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Tae-su, a detective fighting organized crime, returns to his hometown for his high school friend Wang-jae's funeral. There, he meets his old friends Pil-ho, Dong-hwan and Seok-hwan and they reminisce. Suspecting something fishy about Wang-jae's death, Tae-su and Seok-hwan start investigating it, each in his own way. Their investigations lead to a land development project that Pil-ho is directing.
Tae-su, a detective fighting organized crime, returns to his hometown for his high school friend Wang-jae's funeral. There, he meets his old friends Pil-ho, Dong-hwan and Seok-hwan and they reminisce. Suspecting something fishy about Wang-jae's death, Tae-su and Seok-hwan start investigating it, each in his own way. Their investigations lead to a land development project that Pil-ho is directing.
The film's central conflict revolves around crime, corruption, and personal revenge, which are largely apolitical themes within the action genre. The solution championed is a violent, individualistic quest for retribution, rather than promoting specific political ideologies from either the left or the right.
This South Korean action film features an entirely Korean cast, which is traditional for its cultural context and does not involve explicit DEI-driven casting or recasting of traditionally white roles. The narrative focuses on action and crime drama, without critiquing traditional identities or explicitly incorporating DEI themes.
The film "The City of Violence" does not feature any identifiable LGBTQ+ characters or themes. The narrative focuses exclusively on male friendships, loyalty, and revenge within a gang context, with no elements related to queer identity or experiences present in the storyline.
The City of Violence does not feature any identifiable transsexual characters or themes. The film's storyline is entirely centered on themes of loyalty, revenge, and action within a criminal underworld, without any elements related to transgender identity or experiences.
The film's narrative and action sequences are almost exclusively centered on male characters engaging in extensive martial arts and close-quarters combat. No female characters are depicted participating in or winning physical fights against male opponents.
The City of Violence is an original film with no prior source material or historical figures. All characters were created for this specific production, thus precluding any gender swaps from established canon.
The City of Violence (2006) is an original South Korean action film, not an adaptation of prior source material or a depiction of historical figures. All characters were created for this specific film, meaning there is no pre-established canonical race to be altered.
Combines user and critic ratings from four sources