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Sympathy for Lady Vengeance
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Sympathy for Lady Vengeance

Description
Lee Geum-ja has spent the last 13 years in prison for a murder she didn't commit. Now she is back, seeking vengeance on the man truly responsible for it. With the help of fellow inmates and reunited with her daughter, she gets closer and closer to her goal.
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DIRECTORS OF "Sympathy for Lady Vengeance"
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Sympathy for Lady Vengeance
CRITICS OF "Sympathy for Lady Vengeance"
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CinePassion
Resource

August 30, 2009

Talks Sin and Salvation while spending all his creative energies on debasing gags and sneering wide-angle shots
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Dallas Morning News
Resource

June 29, 2006

The films strain to present some kind of moral compass, a philosophy of revenge's human toll. But in the end, their sadistic glee in creative bloodshed trumps all.
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Minneapolis Star Tribune

June 29, 2006

Because I am a connoisseur of art cinema, my feelings about Lady Vengeance are complex. Some parts I liked; some parts I didn't.
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Atlanta Journal-Constitution

August 06, 2006

... as brutal as it is beautiful.
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Time Out
Resource

June 24, 2006

Pound-of-flesh cinema, you might say.
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Film Scouts
Resource

June 21, 2007

The story is delightfully multilayered, the look stylish, and the horror component top notch.
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Eye for Film
Resource

July 10, 2007

in Lady Vengeance, revenge is ultimately a shabby, sordid business that leaves everybody soiled and in need of purification - or at least of a pie in the face.
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ColeSmithey.com
Resource

April 15, 2009

Park Chanwook works his Grand Guignol sense of humor against Korean social conditions to effect a call-and-response logic to the metaphoric and literal things that happen onscreen.
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Houston Chronicle
Resource

June 30, 2006

Squanders plot impetus, and even with constant crosscutting it's lethargically paced, slogging through soap-operatic back stories and maddening irrelevancies.
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Seattle Times
Resource

June 23, 2006

Apart from Park's impressive but ultimately hollow style (his images are impeccably composed and visually inventive), Lady Vengeance is still an exercise in wretched excess (though less extreme than its predecessors).
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