A impeccably cruel canine comedy, so black even the Coens would balk, but Bong's brilliance is clear even here, in the beginning. Visually dynamic and tonally a real tightrope, he takes the downtrodden men, deadbeat residents and plain dead dogs of this building and turns them into something strangely palatable.
Non so se siano le inquadrature eccezionali, la narrazione drammatica toccata da un leggero senso ironico oppure la storia del leggendario Boiler Kim, ma trovo il debutto del maestro coreano un lavoro incredibile. Quando hai bene in testa l'idea di cosa vuoi raccontare e di come vuoi raccontarlo, non puoi far altro che sfornare pellicole di questo calibro. Una gioia per gli occhi, un pò meno per i cagnolini.
I understand the overflow of cinema references: it's a thriller, a dark comedy, a romance, a drama: but somehow it gets lost to me. I like the urban mood and it makes me want to know those places, but at the end I got tired of the conflicting plots. I wish it had more art to it.
A movie filled with irony. Had some cliché moments which were just right for this film. Also enjoyed how it portrayed not only the "dog crisis" but different lives of each character, especially the bits which showed a beautiful friendship between two girls. I never expect a good cinematography from a comedy but this movie was shot wonderfully.
Hilarious, action packed, complex, and at times poignant film. The plot is pretty insane, but full of great cinematic moments and lots of morbidly comic situations. It manages to create empathy and a feeling of real involvement with the characters and the problems they end up facing, even if those problems are often absurdly and darkly humorous.
The debut film from Bong Joon-ho is such a terrific little experiment. The story is original and the storytelling itself is incredibly inventive. A director who can make this and then go on to The Host, Mother, Snowpiercer, and others, is certainly a man to be revered and watched closely.
A wonderful dark slice of absurdism. File it next to The Tenant, only it's better—a Kafkaesque fish tank that all its misfits (frustrated at best, destitute at worst) can swim around in. Unlike Bong's later films, it isn't so easily associated with a genre, thus allowing his view of institutional dysfunction and demented human foibles to carry the show. A strong start.
An accomplished debut by the director of The Host, Mother and Snowpiercer. This isn't a major work by any stretch but the director shows his inventiveness with his camera, script and soundtrack (the jazz score is a nice touch). Recalls some of the slapstick caper movies from Hollywood in 60s-70s. BDNB would do better about 10 minutes shorter, but it's still fun.
Not one of Bong's best films but impressive anyway in its stylistic humor, high energy and engaging characters. Simply, it's a fun movie to watch, with all the twists, setups and character eccentricities for which Bong is known. Not a popcorn move though, unless you like your fun laced with dogs getting tossed off roofs or impaled or white pesticide clouds hovering over parks. The ending disappoints.