A Killer Paradox

A Killer Paradox
A Killer Paradox
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But there’s more to A Killer Paradox than being just a vigilante thriller. Admittedly, that is how it starts out in season 1 but this Korean Netflix series, which was adapted from a webtoon with the same name, feels like it wants to do so much more than a typical crime drama and ends up getting even sillier.

Apart from the cheesy sixtwist however farfetched it may sound, this is otherwise a rather enjoyable mixture of genres that features outstanding performances and surprisingly for South Korean television, quite a number of adult scenes. Some will think it’s great. Others will find the conceit too trying. Both will be right in about equal measure.

A summary and review of A Killer Paradox Season 1

I can sum this up in one sentence: A Killer Paradox centers on Lee Tang who is an unproductive college student living through failures over and over again.

He’s indolent; he has no sense of responsibility; he fails at everything that comes his way; dreams and endeavors never come true under him while he has never been able to make any good decision.

Even as things like these take place all around him (i.e., others beating him when they wanted), Tang does not have record of lashing out violently against other persons. This final experience broke open something within him figuratively speaking. He eventually reacted to those bullies.

Tang also scored himself on his sudden outrage through some fantasy construct while his victim was a famous serial murderer targeted by police warrant Recently circumstances make Tang kill another person but still feel no guilt While doing this They seem deserving of their horrible end as we are taking pleasure in giving them bad luck without any reasons whatsoever

There is then Jang Nan-gam, the detective who investigates serial killers killing serial killers whose path leads him to Tang There isn’t much else we can say because A Killer Paradox shifts its focus constantly, metamorphosing every few episodes to a stylish but hollow work that, despite all its talk about the morality of killing those who “deserve” to die, is mostly just a patchwork of obvious influences.

One thing I did not expect from A Killer Paradox was for it to be hilarious. The humor in this series is understated and at times it can be very effective for coming out of nowhere. It also revels in broad archetypes – Nan-gam is a real offender in this regard – that it doesn’t have any interest in subverting. This paradoxical TV show aims to entertain viewers who are well-versed with such stories (one supposes).

But it’s good television overall. The only problem is that after some time, some of the stylistic flourishes become overused as almost all scene transitions are created through match cuts involving similar dialogues or objects or actions. These make the pace and feel changeable which still accents distinctive style even though it uses so many clever techniques that often get repetitive soon enough.

This may seem like another simple plot twist; however, slow-motion photography works fine here… as does full frontal nudity when observed in proper context i.e the literal nakedness displayed during sex scenes and brawls.

Still, buying into A Killer Paradox is difficult because while being half as interesting as it thinks about anything beyond skin-deep level remains rarer than one would think at first sight A.K.A., superficiality might be intentional but advising someone on the strength of that alone particularly given how crowded this genre has become isn’t easy.

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