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…
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.
Stoker? I don't even know her. I couldn't resist.
An exercise in utilising montage, composition and negative space within the frame to tell a flawed but intoxicatingly lurid narrative purely through aesthetics. The power struggles, the haunted pasts, the sexual awakenings, the fascinations with death; all these elements are thrown together with such a confident sense of cinematic bravado that I couldn't help but be completely swept up within the film's formalist rhythms. A tremendous experience.
If nothing else, Park Chan-Wook's keen eye for composition (big ups to ya boy Chung-hoon Chung) and dedication towards silky smooth transitions (and editing as a whole) will leave you in awe--not to mention Wasikowska's groundbreaking performance (top 5 up-and-coming actresses) in which whipping up the character of India Stoker, so reserved yet intricately detailed, seems a mere cakewalk. Park's love for delving film into explorations of deep-rooted family secrets and alluding to impure sexual overtones is here again demonstrated tastefully, never pushed into being lewd or indelicate--this is not to say the film isn't confronting, at many times it simply is that, morbid in its deconstruction of the end of childhood innocence, but its Hitchcockian-inspired screenplay is so elegantly…
Makes it work; it's coldness keeps
It from working well.
There is absolutely no doubt that this is a technical masterpiece. Visually stunning in just about every scene, but it's when this movie moves into exterior environments that shit really gets real. I was stunned (and I mean that) on multiple occasions by what I was seeing. The framing of each shot is beautiful, but then the camera makes these complicated and oftentimes hypnotizing (literally) movements that had me in awe. There are particular sequences that I know I'll be thinking about for a long long time to come. This movie is absolutely beautiful. Oh, and the scene transitions are totally phenomenal as well. It was truly mind-boggling just how much creativity was infused into many of the scene transitions.…
This is such a beautiful film! I love the sound design as well. Wonderful! I will definitely watch it again in the future.
this movie was SO FORMATIVE FOR ME AS A TEENAGER
En konstig film. Några väldigt snygga övergångar men annars konstig.
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
a list that is trying to contain every horror film made that is not lost and is found on the…