REVIEW: ‘Mantis’ Gives Hope To The Next Generation Of Killers

For fans of the hit action-revenge Netflix film, Kill Boksoon, there is one line that immediately comes to mind when going into the spinoff film, Mantis (Samagwi): “One kill will save you three times the amount of patience.” Said by CEO Cha Min-kyo (Sol Kyung-gu) to an audience of honed-in killers, it reflects an imperfect point of view. For one person, killing can save some patience. However, on the other hand, one kill can unleash a world of chaos. This is very much the case in Mantis.

With a cold open that showcases director Lee Tae-sung’s eye for action and introduces us to the titular ‘Mantis’, Han-ul (Yim Si-wan), a hilarious voiceover montage sequence jumps the story’s timeline after the events of Kill Boksoon, with Min-kyo now deceased and his company (and subsequently Han-ul’s source of employment), MK Entertainment, completely falling apart. It’s a power vacuum, and everyone, particularly the younger generation of killers, is swooping in to establish themselves before the pickings run dry.

Cocky and unable to take the situation seriously, Han-ul returns to Korea, assuming things will be okay. He is a top talent, after all. Clients will fall over themselves to acquire his services. However, for people like his childhood friend and crush, Jae-yi (Park Gyu-young), their reputations are either non-existent or barely established. And for someone like Jae-yi, who was previously let go by MK Entertainment, they’re essentially almost blacklisted without outside assistance. 

As the titular Mantis, Yim Si-wan is at his most charismatic. 

After discussing with his former mentor, the retired assassin Dokgo (Jo Woo-jin), Han-ul decides to establish the Mantis Company. With little mind for business or leadership, Han-ul faces challenges, with each new difficulty chipping away at him. With the arrival of an investor (Choi Hyun-wook) with an increasing fixation on Jae-yi and Dokgo’s concerns about Han-ul’s life, friction between Han-ul and Jae-yi starts to grow. In the midst of their industry’s rapidly shifting power dynamics and the collapse of its rule system, will the two survive this transition?

While Gil Boksoon (Jeon Do-yeon) was the focus of Kill Boksoon, Mantis splits its time between Han-ul and Jae-yi, both trained killers who find themselves at a transitional point in their lives after Min-kyo’s death rattles the industry. As Han-ul, Yim Si-wan is at his most charismatic, overbubbling with confidence that tapdances around cockiness. The personality he projects as Han-ul is believable, but despite his reputation, Han-ul is not at the top of his game upon his return to Korea.

Instead, his longtime friend, Jae-yi, is at a point where her skills may surpass his. And, in most of the action sequences we get to see in Mantis, Park Gyu-young gets the opportunity to show how much work Jae-yi has put into trying to surpass Han-ul. Through conversations with Dokgo and close-up shots of Park Gyu-young’s face, all the repressed rage and frustration of constantly being compared to her friend are reaching a breaking point. And when she finally snaps, Gyu-young more than demonstrates Jae-yi’s might and ferocity. 

As second fiddle to Han-ul, Park Gyu-young’s Jae-yi lights up the screen with her performance.

The connection between Han-ul and Jae-yi proves to be one of the strongest written points of Mantis. Although little is shown of their past outside of training sequences between the two characters, the undeniable chemistry between Yim Si-wan and Park Gyu-young is hard to shake. And it is the strength of this chemistry that sells the bond, making it all the more crushing when their inevitable fracture finally erupts.

Filling in the role, literally and figuratively, that Min-kyo leaves behind is Dokgo, played with a quiet confidence by Jo Woo-jin. Through flashbacks and discussions with Han-ul, comparisons are easily drawn between Dokgo’s prior relationship with the deceased Min-kyo and Han-ul’s relationship with Jae-yi. While it would have been nice for such comparisons not to have been so easily spelled out, with this new character, these expositional moments help flesh him out while helping the audience connect the dots.

As Mantis focuses on the transition of the old guard to the new, there is an air of relatability in the brief focus spent on the younger generation of killers struggling to find work. In a growing field of freelancers, everyone is fighting for scraps. Even in an industry where life expectancy is low and turnover is rapid, there still isn’t enough work to go around. However, this particular theming, although mentioned, isn’t entirely fleshed out enough to give Mantis more substance.

The action, while still smooth, lacks that special spark to make it pop.

A more frustrating inclusion in the movie is Benjamin, the young CEO and investor, who may be a source of financing for the Mantis Company. Choi Hyun-wook is given little to work with as Benjamin, but he does his best, filling the character with an annoying energy that makes you want to throttle him. Despite his efforts and the minor payoff Han-ul and the audience receive later on, the character could have easily been scrubbed from the storyline without being missed.

Similar to Kill Boksoon, the violence featured in Mantis is used for narrative purposes rather than being gratuitous. Whether introducing the titular character or highlighting Jae-yi’s state of mind, director Lee Tae-sung demonstrates potential in handling the action sequences here, effectively illustrating the story. This all culminates in the final action sequence, which proves to be the most intense and satisfying. 

Even still, the particular style and flair of the choreography and cinematographic choices onscreen, particularly in the action sequences, are stripped down, lacking that spark of its predecessor. Let’s be real, though. This new generation of killers isn’t quite at the level of their elders, with many still learning about themselves when thrown into scenarios. Comparing the fighting styles to Mantis‘s predecessor is a little unfair, considering the legendary status of its titular character. But the difference in fights and overall execution is felt here.

As a spinoff of Kill Boksoon (although, arguably, it should be considered a sequel), Mantis is the young scrappy upstart trying to find its footing. Where the action and certain story elements could have been stronger, the friendship and subsequent rivalry between Han-ul and Jae-yi become the beating heart of this film. A reminder of the humanity that lies at the core of these killers is essential, and thankfully, this helps Mantis stick the landing, even with a couple of wobbles.

Mantis is now streaming exclusively on Netflix.