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Thirst: A bit speechless. Where to begin reviewing this film? Well, it is certainly a fantastic Thriller, some elements of Horror and Gore. It is unlike any film I have seen, and I have seen it all! Psychological, disturbing, creepy at times, culturally quite accurate (Korean), a must see for fans of Vampirism for sure, but also anyone that wants to see a disturbing, complex, form of a Thriller. I have not seen any other films by this Director but I certainly will be doing so now. Thirst has a bit of everything in it - not strictly about vampires by far. And to those reviews that mention that it is "Twilight" for adults? You have it wrong. It is nothing like Twilight. Yes, there are some similar traits but no, it is not a Vampire Romance...it is SO much more than that and the other positive reviews are bang-on and speak for themselves. I particularly enjoyed the character developments, the struggles with faith, family, friends as well as the eerie facial expressions. What a creative and well-written story. You need to see this for yourself and come to your own conclusions!

Not for the squeamish, but the number of twists, inventive uses of situations using vampire mythology, gorgeous visual extremes, together with interesting and quirky characters make this one of the most stunning horror films I've ever seen. It descends into utter madness along with characters, but never seems exploitative or horrific without purpose. There are copious amounts of bloodletting accompanied by some nasty sucking and squishing sounds, but also subtle moments where you laugh out loud. As he tends to do, Chan-wook Park keeps you off center with leaps in time and plot and situation that you have to fill in for yourself forcing your involvement in the story and characters.

And there's a lot of literal leaping. Keeping in the vein of vampire myth (pun intended), they have superhuman strength and can nearly leap tall buildings in a single bound (to coin a phrase). The first time our heroine is carried by the across the tops of buildings by the troubled vampire priest, it has all the magical romance of Lois Lane and Superman - but this romance becomes increasingly disturbing - but driven by a strange and conflicted 'love affair' not by mere horror.

The acting is superb, particularly OK-vin Kim, the gorgeous actress in the female lead role who, at 22, shows a range that is remarkable. The character borders on a kind of black widow film noir type. She careens from innocent to impish to vixen to demon with utter conviction. This is a really smooth and nervy performance.

If you love real art in horror, or are a fan of Oldboy - don't wait for the video, see it immediately.

Talk about getting your socks knocked off, this newest amazing movie from Park Chan-wook's would be my favorite new take on the vampire genre, if not for "Let the Right One In", which still remains my fav, but this one is right behind it. A Catholic Priest volunteers for some radical medical experiments, that turn him into a vampire. He tries his best to be a good vampire, and not kill anybody, but it's pretty clear, that's going to be rather difficult. Park mixes in some black comedy into this one, just as he does in most of his earlier films, but the subject matter is dead serious. It also has one of the best vampire sex scenes I have ever seen. The vampire Priest steals blood from hospitals and anywhere he can find it, but when he meets his new lover, things pretty much go downhill, when she wants to become a vampire too. This is an excellent entry into the vampire genre, and continues Park Chan-wook's amazing body of work. This is not to be missed, every minute of the 134 min running time is entertaining as hell.

A few years back I saw Oldboy. Up until that time in my life I had watched hundreds of foreign language films, loved some and endured others, but nothing to that point gave me the adrenaline rush that this film did.

After Oldboy I sought out the director's other films, loved Sympathy for Mr Vengeance, really liked JSA and thought Sympathy for Lady Vengeance was worthwhile also, if a notch below the rest.

For those keeping score at home, that is a 100% strike rate of 4 out of 4 films. If any director makes 4 strong films in a row I always look forward to whatever they come up with next with great anticipation.

So when I saw that director Chan Wook-Park had a new movie coming out, and that it was a vampire movie? I mean come on. It has to be good doesn't it? Yes and no, Thirst holds true to Wook-Park's deliberate skewing of conventions so that this is not your Twilight, Underworld or Lost Boys vampire film.

That's a good thing by the way.

But at 2 hrs 15+ minutes there is a little too much "filler" here to sit through in between the stronger scenes, which realistically don't have the impact of Wook-Park's better movies.

The movie opens with a Priest named Sang-Hyeon, who is so selfless and giving to humanity that he volunteers himself as a test subject for a horrible disease that basically blisters the skin until the sores and boils explode and move into the respiratory system, killing the infected in a horrible and painful manner.

Sang-Hyeon is expected to die, indeed 500 other infected people did... And he does, temporarily at least.

Upon his return he is now a symbol of purity, having been the only known survivor. He is treated much like a religious figure, something that he so uncomfortable with that he practically goes into hiding, staying with the family of a childhood friend.

Now the friend is basically an idiot, he is married but treats his wife like sh*t, as does his Mother who lives with them, but it seems at this point that Sang-Hyeon has nowhere else to go.

What no-one else knows though, as a result of the blood transfusion that kept him alive through his treatment Sang-Hyeon is now a vampire, but his religious beliefs don't allow him to kill to slake his thirst. He instead volunteers his priestly services at a local hospital and siphons the comatose and suicidal. After ingesting the blood Sang-Hyeon is temporarily "super", in a way that many other cinematic vampires are all the time, although without fresh blood he quickly reverts back to a deteriorating state until another fix is available.

Another side effect of gorging is that he is super-sensitive, and being around the young wife triggers thoughts that only dramatic bouts of self flagellation can quell, (look it up, it's not what you think).

Eventually though Sang-Hyeon allows himself to let the "little priest" go to work, and he and the wife quickly embark on a passionate and clandestine affair, with each episode temporarily returning Sang-Hyeon to full strength.

It is at this point that Sang-Hyeon decides to tell the wife of his dreadful secret, and after the understandable initial shock she "volunteers" to join Sang-Hyeon.

Now that Tae-Joo is a member of the SPF 100+ club, this brings a new obvious wrinkle to her life, as she still must endure the unwelcome existence that is being the dogsbody of the childish Kang-Woo and his controlling Mum.

And from this point the dynamic of the film changes dramatically, with Tae-Joo rapidly coming to terms with the requirements that being a vampire necessitates, and Sang-Hyeon having his own self written code of ethics turned upside down.

Chan Wook-Park doesn't "do" genre films. He seems to start with a core idea or plot element and builds around it with so many other facets that eventually what remains is a film that obeys certain conventions but twists the implementation to the point that the movie becomes almost impossible to categorise.

The two "sympathy" films were both revenge films at their core, as was Oldboy, only not in the Death Wish or cowboy revenge film way. Nothing is that simple in the Wook-Park universe.

Sang-Hyeon isn't a bad guy in the way that we would ordinarily consider a guy who sucks the blood from the living, nor is he an anti-hero. He is a priest who has become a vampire not through choice, who has learned to deal with his situation.

Even the most obvious choice as the "bad guy" in this case, Kang-Woo's Mum, is basically just doing what many other Mothers would (to a point).

Kang-Ho Song, who plays Sang-Hyeon, is in many Wook-Park films, and he is ideal here. He has a great round expressionless face that rarely shows any feeling or passion, and slits for eyes that also don't give anything away - regardless of circumstance - he is equally believable as both a priest and an unwilling vampire here.

While I liked Thirst, and I must admit I would have loved to have the opportunity to spruik a "Korean vampire movie" to my mates, I think that there is just a little too much missing here to give it a strong recommendation.

(Maybe I am a little disappointed because it was a great director that made this admittedly average film, I'm not sure yet.) Final Rating – 6.5 / 10. Not a big step backward for Chan Wook-Park, but just a little below his normally strong output. Would benefit from a few more edits.

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'Oldboy' director Park Chun-wook returns with what must be one of the yuckiest and at the same time most serious vampire flicks in movie history.

Trusting the latest Hollywood fad, vampires these days are supposed to be rather nonviolent, asexual, love-lorn chevaliers instead of the evil rampantly sexual blood-sucking mind-manipulating man-beasts of yore. This is the film you want to see if you want to remember the sticky thrills of the past... well, at least in the second half.

'Thirst' starts out with a lengthy character exposition culminating in a slightly different love story. The vampire transformation of a priest is, over quite some time, sidelined by the romantic and sexual aspects of the story, which makes for some awkward viewing. But the last 40 minutes or so are surprisingly gory. Well, maybe not so surprisingly if you know 'Oldboy' and 'I'm a Cyborg but that's OK', but I guess it's fair to say that 'Thirst' beats Park's earlier films in terms of in-your-face violence.

All in all, be warned that this is neither art cinema nor a horror flick. It may be too disgusting for many and too tame for some. 'Thirst' is original, entertaining and fortunately a little less weird than Park Chun-wook's earlier endeavors.