Ryu, un sordomudo, busca desesperadamente 10 millones para comprar en el mercado negro el riñón que su hermana requiere para un trasplante.
Por qué verla
¡_Oldboy_ no fue ni la mitad! Park Chan-wook comenzó su célebre “Trilogía de la Venganza” con este elegante thriller que, dependiendo de a quién le preguntes, puede ser incluso mejor que su prima más famosa.
Objectively speaking, this is good cinema, but too much graphic violence and blood for me. I don't know if I can watch the rest of the trilogy. I probably shouldn't. It would be safer for me to stick to my old black and white films; they almost never have so much blood. This story could have been told without it, and quite beautifully, as evidenced by the earlier scenes, before all of the blood.
MORE YELLING THAN TELLING. Graphic manga style & successive short shots, PARK, using clichés & gesticulations (& also slowness), tells this neurotic & PRETENTIOUS melodrama of organ trafficking & crime. === PLUS DE CRIS QUE DE DITS. Dans un style manga graphique avec courts plans successifs, PARK, à force clichés & gesticulations (& aussi lenteurs) raconte ce mélo névrosé & PRETENTIEUX de trafic d'organes & de crime.
Firstly: it has one of the greatest titles in the history of cinema. Secondly: for something that is nominally genre cinema, it is designed, fussed over, and ultimately built floor-to-ceiling like a serious-as-fuck art movie. And it is serious. Though deserving, I guess, of its hallowed fanboy status, the subject of the thing (and its dramatic scale) compare easily to Sophocles and Shakespeare.
The first entry in Park Chan-wok's 'revenge' trilogy is an exceptionally well plotted tale about the aftermath of guilt and the downward spiral of revenge. There is a somewhat absurdist touch to the violence portrayed as each act begets another. Performances are quite good as is the visual panache in storytelling. Though eclipsed by the following 'Oldboy' this first entry is nearly as powerful.
Park Chan-Wook at or near his best, visually inventive, engaging and mixing well between trauma, emotion and black humour. He gets across the main message that violence leads to more violence, as he does in the entire duration of his masterpiece trilogy. This is just a master working at top capability.
This movie is both heart breaking and harrowing at the same time. The exploration of desperation and grief is sometimes hard to watch but the movie packs a powerful punch that will leave you reeling for days. This is the most grounded (and therefore the best) entry in Park's trilogy and Song and Shin is extraordinary in their performances.
This was a let down. The big problem here is the script is wildly uneven and the pacing is plodding. It's clear Park wanted to make a film of slow simmering suspense, but it just sort of plods along without much direction. Compared to the creative energy unleashed in Oldboy this is average at best. I hope Lady Vengeance doesn't fall short either.