Oldboy: Le jour de la vengeance

This was the first version of the film I watched as I didn't know about the Korean Original (I was just scrolling through Netflix) and on the first viewing, I just enjoyed it as a decent B movie.

However today I saw the original "Oldboy" in the cinema and I have to say, as a stand alone film this version is alright. But compared to the Korean original, it's just absolute garbage.

I'm glad I saw this version first as when I watched the original, I wasn't as shook up as I may have been with how the plot unfolds. The Korean version is in every way superior and much more dark, but this film is a much more simplified version of he story and a decent B movie if you haven't seen the original.

It's worth watching, but watch the original too.

A washed up alcoholic is kidnapped and imprisoned in a single room by his unseen captors for 20 years. After finding that he has been framed for murder he sets out for revenge and vindication. And while bettering himself in the process he aims to find out why he endured his confinement.

A solid remake of the great South Korean film based on the Japanese Manga 'Oldboy' by Nobuaki Minegishi and Garon Tsuchiya. With plenty of homage's to Chan-wook Park's 2003 original Spike Lee adaptation makes some minor changes to the story some are for the better including a more fitting closing. Pacing however does feel choppy/rushed in places possibly due to studios heavy editing intervention.

Lee's offering is wonderfully filmed and acted, Samuel L. Jackson leaves an impression but Josh Brolin excels and clearly was 100 percent dedicated to the role, surprisingly executing the action scenes with surreptitiousness. The casual viewer may not find the dark humour, peculiar characters or reveal palatable. Nevertheless it equals or debatably surpasses the likes of Sixth Sense, Angel Heart, The Usual Suspects to name a few with its surprise ending. Ultimately, those who want a gritty psychological thriller with a spot of action and a fantastic twist look no further.

Possibly curious viewing for fans of Park's original but a compelling must see for viewers not familiar with the story.

Woody acting and product placement ruined this movie for me. i'm not sure how he did it, but spike lee even manged to make 20 years in captivity feel rushed and uneventful. to elaborate further, there was ZERO character development, everything felt pushed along, including the 20 years in the room. he was just a pitiful alcoholic for YEARS, then "EPIPHANY", a five minute montage of getting clean and getting in shape annnnd he's out. there was no passion to it, there was no empathy that you get from the original, you don't feel sorry for him. he's just a sociopath on a revenge spree. although, i think the big ending twist was done well, the overall movie was a snooze fest. they even managed to make a pivotal scene, the hallway fight, BORING and pushed along.

everything the main character is, is because of that room, his life, his persona, his transformation, and his realizations. it had no heart. the subtlety and nuances of the original are just lacking. like i said, you you don't care about the characters, you're just waiting to see what happens next...and what made it even worse, is that i KNOW what's going to happen next, but dammit, i wanted my money's worth.

Why would they remake a film by the master? The whole idea behind remaking films is to remake something that was maybe a good idea but had bad execution. The original Oldboy is a 10 top to bottom, story, script, action, actors, direction, why did they try to remake perfection.

Josh Brolin is good but when you start comparing him to the pain and anguish Min-Sik Choi convaed in the Korean version there is no way to compare the two. Also I like Spike Lee and some of his work but he was the wrong choice for this.

Still not sure who thought this was a good idea, it's like eating a McRib when you can have Korean BBQ, which one sounds better to you. Watch the Korean version.

Hollywood remakes of Asian films are always an iffy proposition. How will the nuances and culturally-specific references translate across oceans and continents? Generally, however good the remakes, they rarely – if ever – eclipse the original films. In recent memory, perhaps only Martin Scorsese's The Departed, based on Infernal Affairs, has managed to find a life of its own. Other remakes, like The Lake House and Shall We Dance?, have sunk into ignominy. Spike Lee's Oldboy isn't completely terrible, but it does lose quite a bit of the dark, bruising, ambivalent flavour of Park Chan-Wook's 2003 Korean classic.

Josh Brolin takes centre stage in Lee's version. He sinks credibly into the abrasive, drunken skin of Joe Doucett, a slimy guy whose wife and daughter Mia have left him. Nevertheless, Joe continues to merrily offend everyone around him, until he is abruptly kidnapped and trapped in a hotel room for twenty years. During his arduous time spent in solitary confinement, Joe ponders the mystery of his captor. When he finally gets free, he resolves to seek revenge and re-connect with Mia – a mission that becomes increasingly fraught with complications as horrifying secrets from his past are unearthed.

On its own merits, Oldboy – the title as obtuse as ever – is passably gripping. It entertains and horrifies in equal measure, packing in a great deal of bone-crunching violence and torture that runs the gamut from physical to psychological and everything in between. The relationship that develops between Joe and charity worker Marie (Elizabeth Olsen) is well-acted, if a little forced. Lee even cooks up a pretty disturbing face-off between Joe and Chaney (Samuel L. Jackson), the guy in charge of locking up people for his clients – no questions asked.

What works rather less well is the deliberate dilution of the twist in Oldboy's tale, presumably because American audiences can only handle so much moral and emotional ambiguity. Where Park's version sees the revenge mission warped with a horrifyingly emotional dilemma, Lee's film shies away from the conundrum. As a result, the film becomes far less subtle and considerably more melodramatic. There's a flashback sequence towards the end of the film that's ridiculous enough to make audiences laugh rather than gasp, even as blood splatters across walls and families are torn apart.

The cast assembled is impressive, even though they're not really given a lot to work with in the frequently stilted, over-blown script. Brolin anchors the film with admirably stony determination, but his Joe never seems to really feel the weight of his twenty years without human contact. Olsen, too, stumbles around a bit, as if never quite sure how to play her part, and Sharlto Copley comes close to overplaying his hand when he emerges from the shadows to drop a few hints about the reasons behind Joe's ordeal.

There's enough on display in Oldboy for the film to jog by at a fairly quick clip. Lee pays tribute along the way to a few iconic elements of the Korean film – an octopus in a tank, a prolonged battle in a corridor – and the cast tries its hardest to make it all work. But it's hard to shake the feeling that something a little deeper, richer, sadder and weirder was lost in translating the film into a vernacular more pleasing to Hollywood audiences.