REVIEW: ‘Good News’ May Be Too Much Of A Good Thing

In writer/director Byun Sung-hyun‘s latest film, Good News, frequent collaborator Sul Kyung-gu is tapped into the ring again as a North Korean defector simply referred to as Nobody. If this isn’t enough of a hook, what ensues throughout this chaotic and darkly humorous film is nothing short of bonkers as Byun Sung-hyun tackles the proverbial circlejerk fest that is bureaucracy, only ramping up the idiocy to the tenth power. Everything should work (and it mostly does), but some jokes linger too long, making the humor too much of a good thing.

Set in 1970, the action kicks off when members of the Red Army Faction hijack a plane with the intent to take it to North Korea. It’s immediately clear that these hijackers are in way over their heads, spouting ideals that would make anyone roll their eyes. Yet, this is an unfamiliar situation for all on board, including the seasoned pilots (one of whom is riddled with hemorrhoids, a run-on joke that, funnily enough, always works). And with the unwavering determination of the hijackers, this is quickly evolving into an international incident.

As the Director of the Korean Central Intelligence Agency (KCIA), Park Sang-hyeon (Ryoo Seung-bum), catches wind of this, he enlists the mysterious Nobody (Sul Kyung-gu) to resolve the matter peacefully. Of course, the plan he comes up with is nuts. He wants to somehow divert the plane from North Korea to South Korean soil. And to do that, he will need an incredibly talented person who knows what they’re doing. This is how Air Force lieutenant Seo Go-myung (Hong Kyung) gets involved. 

Hong Kyung is the one to watch out for after his successful turn in Good News.

From start to finish, Good News puts the pedal to the metal, setting a chain of events into motion that promises more than enough tension and thrill to keep us on the edge of our seats. Baked into an adrenaline-riddled situation, though, is a dark-tinged humor lightly mocking the powers in front of the curtain while the real workers are trying to achieve the possible. Even more so, the delicate line all tread as this rapidly escalates into an international incident, offers opportunities for ribbing on all sides.

As the orchestrator of the multi-layered plot to divert the plane, Sul Kyung-gu’s Nobody is an enigma that never falters. What exactly is his true self may only come out in slivers, yet Sul Kyung-gu never fails to massage the almost jester-like mannerisms his Nobody puts. In this way, he easily disarms those around him, luring most into a false sense of security before going in for the kill. And, with his occasional fourth-wall-breaking stare, the audience, too, is almost swayed. 

To balance him out is Hong Kyung’s Seo Go-myung, who, much like Nobody, is an outsider among a sea of bureaucrats. However, where Nobody is more in line with the jester archetype, Go-myung is played with straight man-like commitment by Hong Kyung. His slow-burning frustration is palpable, particularly as he’s thrown into the sacrificial fire by everyone around him. With no choice but to join this mission, he risks everything for little reward. And by the end of Good News, his resolve and loyalty are forever altered. 

The red tape of bureaucracy and everything that entails is the rightful butt of the joke.

While various competing forces are working to resolve the hijacking crisis, the hijackers themselves can’t be ignored. The group of actors here is too good, fully embracing an animated, frenetic energy that merges with the hysteria required by such an absolutely bonkers action. However, two notable standouts rightfully emerge.

Sho Kasamatsu as Denji, the leader, is terrifying, with his calm and polite demeanor belying the insane commitment to the cause. Equally committed is Nairu Yamamoto, as the hot-tempered, aggressive Asuka, who is the brawn behind Denji’s brains, even though, let’s be real here, hijacking a plane is beyond questionable. They make for a dynamic and unique pairing that never ceases to keep things on edge. Due to this, one can’t really ascertain whether or not they will fail at their task.

The performances, writing, and humor are firing on all cylinders, giving much to praise. However, the pacing wobbles about halfway through, making what initially starts as an intense experience slowly peter out. Part of this is due to joke sequences running too long, going beyond their natural end. This is particularly present in scenes focusing on the converged group of bureaucrats led by Sang-hyeon. While this mirrors the tedious nature of bureaucracy, the jokes in these scenes run themselves into the ground. 

The hijackers may be crazy, but boy…do they make you keep guessing every step of the way…

Similarly, with a rapidly growing ensemble of characters, some inclusions are more distracting and add to the fat that needs to be trimmed from the screenplay. Key cameos will delight fans of Byun Sung-hyun’s work, but while the cameos spark joy, the extra addition of these characters is unnecessary. Instead, the more we stop to take in a new character, the slower the momentum becomes. And, for a film that relies so heavily on its hijacking scenario to kick things off on a high note, any descent in that energy is a loss. 

Regardless, Good News is another solid outing for Byun Sung-hyun, who continues to prove why he is so good at getting the blood pumping. Even with its pacing issues and overreliance on characters and jokes, this darkly comedic film will leave audiences guessing about who will prevail in the end. And because of that, you absolutely must watch and see what happens next.

Good News had its world premiere at the 2025 Toronto International Film Festival, and is now streaming exclusively on Netflix.