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…
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…
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…
Pelicula de suspenso super enferma con un estilo muy chic.
El clima, las caras y todo lo q la rodea esta muy bien, sin embargo no tuvo esa cosita extra q hace a una pelicula tomar otra dimension. Quizas tenga q tener la mente mas cagada para q me pegue. Es probable.
Ésta película entra en mi categoría de: Fácilmente olvidable (y retorcida). Por otro lado están muy bien logrados los personajes y la estética. Destaco la actuación de Matthew Goode, la cara de Mia Wasikowska y, sobre todas las cosas, la escena en la que India (Mia) imagina estar tocando el piano con Charlie (Matthew)...Muy buena escena!
I don't know. I mean...uhh...well. Script was shit but holy cow, the sexual tension. Also hated the obvious over-editing. Jury's out
Dreamy. Intense. Creepy.
Does this count as mumblecore?
I kind of liked this even tho it's left me disturbed for life
Brilliantly twisted psychosexual homage to Hitchcock's Shadow of a Doubt, the American debut of Park Chan-wook is elegant, moody and deliciously unhinged. Mia Wasikowska stars as India, a bereaved teenager who is introduced to her visiting Uncle Charlie (Matthew Goode, rivalling Joseph Cotten's earlier incarnation for urbane malevolence) at her father's funeral, who announces he intends to stay indefinitely and help with her emotionally unstable mother, Evelyn (Nicole Kidman), and the three dance cautiously around one other in an increasingly nightmarish dream state fuelled by a toxic combination of vindictive rivalry, morbid curiosity and dangerous attraction, before spiralling toward an inevitably cataclysmic climax of retributive blood-letting. The style is more self-consciously pronounced than Hitchcock's, and the staging of the film's…
Amazing editing and cinematography....
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
Over two days, my "Movies To See" list is unspooling on The Dissolve. Here's your chance to check them off,…