"I'm a real messy bitch. A liar. A scammer. I love robbery and fraud. I'm a messy bitch who lives…
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…
Tonight, India joins the hunt.
Gothic, surreal, unsettling, and of course, tremendously gorgeous. Not surprising since I expect nothing less from the master Park Chan Wook. A frame is always connected to the next, transition between scenes are so smooth they're almost invisible. Every shot seems to have a life of its own. Instead of being a medium to carry the plot, they gracefully became the story itself. Mia Wasikowska gave her best and so does everyone else. Without a single doubt, I say Stoker is as good as an English debut gets.
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…
A daring, modern re-telling of Shadow of Doubt. I couldn't take my eyes of this film even when nothing was happening, the attention to detail is astounding and the intense sound work really perfected the pacing. Really loved this film.
In this film, I'm pretty sure Park Chan Wook was doing the best of a bad job. The direction and shooting is generally excellent, but the somewhat generic plot and stodgy script holds it back from joining the upper escelons of the Park canon. I enjoyed it a lot more than I'm a Cyborg, which I found actively troubling, and I think it more are less stands up on its own merits, but I think with some major rewrites it could have been vastly improved. Might be over rating a little bit because it's by one of my favourite directors, but it's not like my opinion matters.
Note: as most of the merits of the film lie in its visuals, I can highly recommend picking up the blu ray, as CEX and other similar establishments are practically giving it away
Dark and airy. But utterly sick.
I’ve frequently maintained that the best films stay with you. I don’t mean ‘best’ in terms of quality, necessarily — though that helps — but the best films in terms of those that actually meaningfully contribute to what we call cinema. The best films keep projecting into our temporal lobes long after the credits have rolled; they haunt us, they taunt us, they call to us to watch again, to peel back the layers of their meaning, to look beneath their skin just as they have weaved their way under ours.
A few years ago I taught a course at the University of Sydney that examined the transition from celluloid to digital. It was a wonderful course, and inspired me…
This was such a treat, honestly. Scheduled for many a rewatch.
"He used to say, sometimes you need to do something bad to stop you from doing something worse."
I tried to pick my favourite scene of Stoker but there are so many great ones, it's almost impossible:
- The beginning/ending
- When Charlie appears at the funeral
- Basically every scene that involves the shoes
- Charlie and India on the stairs
- The scenes with the lamp
- "We don't need to be friends. We're family."
- Freezer/phone booth/eagles documentary
- India stabbing the guy with a pencil
- THE FUCKING PIANO SCENE!!!!!!
- The playground scene and everything that happens afterwards
- The shower scene
- India brushing Evelyn's hair and it's slowly turning into grass…
Mia Wasikowska: None More Goth.
i would let this movie's cinematographer and sound mixer Kick My Ass
this was really really good. never seen anything quite like it. mia's performance captured me the most out of them all. some really really amazing imagery at some points and the fucking piano scene holy shit.
man i love me a good pycholochical thriller
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…