In Gotham City, mentally troubled comedian Arthur Fleck is disregarded and mistreated by society. He then embarks on a downward spiral of revolution and bloody crime. This path brings him face-to-face with his alter-ego: the Joker.
Robert De Niro,
April 6th, 1917. As a regiment assembles to wage war deep in enemy territory, two soldiers are assigned to race against time and deliver a message that will stop 1,600 men from walking straight into a deadly trap.
After the devastating events of Avengers: Infinity War (2018), the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to reverse Thanos' actions and restore balance to the universe.
Robert Downey Jr.,
American car designer Carroll Shelby and driver Ken Miles battle corporate interference and the laws of physics to build a revolutionary race car for Ford in order to defeat Ferrari at the 24 Hours of Le Mans in 1966.
Jobless, penniless, and, above all, hopeless, the unmotivated patriarch, Ki-taek, and his equally unambitious family--his supportive wife, Chung-sook; his cynical twentysomething daughter, Ki-jung, and his college-age son, Ki-woo--occupy themselves by working for peanuts in their squalid basement-level apartment. Then, by sheer luck, a lucrative business proposition will pave the way for an ingeniously insidious scheme, as Ki-woo summons up the courage to pose as an English tutor for the teenage daughter of the affluent Park family. Now, the stage seems set for an unceasing winner-take-all class war. How does one get rid of a parasite?Written by
Two major New York Times film critics were so profoundly impressed with the actresses' performances in Parasite (2019) that in their December 2019 article asserting who the 2020 Oscar nominees "Should Be," one of them, Manohla Dargis opined for "Best Supporting Actress," 4 of the 5 nominees should be ALL four female performers from "Parasite." The other critic, A.O. Scott thought 3 of the "Parasite" actresses should be so nominated (excluding Hye-jin Jang). See more »
When the maids mouth is bound with a cloth preventing her from yelling, when we cut back the cloth has vanished. Their would be no way she could take it off since her hands were also bound. See more »
Dad, today I made a plan - a fundamental plan. I'm going to earn money, a lot of it. University, a career, marriage, those are all fine, but first I'll earn money. When I have money, I'll buy the house. On the day we move in, Mom and I will be in the yard. Because the sunshine is so nice there. All you'll need to do is walk up the stairs. Take care until then. So long.
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Also available in a black-and-white version. Instead of opting for a simple digital bleaching, Bong Joon Ho worked with a colorist and cinematographer to make sure each scene retained its texture. See more »
In a meritocracy, success and fortune are reserved for those who deserve it--those who develop solid plans according to their talents and abilities and who execute those plans through hard work and determination. Anyone can rise to the top, and for some lucky Cinderella, plucked from the cinders and gussied up in gowns, the meritocracy represents the heights of perfect egalitarian society: "I started with nothing and ended up with everything I ever desired; you, too, can achieve you dreams, if only you try."
The promise of unobstructed sunshine at the top of the mountain becomes justification for bitter competition, backstabbing, deceit, and callousness. You climb the crooked ladder until you make it to the straight one, and then, perhaps, when you at last feel secure, you can afford to be kind and confident and generous. "It's easy to be nice when you're rich," the mother in this film (Jang Hye-jin) at one point observes.
But it's a very long and very crooked ladder, and sometimes the rungs give out beneath your grip, and sometimes they've been dangerously greased by those who climbed before you, and sometimes the ladder itself is simply kicked down--either by those above you or, just as often, by those staring up from the ground below. There are a lot of people trying to climb that one ladder.
But in a meritocracy, you can't blame the ladder or the other people trying to climb it. Nor can you blame the fact that all the good stuff is kept so many stories up instead of down at the ground where everyone can easily reach it. No, you must blame yourself. You should have tread more carefully. You should have climbed more quickly. You should have used a firmer and more precise grip, anticipated disasters, and known just when to leap. If you fail in a meritocracy, it's all your fault. You should have tried harder. Better luck next time.
Kim Ki-woo (Choi Woo-sik), the young man who is the main character of PARASITE, several times refers to "metaphors," and the film itself is, of course, a metaphor. On a surface level, viewers are treated to a very thrilling, engaging, well-paced and well-plotted crime story. At all times, however, bubbling up from beneath the slick surface of this genre film, there are deeply personal, meaningful truths that should resonate with almost any viewer. These insights are rarely foregrounded. They are so subtly interwoven, in fact, that if you're like me, you may be completely surprised when the final shots of the film roll and you realize that you are emotionally devastated by the intimate, humanist story you've just witnessed. Bong Joon-ho's filmmaking is so extraordinary here that he'll make you fully invested in the lives of his characters without you even realizing he's done so.
I want to avoid spoilers here, but suffice it to say that PARASITE is a masterpiece--beautifully lensed, enthrallingly edited, superbly acted, and intimately involving.
South Korea has a population that is one sixth the size of the United States, and that population is stacked into skyscrapers in an area slightly smaller than the state of Kentucky. Higher education is widespread, so parents with means try to make their children stand above the pack by hiring them tutors and signing them up for extracurriculars and afterschool programs. I lived in Korea once, and the children I taught there were sometimes engaged in learning ten to twelve hours a day, six days a week--public school, English-immersion private school, piano class, soccer team, taekwondo, math camp, chess club, and so on. I routinely worked sixty to seventy hours a week on salary, but at bars I would meet young men my age who were expected to work far more than that, who slept at their desks so that they did not need to pry themselves from work for too long. As the father (Song Kang-ho) in the film at one point says, this is a country where fifty young men with college degrees apply for a mere security guard job. One can't afford not to struggle.
The themes of this story are not just localized to Korea, however. They are the story of global capitalism, and the specter of American materialism (and imperialism; note the "Indians") looms heavily over the film. Meritocracy makes cannibals of us all. It's nice to dream, and sometimes the dreamers who plan and struggle well enough can indeed climb out of the basement and into the sunshine, and how nice an ending it is when they do. But the film also makes it clear that sometimes all that planning and dreaming may be, maybe, just whims and fancy. More often, it seems, our pipe dreams are content to leave us with nothing more than the whiff of spewed sewage.
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