“I deliver everything that the post office service does not handle.” Eun-ha, a normal junkyard employee, secretly works as a delivery clerk who deals with unusual delivery requests. One day, Eun-ha heads to Seoul to pick up a client who is involved in a gambling crime and now wants to flee overseas. Instead of the client, Eun-ha meets his young son at the pick-up point. Kyeong-pil, a current police officer and mastermind behind the gambling crime, chases after the missing child who has the security key to the bank account that holds 30 million dollars. After a long pursuit from Seoul to Busan, Eun-ha fights against the police to protect the child.
What the critics say….
“Special Delivery reteams “Parasite” star, Park So-dam, with that film’s youngest ensemble player, Jung Hyeon-jun, for a smart thriller…taking its cues from high-octane car-chase movies à la the Transporter trilogy (2002-2008) while drawing on the character dynamics of John Cassavetes’s Gloria (1980). Special Delivery is a superior chase thriller…. Park So-dam’s magnetism and the sheer variety of the action sequences…visceral and adeptly blocked” - Josh Slater-Williams, Sight & Sound
“Alongside the thrilling driving sequences, there are some great fight scenes…characters who really look like they’re suffering. Jang (real name Jang Eun-ha, played by Parasite’s Park So-dam)is battered and bruised throughout and looks exhausted by the final confrontation, but this adds to the sense of danger. Special Delivery will keep you on the edge of your seat, and leave you wanting to see more of Jang” - _Jennie Kermode, Eye For Film _
“This barrelling action thriller has been billed as a Korean Fast and Furious, but takes a swift handbrake turn into something considerably darker and more introspective. Parasite’s Park So-dam stars as Eun-ha, a Busan junkyard worker who moonlights as an elite courier, ferrying fugitives. Park So-dam is an interestingly sullen, uningratiating heroine, and this bruiser of a film reminds us that even middling Korean genre fare is a cut above” - Phil Hoad, The Guardian