![]() While actor Park has earned a name for himself on prior Netflix shows as a brutal and unyielding force in Money Heist and Squid Games, Park is calm, focused, and attempting to be a beacon of morality while simultaneously influencing Kang in his way to bring a stop to the drug trade in Narco-Saints. This allows the two to combat one another through proxies, outwitting each other and feeling the impact of the other’s character despite having little interaction. While Choi is arranging a wider expedition to end Jeon’s drug trafficking, Jeon is attempting to extend his empire and become Suriname’s lone name in smuggling. The interplay between drug kingpin Jeon, NIS officer Choi, and the guy thrust in the middle of this criminal fight Kang is one of power shifting. Narco Saints’ entire primary cast is firing on all cylinders. Stuck between death and poverty, Kang is forced to work with the South Korean NIS and Choi Chang-Ho (Park Hae-soo) to apprehend Jeon Yo-Hwan (Hwang Jung-min), a preacher and drug lord who controls Suriname’s drug trade. The skate he’s seeking to benefit from puts him squarely in the crosshairs of two warring Asian gangs and the cartels with whom they collaborate to ship cocaine to South Korea and China. When a buddy approaches him about launching a skate fishery in the fictionalized version of the South American country of Suriname, he finds himself in an impossible predicament. He’s only trying to live, having led a difficult life, lost his parents, and is now responsible for his own family (even if his family started of necessity and not love). Kang In-Gu (Ha Jung-Woo) is a guy crushed by an ever-growing debt in Narco-Saints. The six-episode South Korean Netflix Original, directed by Yoon Jong-bin and written by Yoon and Kwon Sung-hui, starring Ha Jung-woo, Hwang Jung-min, and Park Hae-soo. Having said that, Narco-Saints, despite the name on the tin, ended up being far more than I expected. Narco storylines are the only ones deemed fit for Latino and Latin American protagonists in Hollywood, and they frequently portray the locales in which they are located through a sepia-soaked stereotype filter.
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