12 years ago, I would have told you this was my favorite Park Chan-wook film, and it's precisely the kind of movie I enjoyed in my early twenties: full of pitiful and pitiable characters caught in a fatalistic loop of violence. I like to think both myself and Park have grown in the ensuing years, but to say there's still a visceral thrill when Shin Ha-kyun enacts his revenge with a baseball bat is an understatement.
A simple kidnapping that through a sequence of events that goes from bad to worse and then near the end more a convenient series of coincidences. Still enjoyable and having the kidnapper as deaf and dumb is played out well but no film score! Being familiar with Chan-Wook's work it's strange that there's an absence of music. It's the weakest out the Vengance trilogy but still great that only leads to better things.
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.
Completely methodical and cold, there's a voyeuristic feel to the whole thing that sometimes made my blood boil with unease, as if you're a duct taped witness to a sadistic ordeal where every single major player will have their blood and guts spilled because of their incompetence for methodical violence. Chan-wook's usual sense of sardonic humor is also very much present throughout.
Thriller drama that follow two characters that both have their own damaged emotional core and are forced to consider if vengeance is a good path to walk. Do anyone really walks away clean after killing someone? It is a revenge movie that is enormously refreshing. High quality acting, direction and cinematography make the film a gripping one even with it's typical Asian flavor of sleazy perverted dark humor.
Il primo capitolo della trilogia della Vendetta è una cupa e sanguinolenta caduta libera nella spirale del castigo e del senso di colpa. Visivamente geniale, ti trascina verso l'empatia per i protagonisti, per poi fartene pentire con un colpo allo stomaco. Le spade di Damocle che Park è solito far pendere sulla testa dei suoi protagonisti cadono tutte al momento giusto, con una durezza glaciale. Potente.
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.