Reviews of “The Wasteland” are largely divided into two camps. Some praise the film for its exciting combat and fast pace. Others criticize it for its shallow characters and relationships, which make the narrative between fights feel empty.
I place more importance on whom I worried about in that fight than on praise for how exciting the battle was. While I acknowledge the enjoyment of the action, I believe it is important to consider how much empathy one feels for the person waiting to be rescued.
In Seoul, after a major earthquake, the hunter Namsan and his companion Jiwan provide for their community. When the young girl Sun-ah, who is close to the two men, is in danger, the hunt turns into a rescue operation. While there are grander endeavors to save all of humanity, focusing on the people directly in front of you is a more precise scope of work.
My verdict is that while “The Wasteland” kept its promise that its fists would save someone, it was stingy in showing us who that person actually was.
I regret that it showed people less than it showed the world
What I found lacking was the introduction of the survivors, rather than a description of the destroyed Seoul. Even if a battle fulfills its purpose, it cannot replace making us care about the person to be saved.
There is no need to listen to a long explanation of how to obtain water and food in a ruined environment. This film shows how Nam-san and Ji-wan support the community through hunting. Just by seeing their actions, I understood that the two of them are essential to their neighbors.
It is particularly commendable that Namsan does not use his power solely for his own benefit. Namsan’s strength is used for others even before Sungha becomes in danger. Therefore, his decision to participate in the rescue is not a sudden act of heroism.
The problem lies in what comes next. While I believe that Namsan is going to rescue Sun-a, I want to know more about who Sun-a is. The belief of the rescuer and the affection directed towards the person being rescued are two different things.
Sunah is a young girl who lives with her grandmother and relies on her for support. She is offered a safe apartment, but she does not simply overlook the strangeness of the unfamiliar environment. I liked that, even though she may need protection, she is not being asked to relinquish her own judgment.
This portrayal moves Sun-ah beyond simply waiting for someone. However, the glimpses into her personality, such as her likes and relationships, are not fully revealed amidst her suspicion and resistance. While she quickly recognizes danger, her everyday life, which she must protect, is fleetingly presented.
That does not mean I want a lengthy explanation of Suna’s past. I simply wanted to see a little more of how she formed relationships with Namsan and Ji-wan through her words and actions. There is a distance between the introduction that they are close and the feeling that I personally experience that closeness.
I understand the decision to omit lengthy narratives in order to expedite the process. However, if the time spent building relationships is also reduced, the urgency of the rescue may diminish, even if the reasons for the rescue remain. Simply agreeing that something bad must be prevented does not necessarily create the desire to avoid losing that person.
Therefore, I do not want to judge the story solely based on its superficiality or the lack of detail in the descriptions of the devastation. What I need is not just an explanation of how Seoul was managed after the disaster, but rather a glimpse into the time when people were looking out for each other within that chaos. So, to what extent does this film, through the action it presents most confidently, actually depict the people involved?
Alligator hunting and base penetration: fulfilling the promise
The crocodile hunt and the entry into headquarters are scenes in “Badland Hunters” that I definitely rate highly. Nam-san does not boast about his strength in words; he proves it through actions by surviving and saving people.
In the introduction, Namsan hunts alligators. What is more striking than the fact that there are alligators in the ruined Seoul is the sight of Namsan confronting them. For this person, hunting is not a spectacle, but a matter of survival.
I found this amusing, and I readily accepted the exaggeration presented in the movie. There is no need for someone to explain how strong Namsan is. Having seen his confrontation with the crocodile, we can simply wait for its next action.
The reason this introduction is good is not only because it indicates the magnitude of force, but also because it conveys more than just that. For Nam-san, who sustains his community through hunting, a strong physique is a means of supporting the lives of his neighbors. Despite his rough exterior, he gives the impression of being a protector.
In the latter half, entering the headquarters repays that faith with the joy of rescue. Once you understand why Namsan has to go inside, the combat is more than a mere display of strength. Each time he overcomes an opponent standing in his way, it becomes clear that he is drawing closer to Suna.
Here, you don’t even need to wait for familiar individuals with brute strength. The way of attacking is changing, with the use of weapons like swords and guns. Even when observing individuals with similar strength, there are changes in how that strength is utilized.
It is not simply the increase in weapons other than fists that deserves praise. The act of adapting and changing weapons while continuing to advance aligns with the rescuer’s urgent purpose. Namsan did not enter the situation to showcase his skills.
Before we discuss the future of humanity, we must first go to the person who needs to be rescued right now. For now, he breaks through.
In this section, I found it more enjoyable to follow the advancing movement rather than providing lengthy explanations. The survival skills that were previously confirmed through hunting are now being directed towards those in danger. Although the introduction and the latter part may seem to be doing different things, the overall nature of Namsan remains consistent.
The strength that once sustained someone is now being used to bring someone else. Even without adding grand beliefs to Namsan, the connection is evident. This film clearly demonstrates the skill of introducing people through actions.
Thanks to these two scenes, I was able to entrust the rescue to Namsan. However, the trust in his ability to rescue someone and the affection I have for the person being rescued are still different. The explanation conveyed through physical actions is so clear, but is the person that body is trying to protect equally clear?
Actors portray characters involved in rescue operations
The actors make us believe who is going to rescue whom, and who is holding on. However, they are unable to create a deep connection based solely on the limited time given to portray those relationships.
Ma Dong-seok, who plays the role of Namsan, uses his heavy physique as a tool for survival during the alligator hunt. When breaching the headquarters, his body becomes a shield, protecting others. With his friendly humor, I found myself believing that if I were near Namsan, I would survive.
The actor undoubtedly deserves much of the credit for that belief. His powerful physique and approachable manner toward people do not clash within a single character. Although he has the physique to be a fearsome opponent, it first makes us feel that he is on our side.
However, the enjoyment of rediscovering Namsan is less significant. While the character’s kindness is evident through hunting and rescue scenes, the time it takes to surpass the reliability of the familiar Ma Dong-seok is short. The rate at which the audience trusts the actor is high, but the rate at which they connect with the character is slow.
Roh Jeong-eui, who plays the role of Su-na, portrays both her affection for her grandmother and her cautious attitude towards the apartment. The feelings she has for those close to her do not easily dissipate in unfamiliar surroundings. A young girl who needs protection and a person who can make their own judgments remain together.
It is particularly important to note the part where the apartment’s abnormality is suspected. Sun-ah does not abandon her own judgment simply because she received a proposal that she is safe. Thanks to Roh Jeong-eui’s vigilance, I did not only see Sun-ah as someone waiting to be rescued.
That makes it even more regrettable. I understand that Soona has the ability to make judgments, but the time available to her to change the relationship is limited. If we blame the actor for not being able to move further, we would end up attributing even the role’s allotted share to the acting.
Lee Hee-joon, who plays the role of Dr. Yang Gi-soo, confronts Nam-san with a firm belief that his experiments will save humanity. The stronger that belief, the more clearly the contradiction of harming the people in front of him becomes apparent.
Lee Joon-young, who played Ji-wan, a young colleague in Namsan, showed dedication by actively participating in the rescue operation, but his portrayal revealed little about the character’s life outside of the fight.
These actors provide the faces and the sense of trust necessary for the rescue operation. What I wanted to see more of was the time they spent caring for each other before those faces were put in danger. But is it excessive for a film that promised an action-packed experience from the beginning to demand people’s lives as well from the film?
Even if a movie is like a game, people are still necessary
I agree with the criticism that the story is thin. However, I do not agree with the argument that the achievement of the action should be discounted because the post-apocalyptic society is not deeply explored.
Ma Dong-seok stated about the film, “It was planned solely as an ‘action game entertainment film.'” His words accurately reflect the film’s focus. Instead of emphasizing the operation of the surviving society, the film prioritizes the rescue mission and the battles.
The choice itself is not wrong. If the audience knows who Namsan is trying to save and where he is going, they can follow the action. Not all action films are obligated to explain everything from food rations to the rules of the community.
The reason I believe I shortened the lengthy social commentary is also related to this. It was a choice to shorten the path leading to conflict. In actuality, this choice translates into a faster pace and a more enjoyable offensive experience when entering the base.
However, starting quickly and briefly introducing the person to be rescued are different things. The former is a matter of progress, while the latter is a matter of who I am concerned about. Having more time to develop feelings for someone does not necessarily mean that the rescue operation will be slower.
The difference becomes even more apparent when compared to “Concrete Utopia.” That film explores the changing dynamics of an apartment complex after a disaster, posing the question of who deserves to survive. “The Wasteland” answers this question through rescue operations and battles directed toward people in danger.
The two films address the issue of protecting people in different ways. Therefore, I do not demand that “The Wasteland” depict the process of community transformation in the same way. Instead, if it chooses to focus on a rescue scenario, it must ensure that the audience empathizes with the person being rescued.
It is not possible to deduct points simply because the genre is different. If the goal is to save lives, then the people to be saved should be introduced.
Suna already possesses the affection for her grandmother and the judgment to be suspicious of an unfamiliar place. What I desire is not a lengthy, elaborate story. I simply want to see how that personality manifests itself in the daily lives of Namsan and Jiwan.
That is the time when the success of a battle becomes more meaningful than a simple victory by the stronger side. I acknowledge the enjoyment of a game, but a single statement of creative intent cannot replace the urgency of a rescue. However, “Hwangya” not only reduces the time spent getting closer to Su-na, but also is stingy in explaining the dangers that Su-na faces.
There is not enough time to save people, unlike the villains’ grand speeches
“The Wild” quickly covers both the rules of the experiment and the relationships between the people involved. Therefore, while the rescue is satisfying, the feeling that I absolutely must save Sun-ah doesn’t build up as much.
Dr. Yang Gi-su justifies dangerous experiments by claiming they are for the sake of protecting humanity. The person who claims to be saving lives uses the person before him as an experimental subject. The wrongdoings that Namsan should prevent are clear.
However, recognizing a mistake and understanding a threat are different things. The explanation of how the experiment is conducted is insufficient. Instead of understanding the reasons why something is dangerous, one is simply led to the conclusion that it is dangerous.
I do not definitively state that this is a plot error. One cannot simply conclude that something is inconsistent based solely on the limited explanations provided within the film. The issue lies in how clearly I feel the danger that Suna faces.
This is not a request to explain the principles of the experiment. All that is needed is an explanation to hold onto of what one should be concerned about while waiting for rescue. While Yang Gi-soo’s confidence is strong, his words alone cannot fill all the gaps in understanding the risks.
Similar omissions occur in relationships as well. The fact that Namsan is a good person is sufficiently proven through his hunting and rescue activities. However, what Jiwan and Suna are to each other is primarily conveyed through their actions, especially those related to rescue operations, rather than through the time they spend together.
Ji-wan’s proactive involvement is a positive thing. It also shows a change in the dynamic, where a junior who was previously protected becomes a colleague who shares responsibility. However, there is a difference between inferring a relationship based on a choice, and having one’s feelings influenced by a relationship and then making a choice.
The fact that Sun-ah cares for her grandmother and is suspicious of the apartment building makes her actions even more precious. It is evidence that those who are saved also have relationships to protect and their own judgment to exercise. I wanted to see more of that kind of behavior from her, both near Nam-san and Ji-wan.
The story unfolds with a narrative that promises to encompass the future of humanity. However, the introduction of the supporting characters is brief.
The choice to pit Yang Gi-soo’s grand purpose against Nam-san’s specific actions was the right one. However, for that confrontation to be truly meaningful, there also needed to be time for the life Nam-san was trying to protect. The time spent understanding the villain’s arguments should not have been considered a waste, as it was equally valuable for learning about the people he needed to save.
I will assign a value to the power of breaking through the headquarters. In the remaining evaluations, I intend to reflect not only the sense of accomplishment but also the price of saving the time needed to make us care about people.
The fists delivered their value, but time was saved on showing people
I consider “The Wasteland” to be a film where the action is successful, but the story does not live up to its potential. While the film successfully portrays the effort to save someone, it does not fully evoke the feeling of wanting to protect that person.
The alligator hunting scene vividly demonstrates the protagonist’s survival skills and the protector’s character. Successfully breaching the headquarters allows him to use his strength for rescue, and in return, he receives the reward he has been waiting for. These two scenes are the reason why this film is worth watching.
The rating is 3 out of 5 stars. Points were awarded for the combat, which utilizes both swords and guns, but points were deducted for the thin plot and insufficient explanation of the experiments. While the direction of the rescue is clear, there is little time to understand why this particular person must be rescued.
If you want to see Ma Dong-seok’s overwhelming strength and a fast rescue operation, it’s worth watching. It’s also suitable for days when you don’t want to endure long explanations before the intense fighting begins. However, if you are sensitive to scenes of violence and bloodshed, it’s best to avoid it.
If you expect to see how a community changes after a disaster, this film is not recommended. It may also be unsatisfying for viewers seeking deep relationships between characters. This film focuses more on overcoming the enemy than on the surviving society itself.
It is not necessary to view “Concrete Utopia” and this story as directly connected. The strengths of the story become clearer when you follow who the power of Namsan is being used to benefit. Also, pay attention to what Sun-ah suspects in the unfamiliar apartment building.
Next, I will choose to watch the movie “Concrete Utopia.” That film raises the question of who to save in a disaster situation. When compared to the “Crime City” series, it also highlights the contrast of who the strong protect.
I trust these fists. However, I wanted to know more about the person they are meant to protect.
Frequently Asked Questions (FAQ)
Where can you watch “The Wasteland”?
This is a feature-length film released on Netflix. It is rated for ages 19 and over and contains numerous scenes of bloodshed and killing. If you are sensitive to brutal depictions of violence, it is best to avoid watching it.
Should you watch “Concrete Utopia” first?
First, there is no need to see it. While the setting of ruins and apartments after a disaster is similar, the stories are not directly connected. It is better to approach it as a separate film that focuses on rescue and combat rather than on the changes within the community.
Is this movie based on a true story?
It is an action-SF film depicting the aftermath of Seoul’s collapse following a major earthquake, rather than a reenactment of a true story. Rather than the response process for an actual disaster, it centers on the hunter Namsan’s rescue operation and exaggerated battles.
Can you expect the same kind of action as in “The Outlaws” starring Ma Dong-seok?
If you are looking for overwhelming power and familiar humor, this is the right choice. This time, the character appears not as a police officer, but as a hunter who provides for the community. With the addition of knives and guns to his fists, the fights are even more intense.
What should viewers expect in terms of story and action?
It is better to expect and watch it as an action film. While the alligator hunting and the assault on the main base are definitely enjoyable, the explanations of the character relationships and the experimental setup are brief. It is closer to a fast-paced rescue operation than a deep disaster drama.
