Rumble: A small scuffle in a billiards hall, between art and technical school students, end in tragedy as Sung-Bin inadvertently takes the life of Hyun-Su.

Nightmare: Years later when Sung-Bin is set free from prison, he begins having waking nightmares of his past killing as he attempts to conform to regular life. With his father disowning him and an aggressive officer checking up on him randomly, Sung-Bin descends into madness and is driven into the underworld of crime.

Modern Man: Struggling to leave his past and the events of the pool hall behind him, Suk-Hwan becomes an officer of the law. In a stakeout in his car, he follows the boss of a local gang, unaware that Sung-bin is a part of.

Die Bad: An emotional and disastrous conclusion to the decade old episode that changed both Sung-Bin and Suk-Hwan's lives as destiny brings them together for one last and ultimate meeting that ends in bloodshed.

Review: With Korean cinema going as good as it is presently, I never would have thought that I would discover a gem such as "Die Bad" in the midst of the many Korean Blockbusters that have been released lately. Though "Die Bad" doesn't compare to the others in terms of budget and production costs, it rivals them all in acting, cinematography and emotional impact.

The most amazing aspect, though, of Ryu Sung-Wan's feature is his storytelling sensibilities on his uses of chance and repercussion as a tool. By delivering a chain of consequence throughout the characters, he brings the audience closer to this particular aspect of our lives; that the ties that bind us to each other are more apparent than we realize. The main characters of Sung-Bin and Suk-Hwan are interesting in particular because they start out the same as teenage angst ridden school students that end up living on opposite poles later in life. Though they each live by their own morals and codes of ethics, both officer and gangster lord both fight in order to accomplish their goals. It is a fascinating dualistic theme that drives the picture in undiscovered areas, bringing depth and complexity to the four binding stories.

With the different styles Ryu chooses to use, the documentary approach to some of the characters is probably the most apparent and effective. While inner monologue could have been used and been, arguably, more truthful, there is something even more personal when someone is unloading themselves upon the audience. Even when people are talking about themselves to an audience, it's interesting to see how one views himself in retrospect to the world. The story of "Modern Man" uses this in full effect, showing the differences and similarities of the gangster and officer, slowing building up in tempo into a full on and frontal, barbaric fist fight.

Deemed the "Quentin Tarantino of Korea," Ryu Sung-Wan created a powerful and inventive film that sparked and started the independent filmmaking movement in Korea. Frustrated with dreams of being an actor, Ryu decided to make his own feature with a shoestring budget, casting his brother, Ryu Seung-bin along with himself in the picture. With a 16mm camera and a list of talented actors interested in working with the cinematic and passionate, Ryu, "Die Bad" not only comes off with a fresh and imaginative approach to cinematography and direction, but reinvents the gangster drama by embracing the genres of action, horror and documentary style filmmaking.