Parasite is consistently surprising at every turn. Even if you don’t go in cold, knowing nothing about the plot or themes of Bong Joon-ho’s latest, the sprightly storytelling still does its job in keeping you on your toes. If you’ve seen Bong’s English-language efforts Snowpiercer and Okja, you might assume Parasite to be structured over themes of class disparity and the dangers of technology. While you’d technically be correct, those themes are far less obnoxious than they were in Snowpiercer, more cohesive than they were in Okja, and overall the plot- and character-based twists make Parasite into a far superior film.
We won’t dive into those twists, because coming in blind is likely the best way to experience this (any?) film. The plot, in its barest summary, follows the impoverished Kim Family as they grow increasingly resourceful in trying to make ends meet. Their collective path crosses with that of the Park Family, one of Korea’s wealthiest, and from there… Continue reading Parasite (2019)→
Each Motion State Face Off pits two films, franchises, or television series against each another for no reason other than because we can.
The second season of Netflix’s Mindhunter is the best single season of television the streaming giant has ever produced. I’d entertain an argument for the best series overall being something else — Stranger Things, Narcos — though with a five-season plan Mindhunter might someday change that. And the show’s not without problems, of course. Still, pound-for-pound, on a season-by-season basis, the second chunk of the David Fincher-led serial killer show is the most finely-tuned and commanding character study you’re going to find. Fincher’s cold camera has never been more sinister than in the first three episodes of this season, and that mood is carried throughout. It’s almost a disappointment when a larger-than-life figure like Charles Manson, babbling and bombastic, intrudes on the otherwise grim and brooding proceedings.
Much of what makes the show so compelling, of course, is that the verifiable truth — some would call it “historical accuracy” — is often one and the same with the most disturbing shit ever undertaken by a multiple murderer in America. Mindhunter makes plenty of stuff up, with Holden Ford, Bill Tench and Wendy Carr serving as fictional versions of actual investigators; a huge subplot of the second season involving Tench’s son was (likely) pulled from an actual San Francisco case in 1971, but didn’t have anything to do with the real people on which the show is based. Yet the depictions of the killers and their crimes are horrifyingly accurate, and the sadistic evil you really wish was fabricated is often the tragic truth.
Tarantino’s Once Upon a Time in Hollywood is out this month, and it seems like a culmination of sorts for the film fanatic writer-director. Each of his movies toes the line between self-awareness and immersive cinema, continually winking at the camera and yet lost in a world of its own, packed to the brim with pop culture references but still stylish enough to become a pop culture reference. Tarantino, who worked at a video store as a kid and has been devouring several movies a day ever since, has few rivals when it comes to an encyclopedic knowledge of the art form. To see Once Upon a Time in Hollywood framed around film and television sets in 1950s L.A. is quite the prospect, because that encyclopedic knowledge serves as more than a wink or a reference.
That explicit love of movies, to be fair, is a place that several Tarantino films have ventured before, though never carrying such importance as it must likely carry in Hollywood. The primary one is Inglourious Basterds, which uses the state of German cinema as both a unique backdrop for a World War II adventure and, eventually, as a major climactic catharsis that achieves nothing less than the rewriting of history. Christoph Waltz and Brad Pitt steal top billing (and, in Waltz’s case, the Oscar) as The Bad Guy and The Good Guy. But Basterds becomes a truly great film for the inclusion of Shosanna Dreyfus (Melanie Laurent), theater owner and Lady Vengeance Incarnate, and Frederick Zoller (Daniel Bruhl), young Nazi-turned-propaganda-film-star. These characters are opposed in every way except their love of film, which both brings them together and kills them in the end. Theirs may technically be the subplot, but Tarantino’s passion for cinema sings loudest when his characters share in that passion.