Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
After India's father dies, her Uncle Charlie, who she never knew existed, comes to live with her and her unstable mother. She comes to suspect this mysterious, charming man has ulterior motives and becomes increasingly infatuated with him.
Does for belts, sand castles, staircases, pianos, pencils, pencil sharpeners, ice cream, freezers, phone booths, shoes, duck hunts, dinner, garden shears, shovels, metronomes, and showers what Psycho did for showers.
At 98 minutes, this is my dream length of movie. I have said it all my life.
After leaving this screening, and using the facilities, I could quite easily have jumped straight back in to watch the whole movie again. That doesn't happen to me often.
Stoker is phenomenal.
It's as dreamy as it is taught. As beautiful as it is horrific. It's The Tree of Life with A screenplay. An outstanding screenplay at that. It has been said that the director Park Chan-Wook has made a Hitchcock movie. You can't make a Hitchcock movie without a Hitchcock screenplay, and Wentworth Miller and Erin Cressida have made one. It's my favourite scenplay in recent memory. It keeps enough under wraps…
I’ve noticed a recent personal trend of being out of step with public and critical opinion. It’s certainly not a case of becoming contrarian or even more difficult to please in my old age but I am finding it harder to enjoy some modern films in the way so many other people clearly are. Unfortunately, Chan-wook Park’s Stoker is another one to add to this growing list of recent disappointments.
Maybe my contrasting view this time around is a little less surprising as I have always had a volatile relationship with Park’s films of either utter devotion (Oldboy, Thirst etc.) or deep loathing (Lady Vengeance, I’m a Cyborg...). The key differentiating factor between these sets of films is a robust…
Tantalizing tension, as far as it's concerned for Park Chan-wook, is an ingredient that can do wonders. Stoker, as it just so happens, is seasoned to perfection with it. It's a taunt, whimsical and magically creepy film that would make Alfred Hitchcock (who does get his fair share of credit for much of it) stand up and applaud. Gothic, playful, chilling and darkly funny in each otherwise terrifying set, and perfectly applying its own strange scape to capturing a dark world view of eclipsing sanity and childhood all rolled into one; it's a breathtaking little film.
Stoker is the kind of a film a daring Tim Burton would make now in his carrier - mature may not be the word…
First time I watched this was before ever seeing Hitchcock's great Shadow of a Doubt. Now and after finally seeing the classic thriller, what were already noticeable Hitchcock influences, in virtue of association with films like Psycho and themes tackled by both directors, became even more evident in Stoker on a second viewing and thoroughly enriched the impact of the experience. But rather than just paying tribute to one of the most important and cunning film-makers in cinema history, Park Chan-wook further explores Hitchcockian themes in a more extensive manner, adding his own distinctive voice and creating a twisted offspring of incestuous coupling that inherits the best of both worlds.
Loss of innocence, sexual awakening, self-discovery, liberation, maturation, all are…
My mom described this as "deliciously twisted" right after it was over and I think that's the perfect description. Park Chan-wook is really great at making the disturbing highly accessible and almost… relatable? He draws characters so well that you feel like you understand them as people, without necessarily being able to predict their actions. It's hard to talk about anything but the premise because it's best to go in with as little knowledge as possible, but in short, India Stoker is an 18 year old high school student who has just lost her father in a car accident. Shortly after his death, his mysterious younger brother Charlie comes to live with India and her mother and lots of bad…
Ok, so... where to start? This movie is very strange. I read a couple of reviews that said it was Chan-wook Park's most conventional film to date, but I didn't get that from it at all. Maybe when I see it again I'll feel differently, but this movie had me disoriented and bewildered a lot. I had no idea what was going to happen next most of the time. Initially, the way the camera moves and the shots that are chosen felt very strange to me, like something I'd never seen before. I don't know why that is. It just felt very foreign to me, and I don't mean international.
Overall, I really liked the movie. It's far from perfect…
Beautiful imagery. Otherwise... nope.
The central creepiness from Mia Wasikowska and Matthew Goode is the best thing here. Explanations are left out and motives remain a mystery, but Stoker's still an enjoyable watch.
"Stoker" ist wohl einer der wenigen Filme, die mir beim zweiten Mal besser gefallen haben, als beim ersten. "Oldboy" (vom gleichen Regisseur) ist einer meiner Lieblingsfilme und ich ging mit sehr hohen Erwartungen an diesen Streifen ran. Dank starker Müdigkeit verpasste ich so gut wie alles ohne zu wissen, dass es mir entging. Diesmal war es anders. Leider war ich während der ersten Hälfte auch nicht wirklich wach, allerdings kann ich den Film nun deutlich besser bewerten und mir sind viele Kleinigkeiten aufgefallen. "Stoker" ist voll mit Metaphern und Anspielungen (beispielsweise die Schuhe der Hauptdarstellerin). Wer "Old Boy" gesehen hat weiß, dass der gute Park Chan Wook auch mal gerne ziemlich kranke Einfälle hat. Sensible Filmfans sollten einen großen Bogen…
I loved this film. A macabre gothic nightmare, it was stylish and creepy and fun. Wasikowska and Goode were remarkable, breathing so much repulsive life into their slow dance of attraction, Wasikowska wonderfully giving a seeming-neophyte an ancient soul, and Goode able to balance being superficially charming and at the same time scary as all hell. Park is a fantastic director, and his use of the camera is incredible here, swooping through space in elegant and revealing ways. The design is odd, but perfectly in keeping with the tone. One of the films of the year, I think.
Beautiful, creepy, and visually stunning, this film really surprised me. I rented it from the library after falling in love with the soundtrack (which features Clint Mansell, one of my favorites, and has an eery timbre throughout). The film does not disappoint. India (Mia Wasikowska), a brooding teenager mourning the death of her father (Dermot Mulroney), is captivating; Wasikowska gives an outstanding performance, sometimes giving away more with her face than her lines. Nicole Kidman (playing India's mother, Evelyn) is also fantastic and lovely on screen, with her stylish clothing and red-blonde hair in an antiquated style. (She reminded me of Lana Del Rey.) At only 99 minutes long, the film is easy to watch yet full of mystery.
Lo más relevante de esta película es que me gusta más Mia Wasiawowwaisako sin pelo rubio.
Gran trabajo de CGI para el rol de Nicole Kidman.
- Only God Forgives
- Fear and Loathing in Las Vegas
- Spring Breakers
- A Field in England
- Beyond the Hills
- Spring Breakers
- Upstream Color
- Stories We Tell
Over two days, my "Movies To See" list is unspooling on The Dissolve. Here's your chance to check them off,…
- Ferris Bueller's Day Off
- Teen Wolf
- The Breakfast Club
- American Pie
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…