"The Spider-Man pointing meme in a Korean action movie" is the only thing truly worth remembering from this latest Korean espionage-action drama—a film that tries so hard to be sophisticated that it ends up getting lost in the crowd. *Humint* follows Zo, an agent for Korea’s national intelligence service who gets entangled in an anti-drug and human trafficking operation in far-off Russia, where he meets Chae Seon-Hwa, a North Korean woman whom he uses to gather "Humint." Now, you’re probably wondering what that means.
Well, it’s an abbreviation for "human + intelligence"—something we discover even before the film’s title appears on screen. Honestly, upon seeing those words, for a split second I almost thought I was watching a sci-fi movie—until I remembered the actual premise, at which point the whole concept began to bore me before I’d even reached the five-minute mark. This isn’t to say I wasn’t interested in watching the film.
Director: Ryoo Seung-wan
Writer: Ryoo Seung-wan
Stars: Zo In-sung, Park Jeong-min, Park Hae-joon
I’m always interested; however, I feel a deep sense of fatigue regarding Korean spy, gangster, and action movies, as they all follow the exact same plot formula—featuring the same types of villains and narrative setups—making it inevitable that one eventually gets bored. Honestly, I could level the same accusation against films from other countries, but these Korean productions exude a "generic, manufactured product" vibe that I just can’t shake; and the very moment they start to feel that way, the film completely loses its hold on me.
Shin Se-Kyung is supposed to be the heart of *Humint* in her role as Chae Seon-Hwa. However, her role is quite limited, and the only thing she is required to do is look pathetic. To be frank, I’ve always felt that this actress leaves a lot to be desired—especially when compared to her peers. Of course, Se-Kyung is stunning; nevertheless, when it comes to delivering emotionally resonant performances, she acts like a complete novice. In this instance, I can’t entirely blame her, as the role itself is somewhat lackluster; but, to make matters worse, when it comes to the romantic passages, the chemistry proves unconvincing. I thought Park Hae-Joon had left villainous roles behind him, but it seems some things never change, and in *Humint*, he’s back to his old tricks.
I don’t think I can really complain about him, because everything he does feels like an assault on the senses—though only in the very best way. I’ve always liked Jung Eugene, and it’s a real shame that she is so underutilized here. I know Zo In-Sung mainly from his role in *It’s Okay, That’s Love*, though I’m aware he has always been a rather popular actor. For a lead character, Manager Zo turns out to be quite bland. There really isn’t anything special about him; and while he is framed as that type of silent spy, there ought to be some element worthy of excitement—something that is conspicuously absent here. It’s a real pity, because it seems he has mastered the craft to perfection.
It is not unusual for a South Korean espionage thriller to cast North Korean intelligence as one of the central players in the plot. This offers ample opportunity to engage in propaganda regarding the situation within one of the most hermetic nations in modern history; although, recently, we have increasingly seen a reversal of the "rotten apple" trope. Every now and then, a North Korean intelligence agent—or even a mere civilian—appears who turns out to be "one of the good guys."
We saw this very recently (perhaps—don’t crucify me if I’ve overlooked another recent example) with last year’s film *Tempest*, and we see it again in *Humint*, featuring some of the most humanized portrayals of North Koreans we’ve encountered in quite some time. Of course, there are more "evil" North Koreans than good ones, and the film strives to show that the characters are terrified at the mere thought of returning to their home in North Korea. Admittedly, the movie doesn't do a very convincing job of persuading you that you are witnessing events unfolding in Russia. Nor could I figure out what era the film is set in; while smartphones do appear, some scenes feature a sepia tone that lends them an old-timey atmosphere, for no apparent reason whatsoever.
Although it is understandable that they might have wanted to imbue the film with a sense of claustrophobia by keeping the characters confined to just a few locations—where locals are rarely seen—(or perhaps this was simply a consequence of budgetary constraints), the end result is that you never really feel as though you are in Vladivostok—a city which, incidentally, is fantastic. Even the car chases unfold with absolutely no regard for the urban landscape; only close-ups of faces are shown.
For a film that supposedly revolves around a protagonist dismantling a drug trafficking ring (judging by the Netflix synopsis), one can spend a good chunk of the runtime without really giving that ring a second thought. And speaking of the "tangled secrets" promised by the synopsis, the truth is that the central plot twist isn't all that impressive. Without giving away any major spoilers, the fact that Zo In-Sung’s character is driven by guilt occupies half the film’s runtime, while Park Jeong-Min’s character feeling as though his hands are tied takes up the other half.
The only link connecting them is Chae Seon-Hwa, which gives rise to a somewhat clumsy and forced triangle of "chivalry," wherein both men attempt to rescue this helpless female character—who, truth be told, carries very little weight and plays no active role in the story. Even so, at least the film passes the Bechdel test. In short: *Humint* is nothing special, save for the fact that it boasts a catchy title. Sorry, I had to say it. I was going to mention that I’d love to see something different and fresh within the realm of Korean action cinema, but—setting aside loan sharks and gangsters—it seems filmmakers have decided to relegate any other type of storyline to the background.
It honestly baffles me that such repetitive stories continue to get the green light in the very same industry that gave us titles like *No Other Choice*. Yes, yes; I’m not trying to make direct comparisons, but all I’m saying is that, every now and then, taking risks and betting on something different can prove to be very rewarding. My rating for *Humint* is 2.5 out of 5 stars. Despite featuring an ensemble cast, the film fails to make any real impact on the viewer.
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