Park Chan-Wook’s “Stoker” Opens Friday March 1st – Ten MORE Review Snippets That Make Us Wish It Opened Tonight!

When South Korean genre iconoclast Park Chan-wook decided to bring his peculiar gifts to a Stateside production, anything could have happened – and anything pretty much does in “Stoker,” a splendidly demented gumbo of Hitchcock thriller, American Gothic fairy tale and a contemporary kink all Park’s own… (Variety)

SOLD! Where’s the ticket buyer’s line?

Several weeks ago, we published a piece that laid out ten juicy snippets from advance reviews for Stoker that made us want to see it RIGHT THAT MINUTE!  Well, we were holding back ten more. Already all hopped up to see Park Chan-Wook’s English-language début? When you read these, you’ll be looking for midnight showings so you can see it VERY early Friday AM!

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  • Even at this first glance, it’s a film that’s virtually impossible to get out of your head after watching it. It’s pure-undiluted Park Chan-wook, and one of the most unconventional Hollywood films you’re likely to see anytime soon. (JoBlo.com-  Movie News, reviewed here by Chris Bumbray)
  • All the visual flair and giddy, saturated colors inherent in Park’s films are on display here, from the warm greens and browns of the Stoker family grounds, lovingly massaged by the camera, to the privileged and manicured cleanliness of the immaculate Stoker home, in which we the viewer always remain somehow “outside.” A beautiful structure, as cold and heartless as the people within, is a physical reflection of the disenfranchised and cloistered, desperately grasping at the illusion of healthy normalcy, while the impossible-to-contain terrors of their dark family history threaten to erupt in an explosion of bloody truth and violence; a tragic inevitability. (From Sean Smithson for Twitchfilm.com; click here to read entire review)
  • [Park and Chung-hoon] modulate  the volatile family tensions which risk exploding in the house where Therese Deprez’s neatly handsome production design reflects the semblance of propriety — all the colors are right and each decorative object is in place.  (Click to read review by David D’Arcy for Screen Daily)
  • By the time behavior turns deadly and sexual, a pencil sharpener becomes one of the film’s most striking images. Style informs the behavior too; Park cuts to the next scene before India is finished talking, quickening the pace of exposition to a brisk clip. He photographs dinner conversation elegantly, and brushing hair becomes a field of grass in a seamless transition. It’s beautiful, and awesome that he even thought of that…an example of strong storytelling to which any mainstream film should aspire.   (Fred Topel from Crave Online – click here to read entire review)
  • When South Korean genre iconoclast Park Chan-wook decided to bring his peculiar gifts to a Stateside production, anything could have happened – and anything pretty much does in “Stoker,” a splendidly demented gumbo of Hitchcock thriller, American Gothic fairy tale and a contemporary kink all Park’s own.  (Variety.com review, written by Guy Lodge)
  • …the cast is entirely game to bring this bloody, very nearly silly soap opera to life. Wasikowska’s gothic demeanor should replace Winona Ryder’s Lydia from “Beetlejuice” as the new ideal for brooding teens everywhere, and as her character is defined by retaliations and revelations, the complexity of her hunter/hunted relationship with the pretty, predatory Goode is fascinating to behold.  (reviewed by William Goss for Film.com)
  • the Oldboy auteur’s cool, cruel family mystery never falls into faceless homage: its queasy eroticism, black wit, arch nastiness and intensely loaded images couldn’t be anyone else’s doing… [Park]  Chan-wook diverts into coming-of-age turf, seen through the black gaze of 18-year-old  India (Mia Wasikowska), a Wednesday Addams-alike who wields a mean pencil.    (Fred Topel from Crave Online)
  • As Charlie becomes a weapon for her to hurt her mother, India’s resolute composure rises  …shrouding her real intentions. All the better for the vengeful girl when family history is exhumed to explain why Charlie was sent away from the Stokers’ home for years. (Review By David D’Arcy for Screen Daily )
  • As the story slowly unravels and Park begins to reveal just one piece of the puzzle at a time, [Park] keeps audiences completely engaged throughout Stoker, almost acknowledging that he’s screwing with your own perceptions of good and evil through his wonderful visual style and challenging characters that will undoubtedly leave you fascinated, frustrated, intrigued and completely mesmerized by from beginning to end…  longtime Park fans will undoubtedly delight in Stoker’s striking visuals and Park’s haunting exploration of how human monsters are made, making an unforgettable (albeit uneven) thriller by one of the finest modern filmmakers out there working today.— (Reviewed by The Horror Chick, Dreadcentral.com: click here to read the review in its entirety, which we highly recommend!)
  •  [There’s] plenty of mileage in Miller’s warped family melodrama, as the respective and inevitably linked uncertainties about Richard’s death and Charlie’s long absence are kept aloft, while Charlie’s gradual playing of India and Evelyn against each other adds queasy sexual tension to an already chilly mother-daughter relationship. Auds will either go with this festering hotbed of secrets, lies and severed heads… and debate whether Park, who otherwise oversees proceedings with amused precision, overplays his hand in the bizarre, bloody finale. (From Variety.com, written by Guy Lodge)

That last line sounds like a perfect topic of debate to us!  So, who wants to start? HOLD UP! What do you mean, it doesn’t open till Friday?  NOOOOOOO!

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