Bakjwi

More excellent film-making from Park Chan-wook, who shows no signs of flagging in his quest to bring his unique brand of inventive and unique movies to the world. This is his version of a traditional vampire movie, and while it's not quite as quirky as I'd expected from this director, it certainly packs a punch and proves a breath of fresh air in a cinematic world inundated by the latest Twilight movies.

Put simply, THIRST holds your attention. The storyline, about a priest who finds himself infected with a blood virus and then is slowly transformed into a bloodsucker, is never less than thoroughly entertaining. It goes without saying that the direction is flawless – every scene and sequence is expertly crafted, leaving no margin for error. Emphasis is on characterisation throughout, which is always a strong point, and the actors have the talent to fully bring their roles to life; the main actress is particularly fascinating.

Overall, this is a gruesome, gripping, melancholic look at the world of the vampire. Be warned, it's explicit and often in your face, but as with the rest of the director's output, this is a film that sets out to challenge assumptions and overcome cliché. It works a treat.

If you love Chan-wook Park, you know what to expect. His films are brutal, poetic, tragic, and artistic, with splashes of very grim humor. THIRST is clearly Park's style, and I loved every second of it, from the cinematography (every shot is gorgeous and creative) to the story, which blends Shakespearean tragedy, murderous love, Gothic horror, and layered character drama. The characters are complex and there is plenty of moral ambiguity to go around. Even the most sociopathic character evokes sympathy. The direction is restrained and the performances are nuanced - like SYMPATHY FOR MR. VENGEANCE, there are too many subtleties to take in on the first viewing. Chan-wook Park is an intelligent, bold, consistently surprising filmmaker. It's unpredictable - scenes go from brutal and heart-wrenching to laugh-out-loud hilarious in an instant. This is closer to LADY VENGEANCE then SYMPATHY FOR MR. VENGEANCE as far as being over-the-top and comical. But, like LADY VENGEANCE, it's incredibly rich, thought-provoking, and rewarding.

If you like beautifully told vampire stories (LET THE RIGHT ONE IN) or are a fan of Chan-wook Park, seeing THIRST should be obvious. Easily one of the best films of 2009.

'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.

A vampire love story loosely based on Émile Zola's THERESE RAQUIN, Chan-wook Park's THIRST (its original Korean title literally means: bat) is a blood-soaked psychological thriller about a Catholic priest Sang-hyun (Song Kang-ho), after experiencing a death-defying recovery owing to an undisclosed blood transfusion during his volunteer mission to find a vaccine for a deadly virus, he becomes the only survivor among all the infected, which attracts many devotees to worship him as a miracle from God. But the reality is that a craving for human blood has been commenced after the incident, the virus is still plaguing him, his skin is afflicted with blisters, only human blood can prohibit the symptoms and turn him into a nighttime creature endowed with all its well-established trappings like self- recovery, human-exceeding agility and strength.

So he becomes a vampire priest, battles his thirst for blood and sexual lust aroused by his metamorphosis, and also, it is a game-changer for his devout faith. He is reunited with his childhood friend Kang-woo (Shin), who is diagnosed with cancer, and his mother Lady Ra (Kim Hae-suk). But it is Tae-ju (Kim OK-bin), Kang-woo's wife, who is an orphan raised in the household, en-kindles Sang-hyun's repressed desire, deeply affected by Tae-ju's wretched story of being abused by both Kang-woo and Lady Ra, he ventures into a sexual relationship with her, eventually leads to a premeditated murder, afterwards, both plagued by guilt and haunted by the dead, their rapport internally disrupts when Sang-hyun finds out Tae-ju's ulterior motive, after a violent commotion, Tae-ju has been brought back to life as a vampire. The rest of the story can be viewed as a doomed romance driven by the incongruous nature between a man and a woman who may or may not love him.

The film harvests a Jury Prize in Cannes 2009, a massive domestic box-office champion too, it highly encapsulates Park Chan-wook's stylishness of drenching gore with nimble camera-movement and lurid colour scheme, paves the way for his next step into mainstream Hollywood with big star vehicle STOKER (2013). Notably, it also inquires into one's utmost challenge to his religious belief, Sang-hyun is as much as tormented by the ascetic canons of Catholicism as his sexual impulse and blood-thirst after the infection, until the final abandonment of his saintly embodiment before he meets the crucifixion.

Song Kang-ho, the most bankable film star in South Korea, diverts from his regular kind guy persona, embraces his fatalistic destruction with compassionate commitment, flares up with retro sheen under Chan-wook's slick versatility either in CGI-embroidered sequences or the claustrophobic settings where blood is running amok. Kim OK-bin, a newcomer then, triumphantly trumps all the veterans in her stunning depiction of Tae-ju's conflicted personalities and raw seduction, both actors also bravely engage in stark nude scenes which are still not common to be seen on the mainstream territory. Kim Hae-suk, as Lady Ra, achieves a different kind of thrill using only her eyeballs to dictate the most compelling set piece of suspense, and remains as the most uncertain variable up until the very end, indeed, all three performances are mind-blowing in this heretic genre piece, and Park Chan- wook is destined to continue his streak as an iconoclast condemning the morbid society by spiking bloodshed into violence and sex in a more global scope.

I like to keep my reviews short, i rather review the film than compare it or describe it scene by scene like a lot of people like to do, so let's get to it.

I honestly came close to not finishing the movie because I was looking for scary and this isn't much of that, but there is A LOT of blood and violence. The only reason I kept watching was because even though it wasn't creepy or scary, it was a beautifully shot and very well made film. The story feels different than other vampire movies it's not just a bunch of the same old vampire clichés. the acting is good for the most part, personally i think the 2 main characters were amazing. It's kind of long, but the movie gets better as it progresses, the ending is nothing less than what You would expect(considering who directed the film).

So in short, if you're looking for scary in the traditional sense You won't find it here, but if You're a fan of the Vampire and gore genres or just want to watch a good movie You'll certainly enjoy it.