Publisher: Michael December 28, 2022
Doch eines ist sicher, alle die sich auf das koreanische Kino einlassen können werden bei „Memories of a Murder“ mit einem Film belohnt, der nachwirkt, der nach dem Abspann nicht nur ein weiterer gesehener Film ist. Man liest es vielleicht aus dieser Rezension raus, dass „Memories of a Murder“ überzeugen konnte und genau deswegen sollte auch klar sein, was Ihr nun tun solltet. Genau! Schaut Euch „Memories of a Murder“ an. Überzeugt Euch selbst davon, wie vielschichtig und spannend dieser Film ist. Fiebert selbst mit den Ermittlern mit und rätselt wer die Taten begangen hat. „Memories of a Murder“ ist sicher kein einfacher Film und auch kein „Feel Good“-Film, aber ein mehr als sehenswerter Film. [Sneakfilm.de]

Publisher: CinemaSerf September 4, 2023
This is cracking serial killer drama from Bong Joon Ho - with some superb performances - that tracks a police investigation trying almost every technique known to man to trace a rapist/murderer who is terrorising young women (especially if it is raining and if they are wearing red). Kang-ho Song, Sang-kyung Kim and Roe-ha Kim don't exactly see eye to eye as they set about their task, adopting some scientific and not-so scientific approaches to their detection. The stylish and witty writing allows the characters to develop at a slow, but steady and interesting pace - using humour, pathos and violence - and at times it is the methods and attitudes of the police that appear under more scrutiny than the perpetrator of the crimes! Sadly, though, it does sag towards the end. The sharp pace of the writing and the intensity of the performances having reached a pretty high plateau, comes off the boil a bit and I found the ending annoyingly self-defeating: the identity of the criminal being less important to me than the collapsing integrity of those charged with his discovery. We never quite get back to that high standard of storytelling achieved in the first 90 minutes and as the quirkiness of the plot becomes more subsumed into the increasing frustrations of the investigators, the film becomes more and more a generic crime thriller losing much of its uniqueness. Certainly well worth watching, but perhaps it could have been shaved a bit to maintain the jeopardy.

Publisher: badelf July 7, 2026
Summary: 10/10: one of the greatest crime films of the 21st century, a perfect marriage of Bong's satirical instincts and his capacity for devastating emotional truth. This is a great mystery film featuring comically inept police detectives, and it stands as one of the best Korean films of all time. (The other top contender is probably Parasite, also by Bong Joon-ho.) This is a must-see for any cinephile. The script and the direction are perfect. The story is based loosely on the Hwaseong serial murders, one of South Korea's first real serial killer cases. The crimes went unsolved for more than twenty years, a frustrating reality that Bong transforms into devastating cinema. What begins as dark comedy, bumbling rural detectives beating confessions out of innocent suspects, contaminating crime scenes, relying on shamanism and "instinct", gradually darkens into something far more despairing. Bong Joon-ho does an incredible job creating a realistic film while developing a sarcastic commentary on police incompetence. He went to great lengths to achieve realism, famously using a real sex worker in the massage parlor scene with Song Kang-ho. But the realism serves a larger purpose: as the investigation drags on, even Detective Seo from Seoul, the supposedly competent detective armed with modern forensic techniques, finally loses it. No one is immune to the frustration, the moral compromises, the slow erosion of faith in justice. Song Kang-ho is extraordinary as Detective Park Doo-man, written specifically for him by Bong. His face becomes the film's emotional center, particularly in those straight-on close-ups where Park stares into suspects' eyes trying to divine guilt or innocence through sheer force of will. The final scene, set in 2003 when the film was released, features Park breaking the fourth wall, staring directly into the camera (and by extension at the audience) searching one last time for those murderous eyes among us. This is masterful filmmaking that balances tone with surgical precision: funny until it isn't, suspenseful until suspense gives way to existential dread, a procedural that becomes a meditation on failure, both personal and systemic. The film asks what it means when justice remains forever out of reach, when killers walk among us undetected, when competence and incompetence alike prove equally powerless.