Lazos perversos

Without the appropriate cinematic skills, this film could have sunk completely, but thanks to Chan-wook Park being a master of psychological thriller, it came to be a nice work of art. A great manipulator of the audience's emotions, he meticulously constructs the movie in such a way to get you exactly where he wants you throughout it. He might be a little bold, but he knows how to keep the balance.

"Stoker" obliges you to stay fully conscious all the time to keep up with the symbolisms and invites you to use your imagination. The director wants a participating audience, is ambiguous on purpose, loves to make us wonder and speculate just as much as he loves leaving us room for interpretation when the film ends. Deliberate loose ends and cut scenes, designed to confuse the viewer and cause uncertainty.

Much like with his all-time classic, puzzling masterpiece "Oldboy", Park wants to disturb you. An exciting, twisted story, very powerful scenes, even scenes that many people won't be able to tolerate. A compelling story about dark nature and sickness, about liberating yourself and becoming aware of your desires. Violence is portrayed with scenes focused on beauty, and sexuality is portrayed dark and repressed.

I liked the script by Wentworth Miller (although I don't think the script gets full credit for the suspense created here), and I found Mia Wasikowska's performance superb.

This film is dark and might make you feel disgusted or uncomfortable. But for me, the beauty of the scenes, the emotions it provokes and how it climaxes, made me think of it as a piece of music.

Stoker, celebrated Korean director Chan-wook Park's English-language debut, is a dark, disturbing and diabolical film about an introspective young girl named India who witnesses the loss of innocence following the sudden and untimely death of her beloved father. In Stoker, Park's fixation for the bizarre and the morbid is once again on full display. But, he is clearly a bit more cautious than usual. He seems to keep his characters on a tight leash for a much longer duration, and this makes the movie's first half appear much slower and less hyper than a typical Park film. But, once the dust settles down, the viewer is treated to sheer mastery of Park's craft.

In Stoker, Park pays homage to the master of suspense, Alfred Hitchcock. Those who have seen Hitchcock's 1943 thriller Shadow of a Doubt wouldn't find it hard to draw parallels. Park limns a colorful canvas like only he can and his characters tread it like spirits caught in a limbo. While the characters are highly emotional, their strangely selfish actions make it difficult for the viewers to sympathize with them. Chung-hoon Chung's alluring cinematography gives the movie a hypnotic feel. The acting of movie's three lead characters viz. Mia Wasikowska, Nicole Kidman, and Matthew Goode is quite brilliant and in that order.

Overall, Stoker is an intriguing work of cinema that despite managing to stoke the fire of curiosity may still leave any keen-eyed, intelligent viewer high and dry. Those accustomed to watching the quintessential Hollywood product are likely to find Stoker very strange and deeply disturbing. But, if you are looking for something different to break your monotonous daily routine then Stoker will surely not disappoint you. 8/10

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'Stoker (2013)' tells the familiar tale of an enigmatic, long-lost family member emerging after the death of a patriarchal figure, doing little to differentiate itself from the plethora of other movies in its subgenre. When it boils right down to it, it's pretty much exactly what you'd expect it to be. As such, it all feels rather... inconsequential. It plays its hand far too early in some aspects and, in general, is just incredibly predictable. Even its more extreme elements are presented in a somewhat 'neutered' fashion, feeling like they were included to shock rather than to elevate the story (or, even, make it more unique). That's not to say the film is bad, though. It's a relatively engaging and entertaining in-the-moment experience that does have some interesting aspects. The most obvious of these is its avant-garde direction from Park Chan-Wook, which is turned up to eleven in almost every single scene. This creates an odd effect that does elevate the flick's mysterious atmosphere, even if it sometimes seems a little too 'arty' for its own good. Another thing the film has going for it is its strong cast, each of whom turn in fairly strong performances. The overall thing just falls down in retrospection, though, because it doesn't really do anything all that special. Its overly complex direction hides the fact that it isn't all that deep, something which becomes clearer and clearer the longer you spend thinking about it. It's one of Park's weakest films, for sure. Still, it's a decent mystery-thriller. It's entertaining enough while it lasts. 6/10.

"Stoker" is a beautiful, twisted, hypnotic trance - it's meant for an audience not overly concrete in it's thinking but who have an open imagination and are able to take the plunge into the darkly poetic vision of it's director. "Stoker" doesn't exist in a normal, everyday reality - it's more of an alternative dream reality, hyper-aware and sexually charged. The three principle actors are superb, but Mia Wasikowska really gives the film a beating heart, as she emerges from her innocence into her latent self - a mesmerizing performance. This movie is filled with images that are as disturbing as they are lyrical and open to endless interpretation (along with a subversive wit). I've seen the film multiple times and find that my impressions change with each viewing and that it has really haunted my imagination. "Stoker" is one of those unique and mysterious masterpieces that I'm sure I will be returning to frequently over the years - there's much to drink in, as the well runs deep.

A thriller about psychopaths and sick agendas, Stoker's title summons connotations of the Dracula author. With its Gothic romance novel visual design, a moody anti-heroine right out of the Twilight craze, and a shower masturbation montage borrowing visual cues from Psycho, Stoker presumes to deliver a power-punch of stormy atmosphere and unsettling, offbeat storytelling. Provocative and lurid, artfully photographed, that atmosphere is indeed present in Stoker, as is its departure from the beaten path of mainstream studio fare.

The picture pulls its knock-out upper-cut however, by betraying a derivative (though not over-worn) story and a not-so-novel revelation of its mystery. The plot is essentially Hitchcock's Shadow Of A Doubt (1943), but this is a good one, full of potential for delightful and interesting variations, such as the wickedly disturbing 1966 Let's Kill Uncle with Mary Badham of To Kill A Mockingbird fame.

In Stoker, troubled India (Mia Wasikowska) reminds us of Wednesday from The Addam's Family. Wealthy, privileged, doted on, but misfit, morbid, and sporting a damningly annoying overbearing of sophisticated, anti-social charm, India is grudgingly and minimally cooperative. She's resentful, and seething with some inner grievances, but we're never made privy to what they are. There's a good and evil struggle within her, offset by a chronic, clear desire to be elsewhere. But rather than take action to affect change, she grumpily goes through the motions, while internally swimming against the current.

In East Of Eden, Cal Trask (James Dean) beguiles us by revealing an inner turmoil and a jagged chasm of obviously anguished, and likely twisted emotions. The feelings never have to be explained. It's sufficient that Cal's facial expressions betray them. Our imaginations run wild to fill in the rest. Similarly in Stoker, with her obviously charred soul, India is virtually a plot element unto herself, and the most intriguing one in the film. As with the old inmates' adage, family expectations and social constraints may imprison her, but in her mind she's free, and "they" can't take that away from her.

Or can they? India is stewing in repressed passions but we don't know what they are. Nor will we, for while we eventually receive simple explanation for the root cause of her condition, Stoker never explores the deep, murky waters of that bottomless pool personality behind India's ink-well black eyes.

There's a lot of masquerade in Stoker. While there's obviously more to India than we can fathom, and we want to know all about her, there's also more to her uncanny, disingenuous paternal Uncle Charles (Matthew Goode), and upon meeting him, neither we, nor India, are so sure we want to take a sounding. Charles makes the scene following the funeral for India's father whose very untimely death occurred in an equally unlikely accident.

Despite being extroverted and ingratiating, there's something just not right about Uncle Charley. He exudes a facade of Mormon-esque, overly enthused, positive cheer which nearly overshadows a subtle undercurrent of ruthless self-service. But maybe that's just India's cynical outlook rubbing off on us. Either way, Uncle Charley's here to stay, and after inviting himself as permanent house guest, he begins brazenly courting India's bereaved, yet bored and impulsive, emotionally vulnerable mother (Nicole Kidman). Vanquishing from the household all who might oppose him, such as the loyal housekeeper (Peg Allen) and India's suspicious great aunt (Jacki Weaver), we can only assume he's after the family fortune, but disturbingly, he seems to have deeper designs. These include India's very corpus corporis and mens mentis, as she openly defies Uncle Charley's attempts at domination until he discovers a way to manipulate India's, um, unusual susceptibilities.

At first resentful of Charles's intrusion. and put in an adversarial relationship with her mother who seems to be completely malleable to his will, India becomes jealous, but soon begins to bond with Charles. India's a gloomy, stifled little sexpot and she secretly craves the attention. The trio form a dangerous triangle, which sweeps them in a churning cat-and-mouse-play set of rapids toward the tumultuous falls of total bedlam. This is where Stoker shows its potential to become something original, to reveal fascinating, horrible things, to surprise us, and make us wonder, to keep us guessing on the edges of our seats.

It doesn't.

What could be a captivating web of competing, ulterior motives and petulant scheming never materializes. What could be an engrossing character portrait of India slams flat. We never get that coveted insight into India's motivations, how she sees the world or why she sees it that way. India is simply toxic and contrary with little explanation until the end, at which point she defies her own cunning nature and selects, in lieu of more interesting, profitable, and clever options, an irrational, self-destructive course of action.

Even so, Stoker is still pretty good. It's a satisfying change of pace from the patronizingly conventional and downright silly horror releases lately issuing from Tinseltown like effluent from a landfill, and most Gothic thriller fans will want to see it.

South Korean director Chan-wook Park is best known to fans of the weird for his bizarre, gory cult movies such as Oldboy from The Vengeance Trilogy. With Stoker, he makes his mainstream, US debut. To do so requires that he "sell-out" a little to the conventions of Hollywood marketing, and I suspect this is why he didn't tamper with co-producer, Wentworth Miller's script, even though its deficiencies beg to be tweaked. Stoker more or less works for non-discriminating audiences who can be dazzled by a bit of flash without being driven to look deeper. Park's penchant for the absurd and the gory is still subtly evident. Importantly, Stoker demonstrates Park's trustworthiness to competently direct conventional cinema. With Nicole Kidman on board, and an appeal to the current Twilight-style popular trend, Stoker will, we hope, allow the director to establish himself on the big-budget launching pad from which we anticipate more intriguing work to soar off in the future.