Yoo Hae-jin’s confident performance redeems this disjointed parable about an exiled king, which awkwardly straddles satire, sentiment and social commentary Yoo Hae-jin’s confident performance redeems this disjointed parable about an exiled king, which awkwardly straddles satire, sentiment and social commentary I t seems that the 15th-century Korean equivalent of a special economic zone was a court official exiled to a remote backwater, with all the attendant wealth and comforts that arrive with