Stoker by Park Chan Wook

Stoker by Park Chan-Wook

After India’s (played by Mia Wasikowska) father dies, her Uncle Charlie (played by Matthew Goode), who she never knew existed, comes to live with her and her unstable mother Evelyn (played by Nicole Kidman). She comes to suspect this mysterious, charming man has ulterior motives and becomes increasingly infatuated with him.

Screenwriter Wentworth Miller has stated that this is not a vampire movie. To this I say, “Trust the tale, not the teller.”  Regardless of what Miller says, it’s a vampire film or not, Stoker is clearly playing to the beats of a vampire film underneath its surface.There are things at play that suggest this, Uncle Charlie is fixated with India and he preys on her. India seems to possess some kind of innocence or purity that is at stake of being corrupted. Lastly, the movie is called Stoker. That’s no accident.

It’s as if someone took a traditional vampire movie, folded it inside out, wore it like a bag on his head looking outside from within. That’s the way to watch Stoker. Anybody who says there is nothing happening in this story is not looking at the subtext. The subtext is the supertext, that’s where the story is taking place. Park Chan-Wook leaves a lot of empty space for the audience to ponder about what’s going on. There is a whole lot going on if you tune to the film’s grammar and look in the right places.

Matthew Goode has always had this steely piercing look that looks sinister and that quality is well used under Park’s direction. Park knows how to pull back and just shoot an actor in a certain pose to emote a mood or feeling. As Uncle Charlie, we never know what he’s thinking or if we can really trust his intentions. Mia Wasikowska and Nicole Kidman give fine performances but Matthew Goode gives the standout performance. The real star of the film however is Park Chan-Wook himself. He elevates the script by adding a visual poetry that subtlely implies. Everything is played at such a low volume that the audience is unnerved waiting for the tension to crescendo.

A good companion piece to Stoker is Park Chan-Wook’s 2009 vampire horror film Thirst; it’s probably what got Park the job. This is probably one of the best English-language debut for an Asian director. It’s a smooth transition as his directorial stamp is very much present. You will need to put in more brain work for Stoker, but it pays off.

The Grey by Joe Carnahan

The Grey

The Grey by Joe Carnahan

A man who has lost the will to live must save a group of men after a plane crash in the midst of Alaska. That is a compelling premise.

If you lost the will to live, is there any value in human life? How do you value someone else’s life? Is there even any point in running away when you are in the face of death?

The Grey asks these existential questions but doesn’t get bogged down by the weight of them. It externalizes these ideas into something entertaining: a survival film. And more importantly, the film doesn’t leave these questions unanswered. It manages to answer them from the point of view of Liam Nesson’s character, John Ottway. And if there’s one thing that Liam Nesson does really well, it is bringing gravitas to a role and a story, no matter how ridiculous the situation may be (i.e. in Taken where he singlehandedly takes on Paris. Or heck, even the scene in The A-Team where the team in a tank falling from the sky and he orders the team to maneuver the tank through firing out of its cannon).

The structure of the story is that of a philosophy thesis. These characters exist as viewpoints. Survival arguments between the characters are disguised existential arguments. One noteworthy scene is where all the men sit around in a campfire and share their personal stories, it works both as character development and on a thematic level establishes what they all have to live for as existential discussion. As for the wolves, I know nothing about wolves and their social behavior. I don’t know if they make sounds like a Tyrannosaur Rex or sneak up on people like ninjas as they’re portrayed in The Grey. And you know what? It does not matter one single bit. These are not real wolves. These are thematic existential wolves. Yes, they exist as an idea and they work like that of a movie monster metaphor.

As for the set pieces, they are brutal. They reportedly shot in -40 degree weather and it looks it. We feel the pain of these deaths. The balance between the philosophical and the survival film tropes make it a thrilling experience.

The A-Team and Smoking Aces was both fun fluff, but The Grey is levels higher and it shows maturity and improvement on the filmmaker’s behalf. This is the best Joe Carnahan film has made yet.

I’m all for not hurting animals, but there’s something really badass about watching Liam Nesson punching a wolf. The Grey is aware of its popcorn movie layer though despite of that has much higher ambitions than to simply entertain, it chooses to say something deep instead. And it succeeds. Or else they could have just named the movie – Liam Nesson: Wolf Puncher.