The Big Screen Bulletin 11.05.07: The Best Movies of the Alphabet (Part 3)
Posted by Chad Webb on 11.05.2007
The list continues with K, L, M, N, and O! Check out what won, and what didn't.
Welcome back! The amount of titles and the quality of those titles is growing, and making it increasingly difficult to decide on what best represents the letter. I hope you enjoy and approve of the selections. To check out the first two groups of letters, click on the links below.
Directed By: Shane Black Written By: Shane Black Starring: Robert Downey Jr., Val Kilmer, Michelle Monaghan, Corbin Bernsen, Dash Mihok, Larry Miller Release Date: October 21, 2005 The Plot: A murder mystery brings together a private eye, a struggling actress, and a thief masquerading as an actor. Oscar Victories: None Alphabet Trivia: What was Gay Perry's cell phone ringtone in the film?
Don't rub your eyes. You are not hallucinating, and this not a joke. The votes for "K" were almost unanimous. The question is, how over acclaimed pieces like King Kong or Kill Bill, could Kiss Kiss Bang Bang be so popular? The answer cannot easily be summed up in one word, except for maybe: cool. This is a cool film noir action comedy. The entire layout of Lethal Weapon screenwriter Shane Black's directorial debut is drenched with electricity and ingenuity. Nothing is executed half-assed. Everything is done with a joyfully sarcastic and exaggerated tone.
I was one of the fortunate souls who took a chance on this during its short theatrical run. It grossed around $15 million worldwide, with approximately $4 million of that in the United States. People just weren't going to see it as it worked its way up from a small amount of screens. Movies like Saw II, Harry Potter and the Goblet of Fire, and Chicken Little were dominating. The grand total did manage to top the estimated budget, but where Kiss Kiss Bang Bang has really taken off is on DVD. Viewers had more opportunities to take a risk and rent it. The results are hard to ignore. This is a snappy, swift, and cocky adventure through Hollywood's dark side.
What makes this experiment so appealing and outrageous is that Black presented the tale in a manner that very clearly says, "We have nothing to lose, and everything to gain." If it had been a failure, that's the breaks, but as years go by, this film will no doubt develop an increased cult following. No one can deny Kiss Kiss is a wacky romp, but it sure is exciting too. A whole heaping pile of ingredients were essential in order for this to blend and become a success. The only thing is, no one could be too sure how those elements would resonate, or how they would eventually respond with moviegoers. Perhaps it took awhile, but the drawing power of this twisty tale grabs and bombards you with endlessly crafty dialogue, intriguing characters, and a hugely exuberant plot.
One factor that obviously helped was the instinct to select the appropriate actors for such zany roles. Robert Downey Jr. is gloriously unpretentious as Harry Lockhart, a thief who becomes an actor, who then becomes a private investigator in a bizarre roundabout sort of way. This marked Downey Jr.'s return after years of drug and alcohol problems, and he wasted no time in showing the extent of his talent on the mainstream, and began to land only the most creative and ambitious projects like Good Night, and Good Luck, A Scanner Darkly, and Zodiac. His narration is fresh and funny as he freezes and manipulates the pace of the story at his own discretion, and chats about the experience of watching the events unfold.
Val Kilmer meanwhile surpassed anything he had previously completed in the past ten years or so as Gay Perry, a private detective who joins Harry and is supposed to give him tips on acting by showing him real situations he embarks on. Kilmer is absolutely hysterical in one of his most laid-back performances. His spot-on delivery of so many unforgettable one-liners is what drives the picture, and makes his teaming with Downey Jr. so fantastic. Exchanges like this are priceless: Harry- "Hey, hey, hey! It's Christmas, where's my present, Slick?", Perry - Your fu**ing present is you're not in jail, fag-hag." Worth the price of twenty admissions is Michelle Monaghan as Harmony Faith Lane, who is tremendously alluring as the femme fatale. Her costumes are sexy, her attitude is beguiling, and her contribution is a marvelous supplement. Monaghan is hit or miss lately, but she is superb when she has the desire.
Many probably do not know that the terrific title is a reference to a theme song in the James Bond film Thunderball. The song was "Mr. Kiss Kiss Bang Bang", but was never used. Shane Black's style and screenplay treats the audience as if they were smart, instead of talking down to us. That is why the respect and admiration for all the eccentricities and strange methods only swells with age. Black also trucks much of his education in action sequences along to the fray. He served as a screenwriter on The Long Kiss Goodnight, and the aforementioned Lethal Weapon. His intensely imaginative stunts here are exhilarating, and prove he evidently took notes. When one strips the premise down bare, it is rather basic, but Black and company decorate the proceedings with all the trimmings to generate one of the most boisterously engaging escapades.
Warner Brothers originally kept the budget at $10 million, but they inevitably went over, and the studio was worried. However, once they screened it, they instantly fell in love, as we all did, and released it at the Cannes Film Festival to which it received a standing ovation. Kiss Kiss Bang Bang has an acerbic edge to the humor, a flexibly jubilant mood to the tale, and leisurely perfect timing of the acting that meshes into a definite unexpected delight. Is this what all critics would cite as the winner for "K"? Probably not, but Kiss Kiss Bang Bang deserves its position because it's just excellent entertainment. From bullets to bombshells, this reminds the world of how much fun movies can be when they don't take themselves too seriously.
2nd Place
3rd Place
L is for…
The Lord of the Rings:
Return of the King
The Lord of the Rings: Return of the King
Directed By: Peter Jackson Written By: Fran Walsh, Philippa Boyens, and Peter Jackson Starring: Elijah Wood, Sean Astin, Viggo Mortensen, Orlando Bloom, Cate Blanchett, Ian McKellen, and on and on Release Date: December 17, 2003 The Plot: The former Fellowship of the Ring prepare for the final battle for Middle Earth, while Frodo & Sam approach Mount Doom to destroy the One Ring. Oscar Victories: Best Picture, Best Director, Best Effects (Visual Effects), Best Film Editing, Best Writing (Adapted Screenplay), Best Music (Original Song), Best Music (Original Score), Best Make-Up, Best Costume Design, Best Art Direction-Set Decoration, and Best Achievements in Sound Mixing Alphabet Trivia: How many Academy Award nominations did the entire Lord of the Rings trilogy receive?
Whether you are a "Star Wars" fanatic and own the dozens of separate novels, or whether you have a map of Middle Earth poster and a shrine to Peter Jackson, it is impossible to withstand the sheer might and vigor of The Lord of the Rings saga. I love both franchises, but The Lord of the Rings could be the perfect example of a near spotless trilogy, one that defies all the odds. The culminating chapter, Return of the King proves the third installment of a trilogy can equal, or in this case exceed the previous two. This is filmmaking on a monumental scale. There is a reason legions of die-hard supporters are fighting for Peter Jackson to helm The Hobbit, J.R.R. Tolkien's prelude to The Lord of the Rings. It is because the experience of witnessing his attention to detail occurs only once in a lifetime.
This entry is devoted to the extended version of the story. The added footage integrated in each elongated edition adds an enlarged amount of depth, texture, and understanding to the proceedings. The running time clocks in at approximately four hours, which would cause some viewers to avoid that particular film altogether, but with Return of the King, a split-second of boredom cannot be felt in the midst of the edge-of your seat excitement. This is a vast, all-encompassing conclusion that is faithful to the spirit and soul of the novels, yet ventures that extra mile, and enhances the narrative with breathtaking visuals and devastating imagination. We are thrust into this mesmerizing universe with no desire to leave.
The story commences directly after The Two Towers finished with Frodo, Sam, and Gollum continuing to approach the land of Mordor. Gollum's obsession with "precious" is still lurking, Sam remains a passionate protector, and Frodo is moreso a changed being reeling from the effects of the golden ring. At the same time, Gandalf, Aragorn, Legolas, and Gimli join and combine with Pippin and Merry following the battle of Isengard. You all know how it goes down. The build is gradual and steadily paced at the onset, but eventually escalates as the overwhelming climax arrives. Tempo and velocity are crucial to the aftertaste a film bequeaths, and here it is textbook with a mounting enthusiasm to the onslaught of beyond majestic sequences.
After so much quality time with these characters, it is difficult to examine and judge the value of each performance. These people left their lives, and literally became their respective personas. For the sake of argument however, it is important to address the highlights and central players. Elijah Wood matured extraordinarily through the course of this series, and it is most evident in this last section of the trek to Mordor. He is a very talented actor. Sean Astin is unfailingly lovable and fierce as Samwise Gamgee. Astin truly is an underrated artist. He augments this tale more than one would give credit for. Viggo Mortensen used these films to catapult to bigger and better things. As Aragorn, Mortensen is prodigious and cogent as the hero all of us are cheering for. Orlando Bloom and Jonathan Rhys-Davies are notables that provide loads of hilarity. Ian McKellen's input as the wizard Gandalf is substantial and significant. McKellen plunges into this guise with more profundity and wisdom than he has at any other time during his career. An abundance of brilliant thespians supply brief, petite, and/or fleeting appearances like Hugo Weaving, Liv Tyler, Ian Holm, and Cate Blanchett to name a few.
The special effects are so bold and elaborate that they have set a novel criterion for anyone contemplating a challenge. Jackson has mixed great locations with his adept computer savvy to spawn some of the most mind-blowing sights in movie history. The circling around Minas Tirith, the lighting of the beacons, and the ascending of the secret stair are more than impressive, they are stupefying. However, any reference to CGI must mention Andy Serkis as Gollum. This creepy little creature emerges as similarly human as Elijah Wood or Sean Astin. His immortal repeated line "My precious" is mocked constantly, but he is never irritating (like say Jar Jar Binx). His mannerisms and articulations are so natural, and his conveyance of dialogue so precise he converts himself from what some may say is artificial or cartoonish to a seemingly plausible three dimensional creation.
Peter Jackson launches an unremitting grasp on the audience with the spectacular battle scenes. The confrontations of Minas Tirith and the Pelennor Fields are legendary in stature and reputation. They unfold as the exact opposite of subtle, but overpowering and humbling to the senses. Combined with Howard Shore's virtuoso score, which is situated at such fixed instances, and is evenly grandiloquent, tantalizing, and fragile, the skirmishes will be celebrated for decades to come. Emotions swirl inside of us as these characters we have admired for so long encounter threats of danger. This happens frequently in motion pictures, but in Return of the King it is resting in the back of our minds that this is the last occasion we will enjoy and witness their trials and tribulations for in the moment.
Coincidentally, the multiple endings have been poked fun at incessantly, but the method in which Jackson wraps this epic up is with a finale and epilogue that gives the impression of never ending, but in hindsight it could not be more suitable or satisfying. Besides the awesome wars waged, one of my favorite scenes involves the deadly spider Shelob, and how he entangles Frodo in his web. Unadulterated terror is felt as that unfolds. With a closing body count of 836, effect shots that reach to 1488, over 200,000 digital participants, millions of feet of film, and thousands of weapons and costumes, The Lord of the Rings: Return of the King was the second film to top the $1 billion mark. Was it all worth it? I'd say so, but it was sad to watch it bow out. Nonetheless, the influence this has had, and will have, on generations of filmmakers and viewers alike is incontestable. My review restated facts you probably read before, so it should go without saying that this is an honored cinematic souvenir.
2nd Place
3rd Place
M is for…
Monty Python and the Holy Grail
Monty Python and the Holy Grail
Directed By: Terry Gilliam and Terry Jones Written By: Graham Chapman, John Cleese, Eric Idle, Michael Palin, Terry Gilliam, and Terry Jones Starring: Graham Chapman, John Cleese, Eric Idle, Michael Palin, Terry Gilliam, and Terry Jones Release Date: May 10, 1975 The Plot: King Arthur and his knights embark on a low-budget search for the Grail, encountering many very silly obstacles. Oscar Victories: None Alphabet Trivia: How many Terry Gilliam characters die in this movie?
My earliest memories of British comedy are actually pretty recent. When I was in high school, I was an avid film viewer, but not an addict. I had heard of Monty Python, but had never seen any of their submissions. It started to wear on me that I was missing something during my time running cross country. The other guys on the team would stand around constantly quoting lines and laughing hysterically about specific scenes. My reaction to this was one of bewilderment and pomposity. What was wrong with them? I had not a clue why what they were discussing was so funny. Eventually I sat down to watch Monty Python and the Holy Grail, and was not very awed. Humor in this form was new and unusual for me, as it is for many I'd guess, so I chuckled a few times, but that's it. Shortly thereafter I became a certified film buff, and thoroughly enjoyed Life of Brian. A weird thing happened then. The more British comedy I saw, like Fawlty Towers or Black Adder, heightened my fondness for it. Upon viewing Monty Python and the Holy Grail multiple times since then, there is no doubt that this is a riotous classic from beginning to end.
The story and structure is nonstop craziness and nonsensical situations. That is the beauty of it. The opening credits reveal what the audience is in store for right off the bat. Not often do credits make you laugh this hard, but truth be told the faux Swedish subtitles pull it off. Soon they veer in a separate direction and are no longer translating what they should, but rather commending the Moose. This ultimately ceases and a message appears apologizing, and then re-apologizing, until garish flashing colors materialize with cheering.
Everyone has heard of the plot by now, but in case you haven't, I'll divulge so that the discussion of my favorite scenes is better outlined. The fun commences with King Arthur riding around the country searching for Knights to join his court. He has no horse however, instead he pretends to ride while a servant bangs two coconuts together which imitate the sound a horse makes. This was cheaper for the crew, and no one had to take lessons. Only one horse is ever seen, but everyone hops along just like this. Arthur stumbles upon a peasant named Dennis who criticizes the way in which he became a ruler. Arthur continually tells him to "Shut Up!" with negative results. This spat is followed by the scuffle with the Black Knight, who attempts to prevent Arthur from crossing a bridge despite having his arms and chopped off. Eventually Arthur does collect a band of Knights: Sir Launcelot, Sir Galahad, Sir Bedevere, and Sir Robin. The first quarter is so strong and entertaining, one might expect things to go downhill, but they never do.
They all arrive at Camelot, Arthur realizes it is a silly place, and God commands them to seek the Holy Grail. A series of excellent adventures ensue. The taunting Frenchman is just outstanding. The exchanges are mercilessly funny, clever, and inane all at once. Of the individual tales, the one I treasure is of Sir Robin. Eric Idle has always been my preference of the entire troupe, and his meeting with an argumentative three–headed enemy is priceless, especially the tune sung by his servant. Another beloved sequence involves Tim the Enchanter where he incessantly conjures fireballs and aims them at the mountains. He leads the Knights to a cave where a deadly rabbit awaits. I could rattle on for pages about all the superb scenes, as I am sure many of us could, but the point is, not one minute falls flat.
The wacky interludes of animation are ingenious and matchless. The insertion of such a technique spices up the humor wonderfully. Sometimes the animation is meant to disrupt the story, and on other occasions, it aids in progressing it. Either way, it works, as does the flipping pages of the book, which incidentally is Terry Gilliam's gorilla hand. The animation was designed by Gilliam, and he also served as co-Director with Terry Jones. These two took the limited budget supplied by bands like Pink Floyd and Led Zeppelin, and devised the best possible package anyone could have marshalled. Initially, Monty Python were supposed to shoot at state run castles, but the Scottish authorities banned production from those areas, hence Doune castle was utilized for numerous different settings in the film. When fate says that a masterpiece must be made, nothing will stand in the road.
The chemistry of the Monty Python clan is undeniable. It was second nature, and it shows in the final outcome. At this stage, they were all incredibly comfortable and at ease working amongst each other due to Monty Python's Flying Circus. I have not experienced much of the show, but I have little doubt of its merit. These performances are impossible to judge since Michael Palin, Terry Jones, Terry Gilliam, Eric Idle, John Cleese, and Graham Chapman all assume multiple roles throughout the fable. Nevertheless, everyone shines equally, and contributes substantial lines of dialogue and moments of witty triumph. The full arsenal of each member is offered with grandeur. The timing, delivery, and physical mannerisms are mastered and accessible with tremendous success. I noticed that they all possess such an elevated optimism during the feature that is certainly unrivaled compared to most comedies of this, or any, decade.
The writing is the very definition of adeptness and radiance in absurdity and illogical configurations. This is not tightly constructed, nor coherent, or totally lucid, but that is the theme of Monty Python and the Holy Grail. No clear-cut or deliberate sketch is necessary. This is an unrestricting and impudent atmosphere with sharp satirical edges, and a bold astute drollness. Monty Python and the Holy Grail covers an ample amount of territory in regard to the nature of the comedy from religion, politics, musical numbers, and dancing. Indeed, this quest has slices of amusement for everyone.
This brand of side-splitting humor is not for everybody. To say it is an acquired taste is an understatement. I didn't fall on the floor with tears of laughter at every scene, but even if I was just admiring the expertise, I still appreciated the ambition and skill of what was being uttered or acted. Not all funny portions require laughter. I find that each new viewing exposes a subtle comment I overlooked previously. That is what shapes a special film. Many of the company went on to bigger and better ventures after Monty Python and the Holy Grail, but no soul can deny the clout of this knee-slapping tale of heroic "K-n-i-g-h-t-s" as an eternally glistening gem.
2nd Place
3rd Place
N is for…
Network
Network
Directed By: Sidney Lumet Written By: Paddy Chayefsky Starring: Faye Dunaway, William Holden, Peter Finch, Robert Duvall, and Ned Beatty Release Date: November 22, 1976 The Plot: A TV network cynically exploits a deranged ex-TV anchor's ravings and revelations about the media for their own profit. Oscar Victories: Best Actor in a Leading Role (Finch), Best Actress in a Leading Role (Dunaway), Best Actress in a Supporting Role (Straight), Best Writing (Screenplay Written Directly for the Screen) Alphabet Trivia: What actor turned down the role of Howard Beale claiming it was "too hysterical"?
Sidney Lumet's outrageously riveting satire on television networks resembles a fine wine in that it only becomes better with age. As the ratings on actual shows climb and dip regularly, it is progressively more apparent how desperate stations are these days. Observing this unravel as finales air and seasons begin, it simply aggrandizes the inexorable dark humor of Network. The charm of it expands and grows clearer with each pleasurable viewing.
It is downright creepy how close the aim of Paddy Chayefsky's script landed, and how coincidentally psychic it was decades later. How many television personalities past and present have been bizarrely comparable to Howard Beale, "The Mad Prophet of the Airwaves"? Stop and think about that for a minute, and you too will come up with multiple answers. Comprehending how well Network has aged is fine, but it was certainly a spectacle during its initial release too. It generated a hefty amount of commotion with audiences on the level of corrosion in television.
The voice on narration is disturbing and powerful. Lee Richardson's authoritative vocals seize our interest, and leave us haunted at the end, which is one of those moments in cinema you never ever forget. It leaves a permanent mark that is not easily erasable. Even if you have only seen Network one time, if it is mentioned in the future, long after specific details have floated away, that irreplaceable conclusion is still prowling in your mind. The movie is packed with gripping individual scenes though. It is not just the shock of Beale's opening comments on committing suicide that startle us, but the reactions, or lack thereof, of certain crew members. The reality does not resonate fully for several seconds.
Lumet's adroit direction coalesces with Chayefsky's screenplay in a most amazing fashion. The atmosphere and tone shifts basically from one extreme to the other. Beale's actions are incredibly overstated and improbable, but the conversations backstage, in the locked offices, are frighteningly spot-on in terms of what might transpire between legitimate network executives. The altitude of difficulty in achieving such a dramatic swing in attitude probably doesn't strike many people. This is due to how unspoiled and faultless it is implemented.
The cast floods the substance with bravura performances, all of which have earned a space in history. For starters, Peter Finch's portrayal of Howard Beale's dive from a drunken newsman who "ran out of bullsh**" to a popular rampant madman is nothing less of extraordinary. Without Finch's mastery, it would have been impossible to believe how the UBS watching world could fall for Beale. But Finch drives the picture as the nucleus. He died shortly before the Oscar ceremony, but was awarded a statue for his efforts. William Holden has essayed countless classic roles, and the part of news director Max Schumacher does not take a backseat to any of them. Holden is fantastic and captivating. He supplies an indispensable layer to the events with his convincing turn from practicality to romantic. Holden is the fulcrum and ethical face that holds it all in place.
Faye Dunaway is searing, seductive, and soaring in her representation of Diana Christensen, a programmer who focuses on one priority "a 30 share and a 20 rating." She is all about the numbers, and will go to any length to attain a goal. This is proven by her "Mao Tse Tung Hour" idea. Instead of reverberating as a two-dimensional caricature, Dunaway accomplishes cold and calculating hypnotism that is persuasive and imposing. Despite such intoxicating leads, the supporting team hits homeruns all their own. Robert Duvall's splendid corporate instrument Frank Hackett is hardnosed and pitiless in accepting Diana's proposal for Beale to remain on the air. Ned Beatty and Beatrice Straight lend superlatively minor contributions as Arthur Jensen and Louise Schumacher.
This is a definite writer's showcase, one which has been extolled for good reasons, but without the grounded approach from Sidney Lumet, the material would have translated as silly. That is why Network is such a miraculous triumph. Satirical pieces are extremely problematical to craft because treading the line between lightly goofy and attacking the bone marrow is a fine one, and it can mean destruction if one is not careful. Lumet's best submission is arguably 12 Angry Men, but this social commentary is undoubtedly not far behind. Lumet is one of those great filmmakers who shines most prominently when the body he is confronting is more divisive. He does not just dance with controversy like in Dog Day Afternoon, he flat out brings it to bed with an barbed and trenchant edge.
The fact that ratings are the center of importance for networks like UBS should not flabbergast moviegoers. Those themes and messages of Network are not what beguiles and amuses us, it is how the writer and director tackle the subject in a dexterous manner that creates a spotless jewel. I can think of many films that express in various means why I dislike television, but none better than Network, or more specifically, Howard Beale's speech leading up to his celebrated line "I'm as mad as hell, and I'm not gonna take it anymore!" This is poetry that slaps the taste out of the mouth of TV execs and businessmen. It is sad to say but Network's hypothesis was on target, and by today's standards, it is "normal" behavior we see on a daily basis. The proof is available in political pundits, scandals, and network buyouts. Nonetheless, this is a badge the cast and crew can wear with dignity, for this is one of the greatest films of all-time.
2nd Place
3rd Place
O is for…
Oldboy
Oldboy
Directed By: Chan-wook Park Written By: Chan-wook Park, Jo-yun Hwang, Chun-hyeong Lim, and Garon Tsuchiya Starring: Min-sik Choi, Ji-tae Yu, Hye-jeong Kang, Dae-han Ji, Seung-Shin Lee, Dal-su Oh, and Byeong-ok Kim Release Date: March 25, 2005 The Plot: After being kidnapped and imprisoned for 15 years, Oh Dae-Su is released, only to find that he must find his captor in 5 days. Oscar Victories: None Alphabet Trivia: What is the name of the restaurant Mido works in?
Oldboy opens with beautiful music by Yeong-wook Jo, and then rips to a scene of the main character, Oh-Dae Su, holding another man by his tie off a roof. It snaps your attention immediately to the story. From that moment you need to hold on for dear life, and absolutely never let go. Oldboy is quite simply one of the most kick a** motion pictures of the last decade. It is a psychologically sexual and gruesome full package blow by blow. Any crucial feature or characteristic that a movie must possess is embraced: outstanding performances, adept direction, a brilliantly complex plot, and unforgettable images.
The filmmaker, Chan-wook Park approaches the assignment like a toss between an accomplished painter and twisted magician, one that is a mastermind, but maybe also a bit insane. There's nothing wrong with that though, because one would have to be somewhat psychotic to mold an uncompromising thriller such as this. Oldboy is the second installment of Chan-wook Park's revenge trilogy, a series that does not connect except by vengeance in the hearts of its characters. Park has turned the genre upside down, and Oldboy cements that revenge flicks could stop right now, and fans would be more that fulfilled with this classic to admire.
Leave every preconceived notion you might have of this movie at the door. Male or female, you will become encapsulated with the adrenaline, explicit violence, and pure passion that is discharged. The story focuses on Oh-Dae Su, an ordinary Seoul businessman who is suddenly imprisoned with no idea as to why or who has locked him up. He is kept in a room for 15 years, until one day he is deposited on a roof. He awakens with one priority, to discover the enemy who took him and incarcerated him for so long. If such an escalating and superlative plot thread was not enough, the direction is consummate with sequences of such startling splendor, brutal aggression, and seductive zeal.
Korea's Oldboy never allows a single solitary second to catch your breath. It is based on a Japanese Manga written by Minegishi Nobuaki and Tsuchiya Garon. One of greatest fight scenes in history has Oh-Dae Su continuing to pursue the mysterious man who wronged him, and he finally locates the building where he was previously held, and is quickly surrounded by thugs. What transpires is mind blowing. He battles with each person in a long corridor, mustering all of his strength and willpower to plow them down. The overall bloodshed shifts from straight to irregular with spectacular smoothness. Plenty of gunfire ensues, but prepare for the removal of teeth, the slicing of tongues, and the consuming of an octopus. Because Park expounds the carnage in an inimitable fashion, the impact is elevated considerably.
What makes Oldboy effective as a vengeance tale is that the substance is not limited to just that thin aspect. For example, the relationship between Oh-Dae Su and Mido is bizarre to say the least, but absorbing and compellingly complementary. Mido is a young woman he meets in a restaurant, and she is a chef. What is it that caused her to help this rage-fueled individual? Their interactions and emotional involvement with each other is profound, intricate, and engrossing. Oh-Dae Su is performed with a haunting facial expression by Min-sik Choi. His actions are meant to induce chills one minute, and laughs the next. Choi is a volcanic wonder. Everyone is harmonized and consistently terrific in their portrayals, especially Ji-tae Yu as Woo-jin Lee.
What separates Chan-wook Park's line of attack to revenge is that the consequences and meaning of attaining that revenge vary, and are certainly not black and white. This is the same for Sympathy for Mr. Vengeance and Lady Vengeance. He coats his tactics with stratums that enhance the core to a prominent degree. Yeong wook Jo's impressively diverse score, combined with Jeong-hun Jeong's smashing cinematography, just supplements the already incomparable story. Park does not employ the butchery or graphic situations for reactions. They are revealed because the film would not be complete without them. Park is not eager for screams or chuckles. He unravels Oldboy from Oh-Dae Su's point of view, so what he encounters, we encounter. We dissect the mystery along with him. It is a viscerally stimulating and ingrained experience.
I would love to discuss and explain the conclusion in detail, but chances are many readers have yet to explore the tragic exquisiteness of Oldboy. One cannot place this in one category since the film reaches and conquers such a towering grade that it is much more than a standard actioner, thriller, drama, etc. Every frame builds and leads the audience one step closer to the unbelievably multifaceted and staggering climax where the lines between good and evil are now murky, and basically obliterated. At one point an American remake was in the works, but news updates have since been stopped. Oldboy is a hurricane that destroys any cinematic timidity you might have had prior. It is a gracefully vicious puzzle that is flawlessly erected, and leaves viewers with a hell of a lot more than ever bargained for.
2nd Place
3rd Place
Trivia answers: K) "I Will Survive", L) 30, M) 4 N) Henry Fonda O) Mediterranean
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