Netflix has a new Korean crime drama movie Revelations, directed by Yeon Sang-ho and executive produced by Alfonso Cuarón. The film follows a pastor Sung Min-Chan (Ryu Jun-Yeol) who fervently believes in divine revelation and a detective Yeon-Hee (Shin Hyeon-bin) haunted by disturbing visions. Their paths intertwine when they become involved in a missing person case, leading them to confront their own demons along the way. Sang-ho became a household name with his 2016 Zombie flick, Train to Busan, but hasn’t delivered anything on a similar level since. Sadly, his latest feature also fails to change that.
The film’s structure is divided into two distinct halves. The first act primarily focuses on the pastor, establishing his beliefs and inner turmoil, but it feels sluggish and meandering. The second act is where Revelations finds its footing, shifting the focus to the detective and the intricate web of crime surrounding them. A pivotal moment arrives when Kwon Yang-rae, a recently released convict, does something that serves as a catalyst that makes the pastor and detective’s paths cross. His character needed a lot more meat and was just written like any other creepy old man with harmful intentions.
This second act of the film is its strongest, filled with tension, introspective moments, and thought-provoking dialogue. Unfortunately, the third act stumbles—rather than delivering a gripping conclusion, it becomes predictable, conventional, and fails to provide a satisfying payoff for the themes it sets up. One of Revelations’ greatest strengths is Ryu Jun-yeol’s performance as the pastor, who is blinded by his unwavering belief in divine signs and struggles to distinguish faith from delusion. His character is deeply compelling, and the film does an excellent job of portraying how his selective faith leads him down an increasingly dark path.
The detective, on the other hand, provides a stark contrast. She, too, is plagued by visions, yet her skepticism and personal struggles force her to question everything. Their parallel is an interesting one—their personal traumas and spiritual dilemmas make them similar in some ways, yet vastly different in others. However, Shin Hyeon-bin often feels miscast in the role, failing to bring the emotional depth needed to make her character truly resonate. I often struggled to root for her. But she does get a redemption arc in the end which saves some grace for the character.
Yeon Sang-ho’s direction, while competent, does little to elevate an already middling and unfocused script. The pacing is inconsistent, with long stretches of slow-moving scenes that don’t contribute meaningfully to the plot. The editing lacks sharpness, making certain sequences feel unnecessarily drawn out. However, the film is visually striking—the color grading is flawless, enhancing the mood and reinforcing the film’s bleak, introspective atmosphere. The cinematography and use of lighting effectively create a sense of unease, complementing the film’s psychological and spiritual themes. This is ultimately an ambitious yet flawed exploration of faith, morality, and human frailty.
Revelations presents some fascinating ideas about faith, destiny, and human nature, but its execution leaves much to be desired. It boasts a few standout moments and strong performances—particularly from Ryu Jun-yeol—but the weak script, miscast supporting roles, and sluggish pacing make it difficult to recommend. There are flashes of brilliance, but as a whole, the film struggles to maintain focus and deliver a truly gripping crime drama. For those who appreciate slow-burning dramas, Revelations might still hold some appeal, but for many, it will likely feel like a missed opportunity.
Revelations will stream on Netflix from March 21.
