A lot of people dismiss Bong’s absurdist English-language films relative to his mid-budget, diamond-cut Korean thrillers, where instead they are clarifying to his ultimate vision as a filmmaker, (as if Parasite or The Host contain only naturalistic performances and oblique political themes). Like Okja and Snowpiercer, Mickey 17 is ridiculously overcranked, but considering how staid even the best of American filmmaking has gotten, it’s a pleasure to have something this stylish, zany, and legitimately romantic all at once.
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Killers of the Flower Moon 2023
By the end I felt like I was going to vomit. Soul-shattering.
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The Brutalist 2024
A confident, vibrant film packed with ideas and smart choices which left me feeling absolutely nothing at the end. For a movie with so many thematic ideas in the first half (architecture, post-war America, the immigrant experience, Jewish identity following the Holocaust etc.), it’s so lame how much Corbet in the second half distills it all to the navel-gazing theme of an artist struggling to create under the demands of his financiers.
The conception of Lazlo Tóth is the best…
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