When you look at the drama pedigree of a writer you get an insight into what to expect. Yoo Young Ah likes to lay on the pressure from the outside and watch her characters squirm. She went from one sparse, filmic idea in “Encounter” to an overabundance of heavy melo themes in “Thirty Nine”, so where is this one going to land?

Well, “Attorney Shin” falls somewhere between “Encounter” and “Thirty Nine” which is sort of unfortunate because it fails to find a distinct voice for itself. The heavy melo is pulled right back as it progresses but returns to wallow a little at the end. It all feels too weighty for the context that carries it. Is that just me and my Western preferences? The real problem however, is that there is no obvious driving force for the plot, no real central core idea or theme. The result is that it ambles along with the pacing of at least a 16 part drama if not a 50 part one and I suspect that this is what Yoo Young Ah finds difficult to master in her transition from film to drama.

You have to wait until the end of Episode 6 for any substantial theme to really get going. But what is it? Is it revenge? Is it guilt? Well sort of maybe… Then towards the end it finally emerges from the peep show that it’s been playing with you, but far too late in the piece to compensate you for the wait. If Yoo Young Ah is aiming for the type of territory that Park Hae Young likes to inhabit (My Mister, My Liberation Notes) which is incisive, insightful, slice of life with limited plot, then it’s not quite got the daring that her sunbae so ably plays with. The characters are too close to conformity to really strike the depth and thoughtfulness required and the melo is forced.

In a drama that homes in on believability the antagonist was the least convincing character and needed way more airtime early on to make her motivations and underlying emotions more credible. Because she was the weakest character the quasi revenge plot had no real anchor-point and instead became an untethered buoy tossed about by the waves.

Sorry guys, but I do just have to get something off my chest at this point about the melo. The first episode plunges you right into it and winds on up getting more hysterically tear-fuelled in Episode 2. Then we sail merrily on to the obligatory wringing of hands and instant about-face of a truly obnoxious, self-serving asshole who suddenly sees The-Light-on-the-Road-to-Damascus and falls to their knees as a penitent sinner aspiring to sainthood. Hallelujah! It’s a miracle!! Praise the Lord!!! Such false and hypocritical sentimentality is unfortunately the bain of these dramas and it really hacks me off. Listen up guys, obnoxious, self-serving assholes don’t change overnight if they ever change at all. And yes, I too wish that they did, but really, truly, they don’t.

Okay rant over, let’s find out what I liked.

There’s a beautifully realised vein of humour running throughout that centres around the camaraderie of three middle-aged men. Both the script and the actors bring it to life delightfully and it is the beating heart of the story.

Cho Seung Woo makes a wonderful job of the sincere but bordering-on-dorky lawyer with an execrable taste in trot music that his 100% slather-over-desirable stereo system is (surely) mortified and embarrassed to play. (I think my musical taste would honour you far more sincerely and I am quite happy to pay for shipping costs if you should ever have the desire to re-home yourself.)

Second up is the character actor, Jung Moon Sung, whom I have a soft spot for. He can play anything well, from a gangster to this current incarnation as a clueless but fiercely loyal real-estate agent with a reprehensible taste in shirts.

Finally there is Kim Sun Kyun who warms your cockles by playing the bumbling, oblivious heartthrob in desperate need of a razor.

Unfortunately, Han Hye Jin fails to convince as the embarrassed radio host. She plays the part as though she’s trying to imitate how she imagines someone might act, rather than grabbing the internal reality of it. As a result she looks awkward in all the wrong ways.

It was a pretty nondescript OST. And to whoever did that bloody awful rendition of the Moonlight Sonata (obviously not Lim Yun Chan…) the accent in the first movement, if anywhere, should be on the first note of the triplet not banging away on the last one causing all sorts of rhythmic chaos.

Overall there was enough in this drama to make it watchable and immersive for the viewer. But it was like having a few tasty components in a meal that doesn’t leave you feeling satisfied afterwards.

(For those in the know) Beware! Classic Trebuchet Incident Alert…

What my rating means: 7+ A watchable drama, but nothing exceptional. Good enough to qualify for the race, but finished with the pack. The sort of thing that promises more than it delivers.