This review may contain spoilers. I can handle the truth.
"I just want to know where my life got messed up."
Everything in the film — from its fractured narrative to its unsettling oneiric rhythm — feels shot and edited precisely as conceived by the enigmatic Korean director Bae Yong-kyun. He immerses the viewer in the dreams, fears, memories, and traumas of others, inviting them into a space where the boundaries between reality and illusion dissolve, and where memory and history prove to be unreliable guides in the present.
Disjointed…
This review may contain spoilers. I can handle the truth.
Although the film about yet another rebellious android doesn’t bring anything new to the genre, I find it amusing that in Subservience, Alice's reboot — which eventually led to her understanding emotions AND manipulation — only happened because some guy, sipping his beer, mansplained Casablanca to her (at least it wasn’t The Godfather), insisting that she should ExperienceTM the film in real-time rather than just have pre-installed knowledge of it. So, he ordered all information about the movie to be erased… which inadvertently gave her access to the rest of her database. Really, what could possibly go wrong?
The cinematic equivalent of a pulp novel you bought for some mindless sex and crime that ends up being far better written than you had expected. It constantly keeps you guessing with its multiple endings, each one more chaotic than the last. Set in a tropical neo-noir, the movie retains its sleazy allure even after 25 years, making it a guilty pleasure that stands the test of time.
spring forward into a trash fire 2024
2 - 3/20 - double features - tv movie
