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Post by Martin Stett on Oct 28, 2019 23:38:31 GMT
Insane that he can't be tried for the murders because the statute of limitations expired in 2006.Imagine having a Statute of limitation on murder!. Not stated in that article is that he is currently incarcerated for raping and murdering his sister-in-law. So... that's something, I guess. |
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Film Socialism
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Post by Film Socialism on Oct 29, 2019 2:56:33 GMT
update its pretty good tbh
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Post by Miles Morales on Oct 29, 2019 14:16:24 GMT
Holy shit, this was amazing. Going into this, I had no idea what to expect from it (didn't see any trailers, didn't read any kind of synopsis), and thus was completely unprepared for the wild plot turns. I'm still reeling from the sheer impact of the ending. Phenomenal stuff, easily top-ten-of-the-decade material.
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Post by jimmalone on Oct 30, 2019 19:50:00 GMT
A fascinating film for sure. Visual it's incredible what Bong Joon-Ho and Kyung-pyo Hong are doing with a film, which spends most of the time inside one house. I don't agree with all of Bong's views - at least what I think they are, when watching the movie - but it's a wonderful satire about people of different "living classes", when they live on their own as well as when they meet. Though actually it's the envy between people itsself that can lead to huge disasters as seen here.
It's also wonderful directed in that way how Bong changes the tone of the movie from being incredible comical in the beginning to a much darker territory. Though he doesn't succeed too well on a emotional level for me, that's one of the little deficits of the film.
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morton
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Post by morton on Nov 1, 2019 2:43:21 GMT
I'm not quite on the hype train. But at the same time I certainly do consider it to be a solid piece of work. The unfolding of the story is indeed quite entertaining to experience although I don't particularly feel that the twists were THAT mind-blowing. They were good surprises though and there's definitely a reason why Bong asked the reviewers not to reveal the movie's secrets (his video message was actually played before the small press screening I was invited to before its Russian release). Then again, I feel the same way about pretty much every movie as I'm firmly not a believer in the ' The story doesn't matter, it's only HOW it's told that does' kind of theory. It really is a strong film overall but I guess my issues were two-fold: 1) the social commentary was really on the nose and didn't amount to all that much for me as I didn't feel the movie had anything profound to say about its theme; 2) I wanted the visual presentation to be a bit more interesting since I felt that the visual decisions (a relative lack of memorable ones) was exactly what separated this from the heights of Hitchcock or the Coens. But the plot itself, the ensemble and the energy of it certainly were on point. I can see what you're saying here, as I do feel that Bong's works are usually pretty blunt and on-the-nose. Subterfuge isn't his long suit. But I nevertheless felt so engaged because it felt like it was evoking classical-era cinema, when plots usually were heavily laden with moral consciousness to "make a point", and he'd just updated it for modern sensibilities. I also think there were a lot of really great visual cues in this movie (the flooding toilet was a favorite of mine).
I felt it was like Us in that the lower class was confined to the basements of the worlds, but the class commentary was handled a lot better even though it wasn't subtle here. Near the end, I just wanted the whole theater to cheer about the father stabbing the rich father even though I knew somehow he was going to end up confined in the basement in the end . Joker also tried to do class commentary, but out of the three, I felt it did it the worst. This was very, very good. It was nicely amusing, but dark and moody at the same time. As JangoB mentioned, the social commentary is a blunt as a rock, but subtlety isn't always a requirement for me, and if a story is being told well then it isn't really needed at all. I adored the ensemble, from which Kang-ho Song and Yeo-jeong Jo were the clear standouts. I think Mrs. Park is one of my favourite characters of 2019 so far. I definitely appreciated those final few minutes, bittersweet as they are. This is definitely one to mull over and a rewatch will happen soon I'm sure, but in the interim I can say this was great stuff. I agree. For me, I think it's possible to be on the nose and very blunt, and it won't bother me as long as it's done correctly, but unfortunately that rarely happens which made me love this even more. In fact, I don't see any other film topping it this year. |
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chris3
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I just ordered a slice of pumpkin pie...
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Post by chris3 on Nov 3, 2019 6:25:13 GMT
It's a rare experience to witness an artist whom I've loved for many years apply everything learned along the way to craft his/her career masterpiece. I knew this movie was going to be good, but I didn't know this would be the film I've waited all year for. It's just been one viewing and I'm still high from the rush of it all, but this is clearly one of the best films I've seen all decade and an instant classic masterpiece that is worthy of every single word of acclaim and then some. This is the movie adult audiences should be paying money to see right now. My whole theater loved it, and couldn't wait to start discussing it as soon as the credits rolled. This isn't a film just for critics and internet snobs like us. I can see this going very far on Oscar night, and Foreign Film is in the bag. But it's crass to go into its awards prospects. Every year I chase for the rush of a film experience like the one I've just had. From the first thirty seconds of the film I knew I was in for something good, and I had a giant stupid grin on my face from start to finish, overwhelmed by the thrilling and unexpected places the narrative took me. Bong Joon-ho has swung for the fences, taken enormous risks and gotten away with every single one every step of the way. To steal a quote from Ebert in his Fargo review: films like Parasite are why I love the movies.
10
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Post by Viced on Nov 4, 2019 21:36:44 GMT
Yeaaaaah... this was great. Clearly the work of a master in complete control of their craft. The script, camerawork, performances (Kang-ho Song is somehow great in a moment where he just lays there with his eyes closed). Definitely got some Handmaiden vibes during the magical stretch where each family member is weaseled into the household one-by-one.
There were a few plot points (and forgotten plot points) that kind of bugged me... and I'm not sure how well the batshit birthday party worked for me, but I forgave any minor qualms after the incredible ending.
8.5/10... maybe higher on re-watch. And a worthy entry into my top 3 of the year to go alongside my best top 2 of the decade (The Irishman/Once Upon a Time in Hollywood). So glad I waited to see it in theaters!
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Post by Ryan_MYeah on Nov 4, 2019 23:31:06 GMT
I just found my new favorite film of the year so far.
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Post by stephen on Nov 5, 2019 0:00:38 GMT
I really should point this out: the first time I watched it, it impressed me a great deal. The second time, though, it straight-up knocked me on my ass. The second viewing is crucial.
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Post by mhynson27 on Nov 5, 2019 0:19:16 GMT
I really should point this out: the first time I watched it, it impressed me a great deal. The second time, though, it straight-up knocked me on my ass. The second viewing is crucial.Couldn't agree more, from 1st viewing to 2nd it went from being my #3 to my very comfortable #1. |
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Post by Ryan_MYeah on Nov 5, 2019 1:59:12 GMT
I really should point this out: the first time I watched it, it impressed me a great deal. The second time, though, it straight-up knocked me on my ass. The second viewing is crucial.Well, I know what I’m putting on my watchlist next weekend. |
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Archie
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Eraserhead son or Inland Empire daughter?
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Post by Archie on Nov 11, 2019 20:32:59 GMT
Best birthday party ever.
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Post by Billy_Costigan on Nov 12, 2019 1:03:36 GMT
My #1 of the year. Glad it's getting the attention it deserves. Korean cinema has been great the past 20 yrs... about time people start recognizing it.
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Post by Ryan_MYeah on Nov 12, 2019 22:35:37 GMT
I just found my new favorite film of the year so far. I still stand by it! |
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AKenjiB
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Post by AKenjiB on Nov 12, 2019 23:51:38 GMT
Even better on the second viewing. Knowing what was going to occur didn’t erase the tension gradually built from beginning to end.
I saw this with family who doesn’t watch many foreign films and they all really enjoyed it. Parasite manages to feel both accessible without being simple or dumbed-down. The class themes are clear without feeling forced, the story is easy to follow but unpredictable, it juggles numerous tones without feeling jarring. If you wanna get a friend into foreign films, this could be a good one to watch.
I don’t exactly have a lot new to say but it’s certainly one of the best directed films of the year. Every shot feels purposeful. Likewise, every actor naturally fits into their role that I don’t really wanna single anyone out, but I’d be thrilled if Song Kang-Ho got an Academy Award nomination. And the film better be a lock for Best Production Design. The house is captured so well that you feel like you’re living in it. Even a more casual filmgoer unconcerned about technical attributes will still appreciate watching a film where you have no idea where the story is going. It takes so many clever turns that keep the stakes high.
My favorite film of 2019 so far and I wouldn’t be surprised if nothing tops it.
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Post by Tommen_Saperstein on Nov 12, 2019 23:53:34 GMT
Still due a rewatch. Can't imagine anything topping it, except maybe Portrait of a Lady on Fire.
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Film Socialism
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Post by Film Socialism on Nov 13, 2019 4:15:16 GMT
Still due a rewatch. Can't imagine anything topping it, except maybe Portrait of a Lady on Fire. peep the new kohlberger |
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Post by therealcomicman117 on Nov 16, 2019 22:21:19 GMT
I thought this was excellent. A wonderful portrait of a collapsing family, class, and a look at overeliance on technology from master Bong Joon Ho. It's obvious without beating you over the head with its themes, and it never outstays its welcome despite its 2 hr+ runtime. The last twenty minutes in particular had me a lot more shaken then I expected it to. Definitely one of those movies I'm gonna go back and revisit again in the future, there's a lot to unpack in it.
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Post by therealcomicman117 on Nov 19, 2019 1:16:37 GMT
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Post by alexanderblanchett on Nov 24, 2019 15:56:34 GMT
Original, entertaining and very well drafted film. It nicely mixes comedy genre with drama and delivers a quirky protrayal of class differences.
The concept works and could be placed in many societies. The characters were extremely well written and developed. Generally you care for them from the beginning and they keep being investing through the whole film. Bong Joon Ho newest film really captures you and is quite though provoking in general. The acting is very solid with the best performances coming from Kang-ho Song and Woo-sik Choi. The rest of the cast does marvelously as well.
The setting is nice, offering the audience very nice and believable sets and beautiful pictures. Bong Joon Ho's direction is constantly good as he perfectly understands his characters, their motivations and generally gives the film a very nice flow you can easily follow and he makes sure you never lose interest in it.
I wish Hollywood would also come up with original stuff like that and such great screenplays.
Current nominations for
Best Director: Bong Joon Ho
Best Original Screnplay
Best Production Design
Best Ensemble
Rating: 8/10
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Post by DeepArcher on Nov 30, 2019 7:14:54 GMT
Alright, gang, I finally got to see it tonight, and I have some thoughts! But I don't think I have the physical or mental capacity to share most of them before I crash, so it'll be on the sparse side for now. My prevailing impression is that I'm utterly shocked how much universal acclaim this is getting. This movie is so, so deeply weird that it feels like a super niche instant cult classic rather than a consensus-considered masterpiece. (And I have to add: I was already thinking that many people on this board were drastically overestimating its chances at a BP nomination, and now that I've seen, I'm even more convinced that there is absolutely no way in hell this is getting nominated for Best Picture. And if that's a really bold prediction then I guess that's my bold prediction for the year because nope nope nope absolutely no way in hell.) The first half or so is one of the absolute funniest things I've seen in awhile and it hits its stride with a pretty magical stretch leading up to the night of the hunting trip/storm which feels like it takes up a good 40 to 50 minutes of the runtime. That's when it kicks into high gear becoming one of the purely twistiest films I've seen maybe ever; it's relentless and doesn't let you breathe until at least an hour later after the birthday party sequence. It's fucking absurd and so over-the-top and really just breathtaking and so much fun. I tend to not value something like "unpredictably" as much as most but this film absolutely thrives in that unpredictability and keeping you in a state of having literally no idea what's going to happen next. And even as the pacing takes off at absolutely breakneck speed there's still room for some truly incredible standout moments: the absolutely brilliant flood sequence, that flashback scene where Da-song's "trauma" is finally explained, etc. Ultimately it becomes a totally haunting subversion of the haunted house story where the "ghost" is the specter of the victims of capitalism and those squashed on (whether knowingly or not) by those who possess the excessive status and wealth. The film's epilogue truly is beautiful and absolutely heartbreaking in its social poignance. Reminds me a bit of a more refined version of Jordan Peele's films and in particular feels like a successful corrective to Us. I do think it's clunky at parts and there are some plot points that just feel totally dropped -- perhaps deliberately set-up as red herrings that get totally disrupted by the chaos of the climax, but I dunno, something about it doesn't mesh for me. There's rough edges that I could feasibly see a re-watch soothing over. I do love this film's dedication to the characters being believable human beings rather than just plot devices and how their very human mistakes and quirks and impulses often shape the action of the entire movie. Love the ensemble and the obvious standouts are obvious: the immensely watchable Cho Yeo-jeong, the incredibly fierce and confident yet totally endearing Park So-dam, and the incredibly subdued and intense work of Song Kang-ho. That's all I got for now off the top of my head but I'll surely have more to add at some point. To sum up my impressions -- I love it, and I get why I love it -- but I cannot fathom how so many other people love it, too  |
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Post by DeepArcher on Nov 30, 2019 7:42:53 GMT
Oh and also I have to say: my very first reaction to my friends after it ended was that it was one of the better episodes of It’s Always Sunny in Philadelphia that I’d ever seen ... you can’t tell me I’m wrong!
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morton
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Post by morton on Nov 30, 2019 7:54:40 GMT
Oh and also I have to say: my very first reaction to my friends after it ended was that it was one of the better episodes of It’s Always Sunny in Philadelphia that I’d ever seen ... you can’t tell me I’m wrong! I have actually seen that comparison on Reddit, and I agree it totally works. Maybe next season the gang could do a riff on that. |
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Post by mhynson27 on Nov 30, 2019 12:32:34 GMT
Alright, gang, I finally got to see it tonight, and I have some thoughts! But I don't think I have the physical or mental capacity to share most of them before I crash, so it'll be on the sparse side for now. My prevailing impression is that I'm utterly shocked how much universal acclaim this is getting. This movie is so, so deeply weird that it feels like a super niche instant cult classic rather than a consensus-considered masterpiece. (And I have to add: I was already thinking that many people on this board were drastically overestimating its chances at a BP nomination, and now that I've seen, I'm even more convinced that there is absolutely no way in hell this is getting nominated for Best Picture. And if that's a really bold prediction then I guess that's my bold prediction for the year because nope nope nope absolutely no way in hell.) The first half or so is one of the absolute funniest things I've seen in awhile and it hits its stride with a pretty magical stretch leading up to the night of the hunting trip/storm which feels like it takes up a good 40 to 50 minutes of the runtime. That's when it kicks into high gear becoming one of the purely twistiest films I've seen maybe ever; it's relentless and doesn't let you breathe until at least an hour later after the birthday party sequence. It's fucking absurd and so over-the-top and really just breathtaking and so much fun. I tend to not value something like "unpredictably" as much as most but this film absolutely thrives in that unpredictability and keeping you in a state of having literally no idea what's going to happen next. And even as the pacing takes off at absolutely breakneck speed there's still room for some truly incredible standout moments: the absolutely brilliant flood sequence, that flashback scene where Da-song's "trauma" is finally explained, etc. Ultimately it becomes a totally haunting subversion of the haunted house story where the "ghost" is the specter of the victims of capitalism and those squashed on (whether knowingly or not) by those who possess the excessive status and wealth. The film's epilogue truly is beautiful and absolutely heartbreaking in its social poignance. Reminds me a bit of a more refined version of Jordan Peele's films and in particular feels like a successful corrective to Us. I do think it's clunky at parts and there are some plot points that just feel totally dropped -- perhaps deliberately set-up as red herrings that get totally disrupted by the chaos of the climax, but I dunno, something about it doesn't mesh for me. There's rough edges that I could feasibly see a re-watch soothing over. I do love this film's dedication to the characters being believable human beings rather than just plot devices and how their very human mistakes and quirks and impulses often shape the action of the entire movie. Love the ensemble and the obvious standouts are obvious: the immensely watchable Cho Yeo-jeong, the incredibly fierce and confident yet totally endearing Park So-dam, and the incredibly subdued and intense work of Song Kang-ho. That's all I got for now off the top of my head but I'll surely have more to add at some point. To sum up my impressions -- I love it, and I get why I love it -- but I cannot fathom how so many other people love it, too You're one of my favourites on here, but it's going to be so much fun watching you have to eventually admit that you were drastically wrong  |
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Post by Sharbs on Dec 2, 2019 5:49:33 GMT
it's amazing. Opening act was one the most riotously funny stretches this year and that ending is bleak as fuck especially giving us that visual cue of the family reuniting and just taking it all away in the next shot. - 9/10
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