Chris says: “Both the camerawork and editing go a long way towards transforming what is at its core a standard romantic thriller Hitchcock could’ve eked out sixty years ago (or Wong Kar-wai in the 1990s.) As others have said, it
Vicki says: “Chan-wook Park doesn’t disappoint in his no-holds-barred film, THE HANDMAIDEN. Park bases the film on the Victorian thriller, Fingersmith but moves the setting to to 1930’s Korea under Japanese Colonialism. Park maintains the novel’s three part structure (story told
Jason says: “With any luck, a fair number of the people seeing STOKER will do so without already being fans of director Park Chan-wook, drawn in by the nifty cast and striking previews. They’re in for a treat, because Park
Jason says: “I wish I could take credit for this line, but it was the lady in the next seat over who turned to me after the Fantasia screening of THIRST and said ‘isn’t it cool to see a vampire
Jason says: “Even with the recent success of Bong Joon-ha’s THE HOST and popularity of Kim Ji-woon’s THE GOOD, THE BAD, AND THE WEIRD on the festival circuit, Park Chan-Wook is likely still the best-known Korean filmmaker outside his native
Thom says: “I’m really quite curious why this film has been so lauded. With Quentin Tarentino having long established the hatred and insidiousness of the ‘revenge’ film, this had the dubious distinction of trying to go one step further. This