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Pigbuster posted:It doesn’t cut to that, it fades to black, then fades up to him writing the letter. It’s a simple trick but good lord it gives such a massive punch to the gut, since everything points to the film ending on that fade-to-black. And... apparently there are theaters who thought it really did, lol. I was legitimately ready to turn to my friends to complain about the ending when that fade hit. Man, this movie is so good.
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Nov 8, 2019 20:41
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Bong’s got us faded Memories of Murder also has a fantastic last five seconds. What other movies end on such a similarly great last five seconds? (Spoiler tags where appropriate, or maybe just post titles and don’t post the spoiler at all) Steve Yun fucked around with this message at 21:33 on Nov 8, 2019 |
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Nov 8, 2019 21:30
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Might be stretching the five seconds thing but these come to mind. Mostly recent, but a few classicscode:
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Nov 8, 2019 21:45
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Steve Yun posted:Bong’s got us faded Killer Joe has the single greatest last 5 seconds of a film ever. https://www.youtube.com/watch?v=Lq8mSww5XOI I have never seen an audience react like that to the ending of a movie.
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Nov 8, 2019 22:24
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Bottom Liner posted:Might be stretching the five seconds thing but these come to mind. Mostly recent, but a few classics Yea ok last 30 seconds is fair
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Nov 8, 2019 23:28
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Steve Yun posted:Bong’s got us faded North by Northwest’s smash cut at the end caught me outta nowhere and had me rolling.
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Nov 9, 2019 03:56
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Bong has such a gift for making his characters so deeply felt that even when he gets broad with the comedy and the concept, it still hits hard. Very few other directors can mix humor and pathos like he can. Almodovar, maybe.
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Nov 9, 2019 08:20
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Also, the greatest ending in film history: https://www.youtube.com/watch?v=DsK2wKns61Y&t=1s Criminal Minded fucked around with this message at 08:31 on Nov 9, 2019 |
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Nov 9, 2019 08:28
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Criminal Minded posted:Also, the greatest ending in film history: I think only the last shot really holds up today (and it is great). TCM never really worked for me, and not just because it's older than I am. Other than the clothesline and that last shot, it just never clicked for me in the way that other 70s horror films did. It's my favorite horror decade and I think an easy argument to make that it's just the best 10 years in horror in general, so I always feel like I'm missing something about TCM.
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Nov 9, 2019 08:40
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Criminal Minded posted:Also, the greatest ending in film history: It’s an American masterpiece! It’s, it’s... talk about gutsy endings. The girl, the girls gets away, and our hero, Leatherface, chainsaws his own legs, two thumbs up. https://www.youtube.com/watch?v=r0C50KsvgjQ
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Nov 9, 2019 09:05
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Just saw this today and it's one of the most effective films I've seen in theaters. It's such a weird blend of comedy, thriller, and drama... and everything works. The comedy is funny, the sad parts are extremely sad, the thrilling parts are thrilling. It feels like a Jordan Peele film, except with better cinematography, and without the "hard pivot" to horror halfway through. It's really interesting how weird this film got without feeling like it pivoted genres... it just sets a path early on and then follows that through to it's insane conclusions. Everything works so well! Sooo many little things in the script pay off in the end... there are so many visual symbols that are consistent and work... just about every actor nails their role... overall it's just a really, really well made film in almost every regard. I hope it wins a lot of awards.
Polo-Rican fucked around with this message at 23:41 on Nov 9, 2019 |
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Nov 9, 2019 23:38
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Yeah that YouTube review I shared put it really well (in reference to Scorsese’s comments about marvel films): this movie was theme park cinema in the absolute best way.
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Nov 9, 2019 23:43
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The Host hasn't come up in here I don't think but some of the laughs reminded me of it a lot. Anybody who hasn't seen it is missing out, it's great.
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Nov 10, 2019 04:42
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When I saw 'The Host' I enjoyed it, but didn't think it was really that amazing. After watching Snowpiercer, Okja, and Parasite, I really need to go back and re-watch The Host. The only thing stopping me from saying that Parasite was my movie of the year is the fact that Burning also came out this year, and I can't pick between the two.
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Nov 10, 2019 05:09
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The CG lets the Host down a little bit, but the good parts afternoon the parts with CG in them anyway
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Nov 10, 2019 05:23
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Gonna again post a reminder for everyone to watch Memories of Murder and Mother if they can bcs that poo poo rules
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Nov 10, 2019 06:59
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https://www.youtube.com/watch?v=F3tw66BBdDw Here’s the whole movie on YouTube for free officially I had to think about it for a bit but I think it’s my favorite procedural of all time
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Nov 10, 2019 07:39
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Bottom Liner posted:Yeah that YouTube review I shared put it really well (in reference to Scorsese’s comments about marvel films): this movie was theme park cinema in the absolute best way. Scorsese contrasted theme park movies with "the cinema of human beings trying to convey emotional, psychological experiences to another human being." He contrasts it with movies about "the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves." In regards to Hitchcock, "Sixty or 70 years later, we’re still watching those pictures and marveling at them. But is it the thrills and the shocks that we keep going back to? I don’t think so. The set pieces in 'North by Northwest' are stunning, but they would be nothing more than a succession of dynamic and elegant compositions and cuts without the painful emotions at the center of the story or the absolute lostness of Cary Grant’s character." I feel like all these qualities of the movies he's distinguishing the theme park cinema from apply to Parasite.
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Nov 10, 2019 08:52
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Yeah I mean if you define "theme park cinema" as anything that has clear themes and emotional twists and turns, literally any thriller counts. I haven't read The Scorsese Op-Ed but you need to be more rigorous than that if you're not just trying to separate ~real art~ from that NONSENSE that the proles love
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Nov 10, 2019 09:37
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Absolutely hilarious movie, one of the funniest I have ever seen for a big chunk of it and yet a month after watching it I still occasionally think about that drat ending Shneak posted:Did I? I'm referring to the son and mom standing trial, him growing up and becoming rich enough to buy the house, and the last scene is the dad coming out of the bunker to them Actually that last shot absolutely lands the entire message of the movie so perfectly I actually feel like you need to find the last scene on youtube or something and watch it again. The movie starts so funny I thought that even when the tone shifted to bleak it would lighten up by the end. And it does, except Of course it doesn't, because life doesn't work that way
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Nov 10, 2019 15:34
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The only thing that could’ve elevated the movie is if Min somehow turned up at the surprise party just to see the absolute carnage that would make absolutely zero sense to him.
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Nov 10, 2019 20:42
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EL BROMANCE posted:The only thing that could’ve elevated the movie is if Min somehow turned up at the surprise party just to see the absolute carnage that would make absolutely zero sense to him. I was sure that his return would be what would make poo poo hit the fan all movie.
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Nov 11, 2019 02:21
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The Min talk brings up an interesting point along the same lines as the others brought up in this thread in the way that both families deify him. Not sure what to make of it other than just general classism in that he was doing what was expected of him as A Good Citizen by going to college. I think Park's wife even references that he didn't really do anything for the daughter's grades but they liked keeping him around anyway.
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Nov 11, 2019 03:47
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RichterIX posted:I think Park's wife even references that he didn't really do anything for the daughter's grades but they liked keeping him around anyway.
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Nov 11, 2019 03:54
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As a lower-class kid who's made good, Min represents to both the Kims and the Parks the confirmation of the existence of a meritocracy. For the Kims, he's aspirational as having been able to lift himself into a higher class. To the Parks, the mother at least, she's covetous that he seems to possess actual talents, which she desperately wants for her children.
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Nov 11, 2019 04:05
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Bottom Liner posted:Am I the only one that read those lines as "I really wanted to gently caress Min"? It was more than a little creepy the way she talked about him IMO, and right in line with the dark humor of how he talked about her daughter. I definitely read some weirdness into it because I knew what director I was watching and was waiting to see what the first shoe to drop would be.
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Nov 11, 2019 04:13
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This movie was like a Malcolm in the Middle plot gone horribly awry. I definitely understand comparing and contrasting with Us, but my brain went to another recent class-focused comedy with a twist: Sorry to Bother You, which is about as subtle as a rock to the head. I liked that movie more in the moment, probably because its twist felt truly out-of-nowhere (and all the Parasite reviews made it very clear that this movie would have a major tone switch halfway through). But I'll probably be thinking about this one for longer.
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Nov 11, 2019 05:47
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Yeah Sorry to Bother you went so far that it became farcical instead of satirical and it lost me then. This lures you in with the subtle and smart comedy and expectations before taking truly unexpected turns. I thought it was about to go into a slasher film or something when the former housekeeper came back acting weird, especially since it had been established that the Parks' son was smart and onto the Kims and that the housekeeper had been texting him. Bottom Liner fucked around with this message at 06:15 on Nov 11, 2019 |
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Nov 11, 2019 06:04
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AccountSupervisor posted:The shot of the basement guy peaking out and looking at the child has to be one of the most unsettling frames Ive ever seen in a movie.
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Nov 11, 2019 06:07
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That was a hag lady from behind the dumpster in Mulholland Drive moment.
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Nov 11, 2019 07:23
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Bottom Liner posted:I thought it was about to go into a slasher film or something when the former housekeeper came back acting weird, especially since it had been established that the Parks' son was smart and onto the Kims and that the housekeeper had been texting him. I definitely would not have let that lady into the house in the situation, she looked loving gone over the video feed. "Come back tomorrow, please".
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Nov 11, 2019 15:25
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EL BROMANCE posted:I definitely would not have let that lady into the house in the situation, she looked loving gone over the video feed. "Come back tomorrow, please". My immediate assumption (which I assume Bong was going for) was that it was about to become a home invasion horror film. Doubly so when she casually mentions cutting the CCTV
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Nov 11, 2019 15:28
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Film of the year for me, easily. One aspect I liked about the set/production design and lighting was that the doorway into to the basement was always unnaturally inky pitch black. The homes of the wealthy sit on top of a labyrinth that they not only don't have to see but maybe don't even have the ability to see anymore.. When someone is beneath the rich, they don't even fade away, they just stop existing. (Spoilers just in case)
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Nov 11, 2019 20:10
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One movie this actually does kinda remind me of is Dawn of the Dead- a group of people trying mostly to survive find their way into a place of prosperity and splendor, and fight savagely to hang on to it. That's mostly in the scenes where the wealthy family's still on vacation and they're all hanging out in the yard or the living room. Also saw just a little of High and Low in there, the emphasis on the house as the symbol of wealth and the resentment it causes.
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Nov 12, 2019 03:58
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Honestly, if we want to keep going with the horror movie parallels, Poltergeist probably functions in a lot of ways. But I think the Us comparison isn't just about the plot parallels. There is this general anxiety of your presentation of yourself or what you think of as your best self not being what you actually are that exists under the surface of both films. I think one of the most tense moments for me is when the father is driving the car and slips. He doesn't drive perfectly and he curses. The scene is shot from the perspective of Mr. Park, but you can sort of feel the tension from the dad's point of view, the awareness of Mr. Park's judgement, the self admonishment.
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Nov 12, 2019 05:07
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Oof, this movie hit me hard. The comedy worked well to lighten things and the directing was outstanding (other than a few super on the nose symbolisms) but I don't really have the stomach to watch it again. It's essentially a depiction of our current society, the crushing burdens of capitalism and its effect on people and the lack of class consciousness that means things will never change. The structure is depicted as awful and eternal, trapped. And it's just so goddamn dark that I felt nauseated at the end. The only other movie that I felt it compared to was Requiem for a Dream in its embrace of a nihilistic ethos and how depressed I feel after it even though, or because, it's a wonderfully crafted movie. Maybe the comedy leavens it enough, but the deep dark undercurrent just hurts, reflecting all the ills I hope can someday change as so deepset. A few people have compared it to Joker and I think both share a misanthropy that is just gutting, but Parasite is much more focused and coherent and soul destroying.
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Nov 12, 2019 05:12
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Segue posted:A few people have compared it to Joker and I think both share a misanthropy that is just gutting, but Parasite is much more focused and coherent and soul destroying. That's because the protagonist in Joker is completely removed from the social issues the movie raises and directly says as much multiple times. Todd Phillips thinks that just bringing up issues is the same as addressing them when in reality his lack of having anything to say makes using them more offensive than leaving them out entirely. Joker is all surface level to outright offensive with it's handling of everything.
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Nov 12, 2019 05:16
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Bottom Liner posted:That's because the protagonist in Joker is completely removed from the social issues the movie raises and directly says as much multiple times. Todd Phillips thinks that just bringing up issues is the same as addressing them when in reality his lack of having anything to say makes using them more offensive than leaving them out entirely. Joker is all surface level to outright offensive with it's handling of everything. Oh I absolutely hated Joker, no argument there, for the exact reasons you quoted. It's very much a "how to and how not to" depict your theme of destruction of society wrought by capitalism. Joker's transposition to 1970s New York, reshash of Scorsese, and shoehorned comic book cameos did it no favours in also just feeling removed and recycled and hollow. By contrast, Parasite's absolutely modern setting makes its nihilism hit so much better and more grounded while still, with its blatant metaphors, feeling like a timeless indictment.
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Nov 12, 2019 05:43
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The Kim Family did nothing wrong
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Nov 12, 2019 18:39
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Uncle Boogeyman posted:The Kim Family did nothing wrong
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Nov 12, 2019 18:54
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