ho.
