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…
Never has a movie that aspired to such pretentious heights fallen so decisively and so brutally to the cold hard earth. Stilted dialogue, dead-fish acting, and direction that's laughably and embarrassingly over the top. Taken together the whole sad concotion plays like parody. Witless, dull parody. The motion picture equivalent of a lifeless thud.
Lo que me gustó: Algunas escenas con efectillos chidos, como escenas de transacción.
Lo que odié: La actuación de Mia y sus super falsos pupilentes.
If it didn't have an underlying kind of obscene beauty, Clint Mansell's scoring, and Matthew Goode, this film would be a disaster.
This film is definitely inspired Hitchcock and Polanski but the director, Parker-Chan Wook, still manages to go past the label of 'fan-boy director' to 'innovator' and even 'renovator' of this type of directing.
I'm not going to get into the plot because it's not rocket science to find it on iMDB, but suffice it to say the plot is very intriguing and dark. Mia is a vision throughout, I was mesmerized by her and that's hard for me to do when someone like Nicole Kidman is on screen playing a very twisted mother figure.
Another favorite character of mine was obviously Uncle Charlie. The way Parker-Chan shoots his scenes is so sensual and made me aroused (like, alot). I have…
Hands down hottest movie I've ever seen. I think Mia Wakowski or whatever is the only actress who can really pull of the whole 'depressed teen' thing without coming off as a punchable dickhole. This is one of those movies I insist people (mostly people I want to have sex with) see without knowing anything about it.
It's always very odd seeing a foreign director make their first english language film, especially if it has an all white cast. Usually it seems that something is lost in translation, or that maybe the director is holding back in order to have more commercial success in America. I'm not sure if that's the case here, but everything is still really fantastic. The things that I liked best about this film are basically the same things I've liked about other Park Chan-Wook films: the overlapping storytelling, the really strong tone and themes, the bizarre artistic choices and lack of restraint. Maybe Park has traded some of his grand action sequences for slow-building tension, but I suppose you could say the…
Diría que lo que ha hecho el director surcoreano Park Chan-wook con un guión de película de sobremesa de invierno, sofá y manta (ojo, escrito por Wentworth Miller!!! nuestro mítico Michael Scofield) es una obra maestra, un trabajo de director INCREÍBLE.
How a house that big has a freezer two basements down and at the end of 100ft of hallway.
I've been keen to watch this ever since it came out, and I'm pretty sure everything I've heard about it has been really, really positive. I thought I'd love it, when I finally managed to see it; I was surprised/dismayed that my actual reaction was kind of... blah. It's a beautiful film, but the story? the characters? I admit the fact that I don't like either Mia Wasikowska or Matthew Goode (based mainly on their performances in other stuff I've seen them in) might have affected my perception of their characters. But Nicole Kidman also felt like she was doing a rehash of her performances from several other films. I'd like to have enjoyed this a lot more than I did, but unfortunately it's another addition to the list of Films Other People Got That I Evidently Didn't.
[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,…