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Lorraine and Ed Warren travel to north London to help a single mother raising four children alone in a house plagued by malicious spirits. The Conjuring 2 2016 review : **This time a London family struggle in their haunted house.**
First of all, I am not a big fan of the first film, but I liked that. Now this sequel was not bad either. This time it takes us to the London. But the film reminded me the 80s film 'Poltergeist', particularly the second part. So don't assume it is exactly the same, only the scenes involving house seems similar, but the story was different. It is another true story based film, that's what they said in the opening statement. You're not forced to believe that, if you're here for an entertainment, you will get that if you put your logics away for the two hours.
A family of four young children and their mother living in a house in the London witness some serious paranormal activities lately. Particularly the eleven year old girl affected the most with the spirit the house possessed. So the American couple from the first film are brought in to do their best to help the family. When they try to contact the spirit, they won't get what they were looking for. Instead, an unexpected blame goes for the girl and soon the family loses confidence in them. The overcoming those misunderstanding, particularly realising the truth brings a twist before concluding the tale.
The one twenty minute never looked too long. Because there's always something keeps happening, so the audience to keep engaged with. Probably this is won't be your best horror film of the years, but being a horror themed film, it had good form of those contents. Not too scary, at a time those clichés were used in a good way to bring freshness in the scenes. I will credit the writers for that. Besides, the actors were undoubtedly good, including those little ones. For me this is a better horror film and I definitely look for another sequel. I hope this one would stand up to your expectations.
_7.5/10_ I know I'm in the minority on this, but I actually preferred it to the original.
_Final rating:★★★ - I personally recommend you give it a go._ I'm giving this half a star more than I gave the first movie. As a horror film in its own rite, it's competently made, although somewhat predictable as it follows most of the traditional haunted house film tropes. But it is better than the first one in that it's a more cohesive film, with such corrections as how the background "monster" actually does play a part in the story, whereas in the first film Annabelle was shoehorned in but had nothing to do with the main story and served only as a distraction.
Ultimately, the reason I can't rate this film higher is because it's about the Warrens, who were a couple of charlatans that took advantage of vulnerable and desperate people. While this is touched on briefly, it's done more in the context of people who don't believe them are all mean and unsympathetic.
Again, it's a competently made horror film that's better than its predecessor, if a little predictable, but don't look at it as being based on a true story. Take it with a massive grain of salt.
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For Peter Parker, life is busy. Between taking out the bad guys as Spider-Man and spending time with the person he loves, Gwen Stacy, high school graduation cannot come quickly enough. Peter has not forgotten about the promise he made to Gwen’s father to protect her by staying away, but that is a promise he cannot keep. Things will change for Peter when a new villain, Electro, emerges, an old friend, Harry Osborn, returns, and Peter uncovers new clues about his past. The Amazing Spider-Man 2 2014 review : The second movie in the new Spider-man movie series that directed by Marc Webb. I doubt his potential after seeing this movie. I feel someone should take his position before it become too late. In the history of the Spider-man movies, from all the 6 this one is the worst. Commercially it has done a great business that grabbed around $800 million all over the world, but failed to deliver another quality movie for the fans. The movie engaged with the too much character and subplots. The subplots were not placed in the right spots, kind of random appearance brings the chaos in understanding the story. I had a high hope on this movie and it did not supply well. Frankly, I kind of lost interest in Spider-man. Maybe because it was too soon to reboot, I guess.
> **‘‘You want to be the hero. > And now you gotta pay the price.’’**
The first movie gave a decent re-start for the refreshed Spider-man movie series. And what happened here in this second installment was a disaster. The first thing is it was nearly a 2 and half an hour movie that brought me lightly a headache to carry on thus far. Actually, it was 10 minutes shorter than what it is now, but in the end they have developed a bit longer to show the opening scene of the third movie. When a movie got a powerful hero, it should have equally matched antagonist. If they are matched, then the fight between them are the next thing to bring the best out of it. I think the Electro man did not click as they have expected, at least not to me. The strength he had was something beyond spider-man, but did not unleash him in a perfect manner. Though Jamie Foxx was not bad in that avatar, the filmmakers kind of wasted his presence for not so good scenes.
Remember the original Spider-man was the modern superhero movies, I mean it was done using computer graphics. Afterwards 'Batman', 'Iron Man', 'Thor' and all were followed. I like the version with Tobey Maguire in it, though my rating declined by movie after another in the trilogy. This reboot series had a good opening, but failed to get the momentum going. Especially all the emotions were looked fakes that do not appeal like the original movie series did. Yes, it had a wonderful box office and that does not mean the movie is good, either worst. But expected a little better, especially in the negative characters. Andrew Garfield was good, not awesome, because most of his masked parts were CGI. Emma stone was another let down and could not help comparing her with Kristen Dunst, because she was no way near, at all. The Dane DeHaan role had the same issue and I don't know why people did not get better space in the movie that ran 140 minutes long. Like I said subplot spoiled everything I think. The digital 3D and stunts were poor. Yeah, there are many things to complain about it than to praise, but all the answer should come in the next sequel. If that makes bigger, not commercially, I mean with a good story, graphics and performances then there will be no problem. But if it fails, I had to say 'bring back the fourth installment of the original movie series'. Definitely not worth a watch, but anyway most of the guys going to watch it or already watched it. It seems that Spider Man is doomed to receive mediocre to abysmal implementations on the big screen. Well, at least in my opinion. The Amazing Spider Man 2 currently have a rating of 7.1 which quite surprises me. This was not the worst Spider Man movie. The 2nd instalment, Spider-Man 2, in the first series with Tobey Maquire still holds that title firmly.
There are some nice special effect fireworks going on and there are some funny parts when Peter Parker puts on the mask and goes to action but apart from that I found the movie uninspired, with a mediocre plot and sometimes downright boring. The plot is perhaps suitable for a comics magazine with its standard set of unlikely events, backstabbing big-corporate employees and disgruntled scientists becoming super villains but on the big-screen one would expect a wee bit more effort going into the plot.
The main villain, Electro, was … well not really giving much of an impression. He never lifted above the pretty silly scientist letting everyone walk all over him and doing really, really stupid things like trying to put two high voltage cables together without turning off the power. Sure he tried to give a menacing appearance towards the end but to me he never really managed to elevate himself to a real super-villain. I almost got the impression that the director actually realized that Electra was not good enough and so decided to come up with some convoluted scheme to throw in The Green Goblin at the end. None of these villains are really bad, just mediocre.
Then of course there is the obligatory Peter Parker wallowing in self-pity that every director seems to just have to put in these movies. It is not funny and downright boring. And for the ending cliffhanger they throw in the Rhino…as some jerk in a monster mechanical suit :-( . What the f…? The Rhino is supposed to have a polymer bonded to his skin and augmented strength and speed. Not be running around in some silly mechanical Rhino toy!
The entertainment factor of this movie comes almost entirely from the SFX action and a few select scenes. Otherwise the movie was fairly (yawn) mediocre as far as I am concerned. Having said that, being the sci-fi and super-hero fan that I am, I will probably buy the next instalment anyway if one comes out. The story is predictable and with zero neurons on it but Garfield and Stone connection is good and the comedy moments sort of enjoyable.
Probably you could remove the super-hero mess and you would had a much better romantic comedy. Spider-Man stuffed once again.
Marc Webb returns to direct what Sony had hoped was the second instalment of a longer running reboot of the Spider-Man franchise. Writing this now, I'm armed with the knowledge that once again the web slinger will get another reboot in 2017, which after viewing this sequel comes as no surprise.
It's not so much that it's a bad film, or a bad Spider-Man film at that, it's just that it feels all very familiar, whilst simultaneously hugging the same pitfalls as Sam Raimi's Spiderman 3. Webb tries to juggle a screenplay with 3 villains (well two and a half really), a tricky romance between Peter Parker (Andrew Garfield) and Gwen Stacy (Emma Stone), and of course there's school, a best friend and affairs of the home heart to deal with.
The introduction of Electro (Jamie Foxx) is a good move, inputting a new villain into the spidey world is most welcome. Yet in spite of Foxx earning some level of sympathy with the characterisation, it never really works and unfortunately draws comparisons with a certain Mr. Freeze from another franchise. Dane DeHaan comes in as Harry Osborn, soon to be Green Goblin, again the tortured soul act is well performed, but come Goblin time the make up and effects work is laughable. While Paul Giamati as Aleksei Sytsevich - cum - Rhino, is having fun but is barely in the picture.
Stone is the best thing in it by far, while Garfield works hard, but there is no getting away from the fact that they both are - and look - too old for their parts. The action is fun and pulse raising, but there's not enough of it to sustain a running time of 2 hours and 20 minutes. Though on the plus side Webb and his team are to be applauded for choosing a story line that is ultimately bold and contains a great emotional whack. All told it's a shaky entry to the spidey world, one that once again forced Sony into another rethink. Lets hope the next journey spidey goes on has some clarity and streamlined sense. 6/10 Had high hopes for this one because of the first film. Was not disappointed!
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Ex-government operative Bryan Mills finds his life is shattered when he's falsely accused of a murder that hits close to home. As he's pursued by a savvy police inspector, Mills employs his particular set of skills to track the real killer and exact his unique brand of justice. Taken 3 2014 review : > Independently a fine movie rather being associated with TAKEN.
Actually, it was not a bad movie, I really enjoyed it. But associated with 'Taken' and being the third film in the series was the setback. Because unlike the first two films, this one was somewhat detached from the original theme. Except the cast from the previous two, the story takes place in a completely different platform. From all the three films, the phone call between father and daughter was retained, but was not effective as the first one which became just a trademark of the series, that's all.
The first half creates the puzzle and next half solves it. As expected, it was a typical structure in this trilogy, but the last quarter was turned into something like 'Mission Impossible'. In 'Taken' films, Bryan Mills (our lead guy) works alone, but he formed a team with a tech guy and others. That does not sound good, at least tried to be different from the original movie.
It is a little disappointment for 'Taken' fans, but you will have a best shot if you see it as an independent one off movie. Yes could have made a better action flick if it was not linked to it. Hope it all ends here like they have said. As a trilogy, it failed, or maybe we can call it a 50-50. But the first one was a masterpiece, a trendsetting piece.
6.5/10 The rugged and feisty Liam Neeson (as on-screen alter ego ex-CIA operative Bryan Mills) is back in fighting form for a third and supposedly final go-around in ‘Taken 3′. This tired and tepid action-packed crime thriller is directed by French filmmaker Olivier Megaton (‘Taken 2’, ‘Transporter 3’) with screenwriting credits attributed to ‘Taken’ producer Luc Besson and Robert Mark Kamen. Clearly Neeson and company want to squeeze the remaining strained juices out of the ‘Taken’ film franchise as this movie series trilogy ends on an exhausting whimper. Uninspired, toothless and motoring on empty impishness, ‘Taken 3′ has run its kinetic course for the aging Neeson to aim, shoot and take down some serious repetitive butt-kicking numbers.
After the last two energizing installments where flashy foreign locales were a major part of the appealing ‘Taken’ universe, ‘Taken 3′ is reduced to unraveling in the uneventful backyard of familiar Los Angeles that definitely lacks the exotic excitement and visual vitality that were previously showcased in posh landscapes such as Paris and Istanbul. In fact, star Neeson reportedly nixed the idea to partake in the ‘Taken 3′ production if there was another concept of kidnapping involved. Huh? Why avoid the element of kidnapping when in fact it was the soundly running gimmick that made the ‘Taken’ experience palpable and pulsating? Still, this is the least of ‘Taken 3’s bothersome problems as the movie delves in the manufactured mockery involving cliched car chases, sketchy gunplay and the inclusion of countless Russian mobsters parading about in obligatory fashion. Importantly, even Neeson seems quite disengaged as his robotic Bryan Mills goes through the motions trying to find some upside in the forced upbeat shenanigans that seem to trudge along scene after scene.
The very first outing in ‘Taken’ took audiences by surprised as it featured a matured Neeson as an avenging former CIA human weapon Mills committed to his fatherly duties in manhandling the Albanian human traffickers that dared to abscond his teen daughter Kim (Maggie Grace). In ‘Taken 2′, the hostile adversaries want Mills’s head on a platter after he tore up their territory in his crusade to rescue his precious offspring from the opportunistic ruffians. Now Mills finds his neck on the line in the connection with his ex-wife Lenore’s (Famke Janssen) brutal murder. Look out LA…the harried Bryan Mills is out in survival mode. The question remains: whose blood will be spilled in the process?
Prior to Lenore’s senseless demise, she had visited her ex-hubby Bryan and the feelings between the former spouses are still strong. Mills still carries an emotional torch for Lenore but he cannot act upon his affections for her. Poor Lenore is trapped in her current unhappy marriage with an insufferable moneybags misfit Stuart St. John (Dougray Scott). In the aftermath of Lenore’s death, the distraught and beleaguered Mills finds out the trouble that he is embroiled in so convincingly. As a result of his former lover’s slaughtering Bryan Mills is reeling with outrage. Yes, folks, it appears that Mills is on the run and must prove his innocence and bring to the forefront the murderers that butchered Lenore. Mills has on his mind the need to protect his exposed college-aged daughter Kim from potential harm as well.
In the meanwhile, the LAPD lead investigator in Franck Doltzer (Oscar winner Forest Whitaker, ‘The King Of Scotland’) must track down the defiant Mills and make some sense out of the Lenore Mills St. John slaying. Mills proves to be elusive and crafty as usual while leaving behind his trademark trashing of battered bodies and bouncing bullets in the chaotic southern California streets.
Seemingly, the catchy novelty act of a hulking middle-aged Neeson exploding at the seams in action-oriented fashion resonated with glorious forethought. After all, ‘Taken’ single-handily resurrected Neeson’s box office cred and made him a cinematic hipster to the young folks and his aged contemporaries alike. However, the third time is not the charm in revisiting the gun-toting ‘grandpa’. Sadly, ‘Taken 3′ is mindlessly played out as Neeson’s Mills or the handlers behind this hollow hedonistic actioner have dipped their toes in an empty well of ideas to conclude this three-part crime caper.
Let’s face facts…we all were ‘Taken’ in by this pseudo punchy action yarn that no longer generates the destructive heat it once punctuated with carefree confidence.
Taken 3 (2015)
29th Century Fox
1 hr. 49 mins.
Starring: Liam Neeson, Forest Whitaker, Famke Jannssen, Maggie Grace and Dougray Scott
Directed by: Olivier Megaton
Rated: PG-13
Genre: Action and Adventure/Crime thriller/Mystery and Suspense
Critic’s rating: ** stars (out of four stars) I was looking forward to this movie and I have to say that I was a wee bit disappointed. It is a decent enough action movie but the script leaves somewhat to be desired. A good chunk of the movie is quite good, actually it is very good, but there are some crucial scenes that, in my opinion, really drags it down to a rather mediocre level.
The plot is a fairly classical, not a very intelligent nor a very original, one. When trying to push the third sequel in a series Hollywood have a tendency to fall back on certain “trusted” elements. Like, make the hero haunted by the law and / or the government (no I do not consider the government to be the same as the law) or kill off some of the main (or at least likable) characters.
In this movie they are doing both. I do not know why this always seems to be the standard solution because I certainly do not like it. Are the general movie going audience really falling for these, in my mind, cheap scripts? I guess they must be since this formula is repeated over and over again. Well, it is not for me to judge other peoples tastes and if I would have been a bean counter for the movie industry then it would really have been my duty to squeeze out as much money as possible regardless of whether I thought it would make a good movie or not, However, I am not. I am a consumer of movies and my personal opinion is that these plot elements are pretty cheap and not really to my liking. But then, that is just me.
Anyway, the movie is not really bad. It is a decent enough action movie and, in general, I quite like the performance of Liam Neeson. He is the half-sad, silent and, most of all, ass-kicking hero that I like. He is pretty much what holds this movie together. Well, that was perhaps not entirely fair. Forrest Whitaker is doing a quite good job as well. Most of the other characters are mostly fillers. The main bad guy started off fairly good but he really never got the chance to shine and the ending scenes with the big confrontation was…well I would say pretty pathetic.
This brings us to my man gripe with this movie. Up until this point Liam Neeson was really playing the big bad, and really skilled, killing machine. The way he, with the help of his friends, entered the bad guy’s stronghold was perhaps not very innovative (seen that, been there, and done that) but at least it was professional. After that however it turned into a bloody joke. Not only does our hero walk into a heavily defended stronghold carrying only a small pea shooter but every time he manages to liberate a decent weapon from the hopelessly incompetent bad guys he throws it away and, occasionally, picks up another pea shooter. What the f…?
Then we have the fairly ridiculous big fight at the end where the bad guy runs around in his underwear. That was just embarrassing. Maybe I could have swallowed the underwear thing if it was not for the fact that Lieam Neeson suddenly lost all kind of professionalism. Apart from the pea shooter syndrome mentioned before he just gets himself wacked by this maniac until, in the last minute, he miraculously recovers and gets the upper hand. There were a few minor glimpses of intelligence in the whole scene but they were never really exploited.
On the whole, if would say this was a fairly decent and enjoyable action movie but I was expecting more from it. If the last third of the movie would have matched the first two thirds then my rating would have been higher. Maybe Liam Neeson is not a big enough star, although I like him a lot, to pick his roles like he wants to but I would say that he should indeed be a bit more picky and read the scripts before signing on. I can handle the 47 cuts and shakey cam poorly trying to hide the fact that Liam Neeson can't run. I can handle the inevitability of "More money means more explosions!" in franchises like these. I can even contort myself to handle the right-out-the-gate fridging of one of my favourite actresses that _Taken 3_ copped so much flak for. But what I cannot handle is how absolutely fucking dumb this movie gets in the second half. Every five minutes my roommate or I had to scream "WHAT!?" at the things that were happening on screen, and disparage the various idiotic and/or nonsense decisions that were being made.
_Final rating:★½: - Boring/disappointing. Avoid where possible._
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All unemployed, Ki-taek's family takes peculiar interest in the wealthy and glamorous Parks for their livelihood until they get entangled in an unexpected incident. Parasite 2019 review : What makes ‘Parasite’ so satisfying is that it commits neither error. It’s an engrossing, stylish and near perfect movie, and its underlying themes go beyond merely pointing out class exploitation to challenge the logic of capital. Though he is often juggling a mosaic of characters, themes and social issues, Bong never eschews his anarchic impulses and dark humour. It’s a movie that should be seen as widely as possible, if only so that Bong Joon-ho gets more chances to make movies for modern audiences that badly need them. - Jake Watt
Read Jake's full article... https://www.maketheswitch.com.au/article/review-parasite-a-bloodthirsty-and-very-funny-look-at-class-warfare
Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews. The working class and down on their luck Kim family struggle to make ends meet. When a friend of the son, Ki-Woo’s, who is an English tutor for the daughter in the wealthy Park family, has to leave his position, he recommends Ki-Woo for the job. Now having an "in" with the wealthy family, the Kims begin plotting the downfall of the current household servants and inserting themselves into those vacant positions, making them all gainfully employed and with money finally flowing into the household. But not everything is as it seems in the Park house or with their previous servants.
This movie starts out as a comedy and quickly goes into social commentary, pointing out the differences between the poor working class family and the wealthy privileged family. The differences are ones that get commonly pointed out with the well-to-do having what usually gets termed as first-world-problems, while the poor family is literally trying to survive and save meager possessions in a flood. It doesn’t shy away or try to be subtle about it, but interestingly enough, we don’t feel beaten over the head with it either, which is a major change from the ham-fisted approach taken by most filmmakers. Couching this in a comedy is a good approach, as well, as the audience’s guard is let down and we become more receptive to the ideas.
However, I do say it’s MOSTLY a comedy. The third act takes a dark, dark turn, and the contrast, not to mention general disdain and even indifference, between the classes becomes much more severe. This gets into some hard territory, and characters that we’ve found quirky and even come to like in some ways show very different sides of themselves. At the same time, it doesn’t feel unexpected, almost like we could tell that this was under the surface all the time and tried to ignore it, but aren’t surprised by it when it does show up. This is some masterful characterization!
Another aspect of note is that this film is rich in allegory and metaphor. It’s a smart film, yet at the same time the filmmakers are not condescending about it. They give the audience credit for being able to understand the symbolism and don’t spoon feed you everything, which is a refreshing change from the usual head-beating most filmmakers go for. At the same time, they understand that not every audience member will understand or immediately pick up on every symbol, but they have crafted this so carefully and so perfectly that you don’t have to understand each and every one. That understanding merely enriches the experience, but isn’t essential to it.
This film has gotten some recognition, and deservedly so. It is rich, intelligent, and polished to a degree that we sadly don’t see as often as we should nowadays, showing the filmmakers are masters of their craft. This is easily one of the best films I’ve seen in 2019. Highly recommended! This is VERY HIGHLY OVERRATED. The most part of the movie is foul-playing, most of those scenes seem to have been copied from the 1999/old Vijay’s movie: Minsaara Kannan [IMDB: https://www.imdb.com/title/tt7562630/?ref_=nv_sr_srsg_2], (Warning: This again might be a copy of some other movie as well]. “Morse code” has been used in a much better way in 2017 Ajith’s film: Vivegam [IMDB:https://www.imdb.com/title/tt6878378/?ref_=nv_sr_srsg_0] [Letterboxd: https://letterboxd.com/film/vivegam/] I just don’t understand what makes this movie so special that it has been appraised so highly. It is not even 10% of the Tamil movies at this level/standard. People who’re praising this movie must start watching Tamil movies instead of Korean, there are so many gems that have gone unnoticed. There is really nothing special in this movie that stands out. Cannot digest that an average movie like this has got so much limelight. Btw: Where does this kinda BS trend start off? errbnb
News that Adam McCay is collaborating with Bong Joon Ho to retool Parasite as a Netflix series makes me positively giddy. Parasite is easily the best movie I've seen since the Big Short. Joon Ho's compelling ease of execution alongside the effortless lure of the plot's trappings had me hooked in an instant. I would have been happy watching this family fold pizza boxes for two hours. The story, like the family, takes on a life of its own, rapidly elevating to a setup impossible to sustain. The Bunuelesque occupy-the-rich scheme gleefully, blissfully ascends to lofty heights only, inevitably, to hit the fatal fan. The poor buggers ultimately find themselves literally chin deep in their own sh*t. The hotsy-totsy aristocrats, meanwhile, host a lovely garden party that flips into a tragic Shakespearean bloodbath. It's all fun and games till someone loses a daughter. (Note to the rich: Check the references of new hires and think twice before inviting riffraff to your afternoon functions). Decades in the making, the implosion of a middle income buffer and a widening disparity between social classes make Parasite a must-see for all income brackets. You don't have to be rich or detest or envy the rich to enjoy this instant classic. But please, whatever you do, don't try this a home, folks. Never combine the rich and poor without safety goggles or outside the confines of a controlled and supervised laboratory setting. "You know what kind of plan that never fails? No plan. No plan at all. You know why? Because life cannot be planned."
'Parasite' is absolutely fantastic. I'm still buzzing how good this movie is. Unpredictable and nuts. You know, this summer I was starting to get a little worn out with the endless sequels, remakes and soulless crash grabs, so I find it refreshing we get movies like this once awhile.
I admire Bong Joon-Ho as a director, especially his Korean movies. Not to say I dislike his English language films like 'Snowpiercer' and 'Okja', but in my personal opinion those don't match the same quality as his Korean movies and there isn't a sex pest trying to control his work. Anywhere, Bong Joon-Ho is one of the best working directors alive and 'Parasite' proves it.
The movie perfectly blends drama and comedy so effortlessly, it basically breaks the impossible. And the comedy is actually hilarious and well written with the execution being sold on the actors. The thing I love so much is how funny, thrilling and intense the movie can be, hijacking all senses and emotions all wrapped into one - only a few directors can pull something this unique.
The performances from everyone was brilliant and there's so much depth to each character, they make the movie as captivating as it is. The cinematography was beautiful, the music was remarkable, and the movie says so much it's the reason why I was engaged throughout.
I highly recommend people to avoid knowing anything before going in, because trust me it will add to your experience.
Overall rating: Finally, a breath of fresh air. My second favorite movie of this year. If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
Yes, I know. I'm late as hell. I don't really have anything to offer you besides my personal opinion. Theses and video essays are breaking down Parasite at such a deep level that I can't really write anything new. Nevertheless, I'll share my thoughts on it because it would be a massive miss from someone who considers himself as a film critic. I had this movie on my watchlist since last summer, but I kept delaying it, underestimating my time. So, no, I'm not just watching Parasite because it won Best Picture at the Oscars, I always planned on it.
In addition to that, yes, I also love it like most people, and no, I'm not writing this because I'm "following the pack". Bong Joon Ho simply delivered one of 2019's best films, and it's definitely cracking a spot in my Top10. I really enjoyed what Bong did with Okja, and I'm a massive fan of Snowpiercer. Therefore, this isn't just another South Korean flick. It's directed and co-written by someone who has been proving himself for quite some time. Even though I still defend that Sam Mendes deserved to win Best Director for his work on 1917, I'm more than happy that a foreign movie finally won Best Picture, and what a film to do it!
It can be described as a dark dramedy, but I think social satire is more adequate. The differences between the rich and the poor are beautifully shown on-screen exclusively through visuals. There's so little exposition, which is one of the reasons why Parasite has one of 2019's best screenplays. The balance between explaining something and leaving it ambiguous is perfect. Throughout the runtime, Bong Joon Ho leans on an actor's face so that the audience can understand what that character is feeling through its expressions, which will explain its actions later on.
There's a sequence that surely has been heavily discussed for the past months. It's raining, and Bong cleverly divides the screen with how the wealthy family is dealing with it against the poor neighborhood where the Kim family comes from. The gorgeous cinematography, the unforgettable musical score, the seamless editing... Everything about this sequence is technically flawless, and it carries such an emotionally powerful message. Something astonishing and beautiful to look at for some can be a horrible disaster for others.
It's a movie that balances a lot of tones. In ten minutes, the tone goes from funny to dramatic to suspenseful to scary to absolute tragedy... and it all feels incredibly realistic. That's one of my major compliments to Parasite: I never felt like it was fiction. I never thought "this is too much, this would never occur". Even in the third act, where the narrative takes some bold decisions, everything makes sense with what had been shown until then. From shocking character actions to surprising plot points, Bong and Han Jin-won's screenplay is excellent.
Everyone in the cast is fantastic, but Song Kang-ho is the standout, in my opinion. His role as the father of the Kim family is brilliant. I'm actually surprised he wasn't nominated for Best Actor in more award shows. I created a connection with this family in such a way that the ending truly impacted me. It's tough to deny that the writing is what makes Parasite the phenomenon that so many people fell in love with, myself included.
Technically, I don't have any defects to point out. It's one of those films that I firmly believe in having virtually no flaws. I'm in love with the score, I gasped several times at the impressive cinematography, and the editing is perfect. Whatever genre the story decides to go to, it's always entertaining and extremely captivating. Its comedy is very smart, and it made me laugh a lot of times. Its dramatic storylines kept my eyes always focused on what was happening. Even when it briefly delves into the horror territory, it's more suspenseful and scary than most of that genre's flicks nowadays.
All in all, Parasite genuinely surprised me. With so many people hyping it to a ridiculously high level, my expectations were very moderate. Nevertheless, I love it as much or more as everyone else. I know that watching it this late can make some people question my opinion/rating, but I would never love a movie because I "should" or because other people do. It deserves every award it received, especially the ones concerning the screenplay. It's one of the best original stories of the last few years, and it's written in such a brilliant manner, with beautiful visual storytelling instead of the overused exposition. An emotionally resonant message is present throughout the whole runtime, and the various tones are balanced seamlessly. Technically flawless: cinematography, score, editing... everything's absolutely perfect. Nothing is placed without purpose. Not a single line of dialogue is wasted. Bong Joon Ho is a phenomenal filmmaker, one that cares about the art and everything that comes with it. He truly put his heart and soul into this, and it would be a shame if anyone fails to watch this magnificent movie just because it's in a foreign language. Please, don't make such an awful mistake...
Rating: A+ Decent enough dark comedy/thriller, with nice performances and an engaging story, though not entirely sure it was Best Picture worthy though reserving judgment as I've only seen one other nominee, Joker which I loved but not worthy of a BP.
I don't know, maybe I'm a bit disappointed given the awards the film won and my viewpoint would've been different seeing it a couple weeks back. As it is, had some entertaining and thrilling moments, but emotionally can't say I was invested... **3.75/5** **_An uncategorisable masterpiece_**
>_We fat all creatures else to fat us, and we fat ourselves for maggots. Your fat king and your lean beggar is but variable service – two dishes, but to one table._
- William Shakespeare; _The Tragicall Historie of Hamlet Prince of Denmarke_, 4.iii.23-24 (1599-1601)
What is one to make of the utterly uncategorisable and impossible-to-define _Gisaengchung_ [_Parasite_]? Only the third film to win both the Palme d'Or and the Academy Award for Best Picture, after Billy Wilder's _The Lost Weekend_ (1945) and Delbert Mann's _Marty_ (1955), _Parasite_ is one of the best-reviewed films of the century thus far and caused huge waves when it became the first non-English language film to win Best Picture. Co-writer and director Bong Joon-ho also tied with Walt Disney for the most Oscars awarded to one person in one night – four (Best Picture, Best Foreign Language Film, Best Director, and Best Original Screenplay). On top of that, he became the first person in history to win more than three Oscars for a single film. In short, Parasite has had a significant, and relatively unexpected, impact.
But what exactly is _Parasite_? Described on its official website as a "_pitch-black modern fairy-tale_", even a comprehensive plot summary wouldn't adequately delineate its real nature – part comedy of manners, part social satire, part heist film, part thriller, part horror, part family drama, part farce, part economic treatise, part social realism, part tragedy, part allegory. And that's just the opening scene! It's the _Ulysses_ of cinema, adopting and shedding genres so often and so seamlessly that it effectively becomes its own genre. And, like _Ulysses_, it's exceptional in just about every way – screenplay (co-written by Bong and Han Jin-won), directing, cinematography, _mise en scène_, editing, production design, sound design, score, acting. There's not a weak link here, in a film that achieves that rarest of things – it lives up to the hype.
The Kim family are down on their luck. Father Ki-taek (Song Kang-ho), mother Chung-sook (Chang Hyae-jin), daughter Ki-jeong (Park So-dam), and son Ki-woo (Choi Woo-shik) reside in a tiny basement apartment, with their only window looking out onto a popular urination spot in a back alley. With all four unemployed, they eke out a meagre living folding pizza boxes for a nearby restaurant. However, their fortunes change when Ki-Woo meets Min-hyuk (Park Seo-joon), a childhood friend who is now at university. Min-hyuk works as an English tutor for the daughter of a wealthy family, but he's soon to leave Korea, and so suggests that Ki-Woo take over. Armed with a fake diploma created by Ki-jeong on Photoshop, Ki-Woo successfully applies for the job. The Park family, father Dong-ik, (Lee Sun-kyun), mother Yeon-gyo (Cho Yeo-jeong), daughter Da-hye (Jung Ji-so), and son Da-song (Jung Hyeon-jun), welcomes Ki-woo into their lavish home, and upon discovering just how wealthy the Parks are, the Kims hatch an elaborate scheme to oust the Park's current domestic staff and take their places. And so, hiding the fact that they're all related, Ki-taek is hired as a chauffeur, Chung-Sook as a housekeeper, and Ki-jeong as an art therapist for Da-song. However, it doesn't take long before things start to go very, very awry for both families, in ways none of them (or the audience) could ever have imagined.
We live in an era where wealth is distributed upwards and the gap between the haves and have-nots is wider than ever. According to inequality.org, the richest 1% of the world's population controls 45% of global wealth. At the same time, adults with less than $10,000 capital make up 64% of the population and control less than 1% of the wealth. In 2018, Oxfam reported that the wealth of the 26 richest people in the world was equal to the combined wealth of the 3.5 billion poorest people. This is the _milieu_ of _Parasite_, a film which taps into some of the same ideological thinking as gave rise to "_Hell Joseon_" sentiments, wherein up to 75% of Koreans aged 19-34 want to leave the country.
Obviously enough, Bong's main themes are class division and class conflict, the artificiality of societal hierarchy, and the concomitant social inequality and differentiation in status that makes such a hierarchy possible in the first place. As thoroughly entertaining (and funny) as the film is, it remains, in essence, an economic treatise, albeit with a savagely satirical quality. However, make no mistake, this is a satire with teeth – the hilarity and playfulness of the long first act give way to a darker political vibe in the second, before Bong violently deconstructs his own allegory in the emotionally draining and batshit insane third act, ultimately driving the knife home in an epilogue that's about as different from the film's early scenes as you could imagine. Of course, this is far from the first time Bong has dealt with issues of class, touching obliquely on similar themes in _Sarinui Chueok_ [_Memories of Murder_] (2003), _Gwoemul_ [_The Host_] (2006), and _Madeo_ [_Mother_] (2009). _Parasite_'s engagement with class and economics, however, is far more overt, aligning it with Bong's English-language work, _Snowpiercer_ (2013) and _Okja_ (2015). Never before, however, has he been this caustic, this acerbic, but so too this compassionate, this witty. Indeed, _Parasite_ feels like a culmination, the film to which he's been building for his entire career.
In the film's press notes, Bong states;
>_I think that one way to portray the continuing polarisation and inequality of our society is as a sad comedy. We are living in an era when capitalism is the reigning order, and we have no other alternative. It's not just in Korea, but the entire world faces a situation where the tenets of capitalism cannot be ignored. In the real world, the paths of families like our four unemployed protagonists and the Park family are unlikely ever to cross. The only instance is in matters of employment between classes, as when someone is hired as a tutor or a domestic worker. In such cases there are moments when the two classes come into close enough proximity to feel each other's breath. In this film, even though there is no malevolent intention either side, the two classes are pulled into a situation where the slightest slip can lead to fissures and eruptions. In today's capitalistic society there are ranks and castes that are invisible to the eye. We keep them disguised and out of sight, and superficially look down on class hierarchies as a relic of the past, but the reality is that there are class lines that cannot be crossed._
In this manner, the film works as a literalisation of the theory that co-existence between the various classes is becoming increasingly difficult; the Kims and the Parks aren't simply differentiated due to wealth, rather they live in completely different worlds and have vastly different, and largely incompatible, ideologies.
One of the most deftly-handled elements of the film is Bong's avoidance of the clichés one so often finds in films dealing with economics – the Kims are by no means the default protagonists, a victimised family immediately worthy of sympathy, whilst the Parks are by no means the default antagonists, a callous family immediately worthy of scorn. Rather, the Parks are depicted as perfectly friendly and pleasant whilst the Kims are shown to be liars and scoundrels. Indeed, it's the Kims who are the more crassly materialistic of the two families – obsessed with their mobile phones and WhatsApp, we first meet them as they're wandering around their apartment, phones held aloft, trying to pick up their neighbour's WiFi signal. Later, as they ingratiate themselves with the Parks and acquire more and more access to a wealthy lifestyle, all four Kims start to carry themselves differently, as if being in such proximity to wealth has had a physiological effect.
There are no heroes and villains here – Bong is uninterested in trucking in black and white oppositions because such rigid diametrics aren't the norm in the real world. For all their scheming and lying, the Kims merely con their way into menial jobs, trying to earn enough to make survival a little easier. As for the Parks, their wealth has insulated them from the world of families such as the Kims, but their greatest crimes are disconnection and ignorance, nothing more. At the same time, the Kims are depicted as a far more unified and loving family than the Parks. Although all four Kims regularly occupy the same frame, to the best of my recollection, we never see the four Parks together in the same shot; Da-hye and Da-song rarely leave their rooms, Yeon-gyo spends most of her time in the kitchen and living room, and Dong-ik is seen most regularly in his car. It's a wonderful bit of cinematic shorthand to convey a thematic point, with Bong utilising the visual component of the medium to maximum effect – this is a filmmaker who knows precisely what he's doing.
It's in relation to the two family's status as heroes or villains that the film's title is so important. Strictly speaking, the Korean title, "_기생충_" ("gisaengchung"), means "helminth" rather than "parasite", but as a helminth is a parasitic worm, the slight difference in the translation isn't a big deal. In any case, a parasitic organism such as a helminth lives in or on a host and takes its nourishment from that host. A simple reading of this is that the Kims are the parasites and the Parks are the hosts, with the Kims feeding off the Parks' wealth and status. However, in a film where nothing is as it seems, things aren't that simple. Bong depicts the Parks as parasites as well – they've been rendered relatively helpless by their wealth, unable to complete basic tasks such as driving or cleaning without the assistant of working-class employees; i.e. they sustain themselves based off of the labour of their servants. And so, just as the Kims feed off the Parks, the Parks feed off the Kims, in what quickly becomes a symbiotic relationship. Concerning this issue, in his Director's Statement, Bong says,
>_it is increasingly the case in this sad world that humane relationships based on co-existence or symbiosis cannot hold, and one group is pushed into a parasitic relationship with another. In the midst of such a world, who can point their finger at a struggling family, locked in a fight for survival, and call them parasites? It's not that they were parasites from the start. They are our neighbours, friends and colleagues, who have merely been pushed to the edge of a precipice._
However, as strong as the film is narratively and thematically, it also has an aesthetic design to die for. Hong Kyung-pyo's cinematography, for example, is magnificent. Hong also shot Lee Chang-dong's superb _Beoning_ (2018), and the camerawork here has a similar smoothness and restlessness, gliding through the Parks house like it's a fifth member of the Kim family. Lee Ha-jun's production design is also praise-worthy, with the Kims' and Parks' living conditions contrasted in every way; the Parks live in a pristine post-modernist semi-open plan house, accessible only by an electronically controlled gate, and hidden from the street by tall trees and dense shrubs; the Kims, on the other hand, live in a cluttered and dilapidated apartment with barely any room, their toilet situated beside the aforementioned window looking into an alley.
It's also in relation to production design wherein one of the film's best metaphors is to be found, which is also a great example of just how much of a masterwork this is, how completely Bong is in control of his craft. As a film at least partly in the tradition of the "upstairs/downstairs" subgenre (think James Ivory's _The Remains of the Day_ or Robert Altman's _Gosford Park_), Bong literalises the separation between those above and those below insofar as stairways are a recurring motif. The Kims live in a basement apartment without stairs, mirroring their stagnation and inability to rise in a socio-economic sense. On the other hand, the Parks' lavish home has two main stairways – one going up, the other going down into the cellar. As Ki-jeong and Ki-woo gain more access to Da-song and Da-hye, they start to spend most of their time upstairs. Ki-taek and Chung-sook, however, along with Dong-ik and Yeon-gyo, spend most of their time downstairs, indicating a fissure between the adults and their children. The stairway to the cellar is its own unique animal, with Bong shooting it like he's suddenly directing a horror film (there's a thematic reason for this that I can't go into without spoilers). In this way, he bestows upon it an ominousness that, at first, makes little sense, but ultimately reveals itself to be a spectacular bit of foreshadowing. There's also a third stairway in the Park home, one not revealed until late in the second act, but one which has huge narrative and thematic importance.
_Parasite_ is a masterpiece, with Bong, operating at the peak of his abilities, never putting a foot wrong. It could have been a self-serving and didactic message-movie – a homily to the honour of the poor or a deconstruction of the unhappiness of the rich – but Bong is far too talented for that, avoiding rhetorical cant, and allowing the film to find its own space. Quite unlike anything I've ever seen, it works as allegory just as well as it works as social realism just as well as it works as comedy just as well as it works as tragedy, and so on. This is cinema as art; it's the best Palme d'Or winner since Terrence Malick's _The Tree of Life_ in 2011 and the best Best Picture winner since Kevin Costner's _Dances with Wolves_ in 1990. Bong is currently working with HBO to develop a limited series English-language adaptation, which fills me with dread, but no matter what happens with that project, no matter how good (or bad) it may be, here in 2020, Parasite has proven itself very much a game-changer, a film that deserves every bit of praise it's received. First of all it's a masterpiece, it's shows how the higher class actually judge the lower class people. At it looks like a normal story of a family who all are struggling hard to live, but their life gets changed when all four of them one by one get employed in park's house. After sometime we also got to see the frustration and anger of Kim family on park family because they were judged by them.their were no unnecessarily plot twist in the film which led the film very smoothly. All over it's a must watch film. "We all live in the same country... called capitalism."
_Final rating:★★★★ - Very strong appeal. A personal favourite._ What starts as a seemingly simple premise quickly unfolds into much more. I didn't expect an enhanced perspective into my own life, but that's just what happened. Parasite is a timely analysis of the ever-increasing divide between rich and poor, all while being witty enough to make for an exhilarating ride. One of the funniest and most disturbing films I've ever seen. Probably some of the best cinematography ever. 10/10 Despite hearing about this from day dot, I thankfully managed to avoid knowing anything about this other than it's title, director and subsequent success. Boy am I glad, because it's quite the ride!
No doubt about it, 'Parasite' is a high quality film. It wasn't at all what I had assumed it would be like, it has a much more comedic side to it than I was expecting - and that's a positive. Yet, it's still pretty dark. It's a great mix. The plot is one that is very entertaining to see play out - the ending is particularly nuts.
The cast do a fantastic job, especially the main quartet. Song Kang-ho would be my personal standout, I enjoyed watching him throughout. Choi Woo-shik is very good too, as are Park So-dam and Jang Hye-jin. All of the onscreen talent do terrific though, from Cho Yeo-jeong to Lee Jung-eun.
I don't have any negatives for this, it's a brilliant film. From the cinematography, to the dialogue, to the locations, to the humour. You name it, this produces it on an impressive level.
Not that I need to say this, given I'm seemingly one of the last few who hadn't, but you must watch this! Parasite is fantastic.
It's clever. It's funny. It's disturbing. And yes, there is a powerful underlying theme of the divide between rich and poor. But the latter is so deftly weaved into the fabric of the story, you really don't think about it much until a fateful scene before the last act.
It fully deserved the Oscar for Best Picture and Director. If only for the peach fuzz fight scene.
