Josh Keown | Night Terror Novels 🧛🏻♂️’s review published on Letterboxd:
“You know, I've often wondered why it is we have children... and the conclusion I've come to is: we want someone to get it right this time. But not me. Personally speaking, I can't wait to watch life tear you apart.”
-Evelyn Stoker (Nicole Kidman)
Stoker is undoubtedly a Chan-wook Park film. Being a massive fan of South Korea’s arguably most prolific director of all time, it’s fair to say I was anticipating his English-language debut Stoker with bated breath, excitedly following it ever since the very first rumours surfaced. If there is one thing Park always manages to do, it is surprise. Be it his elaborately plotted Vengeance trilogy or his neat twist on the vampire story in last outing Thirst (2009), Park’s portfolio of works is certainly an unpredictable one, and Stoker is no different.
Though establishing a set-up much in the vein of a pseudo-remaking of iconic director Alfred Hitchcock’s Shadow of a Doubt (1943), Stoker swiftly weaves a path of its own. Indeed, the similarities in the plot synopsises of both are almost identical, with a younger female character being visited by a mysterious Uncle (both of whom are called Charlie) whom may have ulterior motives.
Going into it, I had expectations, and a few worries, about what Stoker would be like. Part of me feared it would be a sub-standard horror movie from the trailers, but such is not the case. As crazy as it may sound, I was also expecting it to be far more salacious and visceral than it was in actuality, but it wasn’t to the film’s detriment. That’s not to say it isn’t typically daring, like all of Park’s previous outings though, what with some gruesome murder sequences and a particularly disturbing masturbation sequence.
The casting choices also had me with raised eyebrows, but in practice each of the three main leads prove to be inspired and more than competent in their roles. In fact, each one of them excels with the difficult material, and, alongside some good writing from Prison Break actor Wentworth Miller, develop into three-dimensional believable characters as the story plays out. Kidman is excellent as estranged and unstable mother Evelyn, particularly shining in scenes toward the finale, whilst Goode (who appeared in style in 2007’s The Lookout and 2009's Watchmen) is fantastically charming and creepy at the same time. I’m quite certain he will have a successful career if this performance is anything to go by. I’m really thankful Colin Firth dropped out too, as he was completely miscast in the role. Wasikowska is an absolute joy as the lead though, and also looks to have bright prospects for the future.
The real star of this show, however, is Mr. Park himself, who once again displays that graceful finesse that he has become so renowned for. Every single shot positively oozes that artistic elegance Park has demonstrated throughout his career. The tension he crafts is palpable throughout, both in a general atmospheric sense and in the acute sexual tautness. The accompanying score from the genius of Clint Mansell (Reqiuem for a Dream, The Wrestler) is also suitably eerie. In terms of the story, Stoker hardly offers anything original, but Park takes a standard psychological thriller and develops it into a truly excellent slice of cinema by using the medium of film to its fullest extent.
Of course, the risqué, taboo subject matter is likely to put off some audiences (one only has to look at how divided Stoker’s critical reception has been), but giving Stoker a chance really does pay off. My one critique would be that it was slightly too diluted, leaving a conclusion that lacked the power to elevate this from great to truly amazing.
VERDICT; For me personally, Stoker does not quite reach the dizzying heights of brilliance Park achieved in his Vengeance trilogy, but for an American debut and as a stand-alone thriller, this is an absolute triumph.
4/5 or 8/10