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Kym W (fr) wrote: hmmmm not sure about the cast....won't be the same without the original cast
Georgeta M (nl) wrote: Was the time for like this??!!!
Jaws N (gb) wrote: While not a hugely fantastic film, devoid of any real twists or wit that truly made the original and its only other okay sequel, it still doesn't suck. At all. In fact, it's pretty good!
Harry W (us) wrote: Considered a notoriously violent South Korean film, Oldboy sounded like a powerful look into the world cinemas of cult classics.Oldboy is nothing short of a shocking experience. Though it's notorious for its use of violence, the shock factor does not stop there. Expanding beyond its sense of style, Oldboy tackles the kind of themes that western cinema rarely dares to cross into. As a result, it becomes an incredibly definitive film of its culture which just goes to show what kind of power rests within the cinema of South Korea.The film opens up with an immediate mystery that bears no clues as to what the answer could be; the protagonist is kidnapped by ambiguous perpetrators and audiences have no idea what the motives could be. From there, we see Oh Dae-su immediately descend into madness as his obsession with vengeance begins to take over. Oldboy sets into a deep tale of twisted human sadism very fast, and though it is hardly as violent as its controversy may proclaim there is still a lot of violence and striking themes for viewers to get hit with. There ends up being a lot to take in, more theoretically than visually. As a result the experience can be somewhat overwhelming at times due to the large quantity of plot dynamics and characters to keep up with as well as the fact that it is contextualized by a plot structure which sporadically breaks away from formal methods. However, the experience as a whole is an unforgettable one.Oldboy is a film so deeply determined to power through its narrative that it never gets distracted by tedious subplots and arbitrary melodramatic themes, rather focusing on Oh Dae-su's quest for retribution. Distanced from the style of Hollywood productions, the protagonist is not an undefeatable killing machine destroying everyone his path. Instead, he is an actual human being whose descent into madness drives him into a path of psychological twists and turns. These are paths American filmmakers dare not cross, yet director Park Chan-wook fearlessly steps into them with a deep perspective on how to empower the narrative using them. Never before have I seen an examination so mercilessly raw as Oldboy, and Park Chan-wook explores it all extremely well without ever rendering the themes as cheap gimmicks. The dark concepts lead into a deep examination of the flaws of humanity; how obsession with vengeance is unfulfilling and self-destructive. The drama refuses to come up short in any of this and forces the viewer to confront its raw intense results, creating a shocking and unforgettable narrative. Oldboy functions as a powerful psychological thriller, a strong character piece and a love story all at once. It may be a lot to take in, but it is undeniably worth the experience for everything from its powerful screenplay to impressive sense of style. Oldboy has a strong sense of style to it. Though the scenery it uses is mostly naturalistic, Park Chan-wook find life in all this through the implementation of a monochromatic tone. There is a use of greyish sepia to darken the mood of the entire experience, and it helps the atmosphere of the film develop. The cinematography itself is brilliant because it captures a claustrophobic feeling to signify how Oh Dae-su has become trapped in the confines of his mind. Audiences themselves get this feeling of being trapped, and the use of imagery is extremely consistent throughout the feature. Some of the most striking moments of imagery comes from the film's raw depiction of violence, ranging from bodily dismemberment to a scene where Choi Min-sik eats a live octopus on camera. All the weird visuals in Oldboy are supported by the magnificent work of Jo Yeong-wook's musical score. It is one which evokes themes of damaged spirit but ambition as a means of matching the determined motives behind the protagonist, grasping a mood which can be striking in its intensity or melancholic at other moments. All in all, Oldboy is a powerful experience of sights and sound.Oldboy holds the status of creating one of the greatest achievements in the history of cinema. Though not an action film, Oldboy maintains the kind of fight scene that filmmakers can only dream of crafting and action junkies can only dream of experiencing. In the most distinctive sequence from the film, Oldboy depicts a scene in which Oh Dae-su fights off a horde of criminals within a hallway. This all occurs over the course of a singular take, and it is a testament to the director's magnificent sense of imagery. This scene is extremely clever due to its realism; Oh Dae-su fights off every character within a confined space where the narrow nature of the hallway blocks his enemies from reaching him, and the cinematography pans along horizontally without transcending its two-dimensions. Playing out almost like a fighting game, Oldboy's hallway fight scene is a singular smoothly-panning take where Choi Min-sik has to stand his ground against many foes and does it with magnificent fighting skills. This scene is unlike any action scene from Western media for many reasons. The lack of editing is one, but the realism is a key factor. Oh Dae-su gets injured and knocked down repeatedly, and it takes its physical toll on him. He pulls himself up to keep going, but he is clearly physically damaged by it. He is not the invincible killing machine of an action hero from a Hollywood film; he is just a man driven by a mad pursuit of vengeance. This scene epitomizes it all with some of the most amazing action that anyone can ever experience on the cinematic screen, while also testifying to Choi Min-sik's remarkable fighting talents.Choi Min-sik's work in the action scenes is just one of the many powerful things about his performance in Oldboy. Born to play the role of Oh Dae-su, Choi Min-sik goes on a complete descent into madness to accurately capture the character. He starts as an inwardly-driven egotist who is then broken down to the last shards of his humanity before losing sight of them and disappearing into the mouth of madness. His descent into insanity is the most raw thing he does, slowly detaching from his humanity until he becomes a numb to it. He becomes a broken man, surviving solely hatred and desire for retribution. As a result, he is an incredibly unpredictable antagonist who is dripping with raw human emotion. Choi Min-sik sinks himself into the darkest side of human emotion to capture an almost primitive human being. Choi Min-sik grasps the absolute insanity of Oh Dae-su with utter perfection in Oldboy, and he flawlessly oscillates between shocking audiences with his inherent strength one minute and having them sympathize in the next. It is one of the finest portrayals of a man driven into adness that I have ever seen, and it helps to anchor the film's exploration of humanity in a powerful central performance.Kang Hye-jung also contributes a strong supporting effort. She has such a gentle spirit to her; a feeling of innocence that stands out in the dark world of the story, and one which elicts a strong chemistry with Choi Min-sik. Yoo Ji-tae also makes for a strong antagonist, keeping all his anger reserved to the subtext of his line delivery which he disguises beneath a sophisticated demeanour. He is cleverly manipulative. Oldboy's shock value and many themes can be a lot for viewers to take in, but it is strongly-scripted and remarkably intelligent examination of human madness with a powerful atmosphere driven by strong imagery, powerful music and a striking central performance from Cho Min-sik.
Dani S (us) wrote: C'est la premire foix que je voix un film franais, mais je dois dire, je suis impressionne. Je l'ai vu avant lisais les critique alors le commencement tait pas mal. Un peu trop drame romantique pour moi. Un coup de thtre exceptionnel. Je l'aurais jamais devin. Un sentiment enivrant du impuissance invoquait quand l'intrigue est devenue incontrlable. Je peux penser seulement quelques films autres ce qui m'a laiss le mme sentiment hant la fin. Dans l'ensemble, c'est un film fantastique. J'espre de trouver un autre comme lui.Yona
Trent J (nl) wrote: Fred Leuchter has the sort of life that was meant to be put in a documentary. Absolutely fascinating take on capital punishment, the Holocaust, and really, really bad teeth.
Nels N (br) wrote: Interesting story and characters, with realistic dialogue. Good acting considering the non-existent budget, but a little too much art school camera work. The two leads work well together. I liked the music and sound design.
patricia j (de) wrote: i also love this one it was great
Michael H (au) wrote: Shameless slapstick and silly situations that inspire comedic efforts still to this day.
Amy J (ag) wrote: One of my Disney favorites....I love this movie...I owned it on vhs back in the day..now I have it on Blu Ray and watch it on Netflix. It's a masterpiece!!
mark d (ag) wrote: Accolades Award Camerimage] Bronze Frog Eduardo Serra WonEuropean Film Awards Best Cinematographer Eduardo Serra WonLos Angeles Film Critics Association Awards Cinematography Eduardo Serra WonSan Diego Film Critics Society Awards Best Cinematography Eduardo Serra WonSan Sebastin International Film Festival Best Cinematography Eduardo Serra Won
Griffin W (nl) wrote: Has its great moments but ultimately leaves me unsatisfied. The movie only seems to be great when it actually focuses on its titular RockNRolla-ish characters. In typical Guy Ritchie fashion there are a lot of characters, almost rendering everyone as supporting roles and no one taking the position of lead. It just doesn't work in this film because it tries to emphasize certain characters as the main story while all these other characters show up every now and then and just distract from the story. This renders certain scenes between people that they don't emphasize as much boring and not feeling like they're leading to anything. Although with all of that said, I will say that when it does focus on the stuff that is deserving of a title so cool as RockNRolla, it's a blast to watch. The comedy is spot on in certain spots and it makes all the other miscelaneous stuff so disappointing. Overall, RockNRolla is "Sorta, Kinda, Meh...."