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…
Hoop-Tober film #22
An engaging psycho-sexual thriller from the director of Oldboy, employing some of the same disturbing themes. Works so well in a visual, stylistic, musical and literary sense; a work of art.
I'm conflicted in my opinions of this movie. While overall I definitely liked it, I'm disappointed that I didn't love it.
Everything is right up my alley; Chan-wook Park's slick direction, the Southern gothic atmosphere, a decent enough coming-of-age story with the incredibly talented (and often underused) Mia Wasikowska. I wanted so much to love Stoker, but these talented people really just don't have enough to work with the lacking script. Usual collaborator and cinematographer Chung Chung-hoon creates a tense and chilling atmosphere along with Park's as usual enticingly stylish direction.
Everything looks beautiful, and the acting is great considering what they have to work with. Mia Wasikowska stars as India Stoker, she's one of the actresses I feel is…
This review reportedly contains spoilers. I can handle the truth.
Extraordinario ejemplo del 'efecto cupcake': cómo envolver de golosinas y florituras una madalena seca y hacerla parecer una joyita. Vuelve a Corea ya, aunque sea a la del Norte.
The mood, the atomsphere, the music, the movie.
Chan Wook Park, in my mind, had no need to go out and make an English-language film. His foreign (to my American eyes) films are a thing of beauty--visually striking, engaging plots, characters that grab us.
I was hoping that Stoker would deliver the same, but alas.Stoker nails the "visually striking," but everything else is pretty weak.
The problem is that, at least with the Park films I've seen in the past (his so-called "Revenge" trilogy), the violence is extreme but purposeful.Here it seems to exist for the sake of violence.
I can't even argue that the violence helps shape the characters. I mean, it does... but the violence seems like the least effective vehicle for communicating whatever brand of…
I appreciate this film much more on a second viewing, but my original opinion still stands: this film seems to be missing an underlying malevolence that would have really sold it.
not bad and not the good
A mysterious psychosexual thriller that feels like a romp through the pages of a macabre storybook. The film falters slightly due to a discord between narrative exposition and aesthetic abstractness during the third act. I was lulled into a dreamy atmosphere, but abruptly shaken out of it when the great plot reveal was unveiled.
- 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…