Lee's "Oldboy," like Park's, obeys its own illogical logic (a hotel room hallucination starring Lee's brother Cinque has the goofy randomness of a joke in a David Lynch movie). This is one such film, starring a real actor, directed by a real director. It's been a little over a day since I saw both versions of Oldboy -- one by Spike Lee and one by Park Chan-wook -- back to back. 0. Did he give that black guy (not to be racist, idk his name) the diamonds just to pay him to be locked up for the rest of his life or what? In this version, it felt like less than 12 minutes. At no point does the film try to be "realistic," except when it comes to the strong, simple emotions that its characters feel. So barring a miracle, this film is doomed. At its wooziest, Lee's direction reminded me of Brian DePalma or John Carpenter in nightmare reverie mode, or Alfred Hitchcock when he seemed possessed by whatever horrible muses drove him. The only bit I didn't really understand was why he handed all those diamonds to the guy, and then just to be imprisoned again!? The camera goes much lower or much higher than you expect it to, and peers at the characters from disorienting angles. He joins up with a drug clinic worker played by Elizabeth Olsen and slowly begins piecing together the identity of his jailer: a rich and rather effete sadist (Sharlto Copley of "District 9") who knew Joe a long time ago, and who now lives like a drug dealer from an '80s cop thriller. Where the film's first half is a Kafka-esque fable of guilt and punishment, the second is a riff on the criminal revenge flick, with Joe working his way through the underbelly of a New York City that's been reimagined as a landscape of the mind. The ending scene in the 2003 version within WooJin Lee's apartment was around 30 minutes. Martin Scorsese and David Cronenberg used to make this sort of picture all the time, but haven't in a while, perhaps because it's just too much for some people, and "just too much" movies tend not to get made at a major studio level because the financial stakes are too grave. He gets clean in prison, then escapes to learn the identity of his tormentor and punish him. This isn't like Martin Scorsese's "Cape Fear," David Cronenberg's "The Fly" or Jonathan Demme's "The Manchurian Candidate"—or the recent superhero-inflected version of "Carrie," which I liked better than most critics—all of which drastically rethought their inspirations. He stays there for twenty years (five more than in Park's version). Pour autoriser Verizon Media et nos partenaires à traiter vos données personnelles, sélectionnez 'J'accepte' ou 'Gérer les paramètres' pour obtenir plus d’informations et pour gérer vos choix. If so, too bad. If you haven't seen the original "Oldboy," which provided the template for most of this one, I won't spoil it here. The compositions in Lee's movie have such a painterly or "illustrated" quality that they might as well have thick black lines marking off the edges of the frame. The studio that released "Oldboy" doesn't seem to like the movie any more than critics: it stifled pre-release discussion by making reviewers sign non-disclosure agreements, and forced Lee to shorten an apparently much longer director's cut. So I'll just barf out the major wrongs about this… Some actors give fairly naturalistic performances (Brolin and Olsen) while others (Jackson and Copley) chew the scenery into fine shreds and then pluck them from their shiny teeth. Lee presides over the madness with a droll serenity that says, "This is the movie; deal with it.". Informations sur votre appareil et sur votre connexion Internet, y compris votre adresse IP, Navigation et recherche lors de l’utilisation des sites Web et applications Verizon Media. Bonded and Unbound: Sean Connery, 1930-2020, Disney+'s The Mandalorian Makes a Valiant Return in Season Two Opener, Amazon's Truth Seekers is Missing Jokes and Scares. If so, too bad. The whole thing flows as dreams flow, linking situations to other situations and images to other images in a seemingly free-associative manner. Copyright © 2005-2020 www.falconiere.it by Top Dog di Federico Lavanche P. IVA: IT11670960019 -. "Oldboy" (2013) Now streaming on: Powered by JustWatch. Bruce Hornsby contributes a score in a Bernard Herrmann vein, an instrumental chorus to the modern urban version of a Greek tragedy. Park's "Oldboy" was no skip through the daisy field, but this one is even harder to watch, sometimes indulging in savagery that blurs the line between Old Testament morality play and straight-up exploitation.The filmmakers seem obsessed with making everything as extreme as possible, replacing, for example, a bruising bit of hammer torture with a prolonged sequence in which the hero uses an X-acto knife to slice a dotted-line-shaped pattern into a former jailer's throat. Découvrez comment nous utilisons vos informations dans notre Politique relative à la vie privée et notre Politique relative aux cookies. After seeming eons of self-pity capped by a suicide attempt, he starts a Travis Bickle-like regimen of Spartan self-improvement, winnowing himself down into a lean, mean killer, and finally escaping to seek vengeance against his tormentor. That's where his revenge finishes. Vous pouvez modifier vos choix à tout moment dans vos paramètres de vie privée. Watch the ending again. OLDBOY Ending - Why I disagree with what appears to be the majority interpretation. Yahoo fait partie de Verizon Media. Chiudendo questo banner o continuando la navigazione acconsenti al loro uso. As Joe, the alcoholic ad executive, Brolin is a raw nerve at first—a bloated and haggard man whose smile and laugh are false. I'd love to sit through Lee's movie again in a theater with newbies who came to see a straightforward revenge picture starring a guy who's been locked up for a long time and have no idea what they're actually in for: a swan-dive into the toxic id. OLDBOY is a provocative, visceral thriller that follows the story of Joe Doucette, a man who is abruptly kidnapped and held hostage for 20 years in solitary confinement, for no apparent reason. The performances are all over the map, in what struck me as a DePalma-like way. For people who haven't seen the original "Oldboy" or anything like it, this will be a rare studio release that feels shocking and abrasive and perverse and in some way new. It deserves to be seen and argued about. Lee's "Oldboy," in contrast, is more like "Point of No Return," the American remake of "La Femme Nikita." Something vaguely about laughing being for sharing, and the latter being for solitude. Because the Internet moves with the speed and ferocity of a hornet swarm, there's a chance that by the time you read this, Spike Lee's American remake of "Oldboy" will already have been stung to death. The big problem with Lee's "Oldboy" is that for all its dark confidence, it doesn't reimagine the original boldly enough. In other cases, the film changes small details (including specific violent acts and lines of dialogue) or else jokingly acknowledges places where even it won't go (the scene in the original in which the hero devours a live octopus is thrown away by having Joe glance at one in a restaurant fishtank). This American version of Park Chan-Wook's Korean thriller is Lee's most exciting movie since "Inside Man"—not a masterpiece by any stretch, but a lively commercial genre picture with a hypnotic, obsessive quality, and an utter indifference to being liked, much less approved of. It's worth pointing out here that Park's film is not an original story, but an adaptation of a Japanese comic book of the same name. The lighting is dark but the colors are supersaturated, especially in scenes with a lot of blood, neon, or wet pavement. I don't like or approve of everything in "Oldboy," but I'm glad it exists. (*spoilers* - obviously) I may be in the minority in this opinion, but I seem to disagree with the interpretation that Oh Dae-su lives while The Monster dies during the hypnotism. Because the Internet moves with the speed and ferocity of a hornet swarm, there's a chance that by the time you read this, Spike Lee's American remake of "Oldboy" will already have been stung to death. Can someone please explain the ending of oldboy (2013 remake)? It's purely intuitive, at times musical, direction. Am I wrong? Like Park's version, this one's a reptilian brain film, all violence and sex and fear and revenge and crying and screaming. Like Park's version, "Oldboy" tells of a drunken, abusive lout named Joe Doucette (Josh Brolin) who's imprisoned for a long time by a mysterious jailer. In the original OldBoy, the ending is revealed in a very slow methodical manner allowing you to really take in what happened. Roger Ebert's four-star review of the original praised it as "the kind of movie that can no longer easily be made in the United States" thanks to content restrictions imposed by "a puritanical minority." There's news footage on Joe's hotel room TV, but when we see, for instance, scenes from 9/11 or the Iraq war, it's not meant to drive home anything but the passage of time and its effect on Joe's psyche. The more I reflect on the Spike Lee version, the worse and worse it gets in my head. Suffice to say that Lee and his screenwriter Mark Protosevich do a good job of keeping their cards close to their vest, and when they finally play them, the result has a sick, powerful charge. The lack of a political dimension seems to have freed Lee to be looser and more (cruelly) playful than usual.
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