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) →
On New Year’s Day it’s customary to make a ritual sacrifice to the all-powerful List Gods, the extradimensional appetites of which demand that all things — like, say, the best (and worst) movies of 2018 — be ordered and numbered before the new year can commence. For some reason, the List Gods also demand that “Top Ten” items be ranked in reverse sequential order so that everyone has to read the whole damn article to see what came in first.
Editor’s note: in cooperation with scary net neutrality stuff, Motion State’s Top Ten this year was subject to audit and review before publication to ensure that none of this news is deemed fake. As such, the views expressed in this commentary are actually 100% correct, factually speaking. These ones are just the best.
Continue reading Best of 2018 →
It would have been easy for Shoplifters to glamorize the criminal acts of its central characters. Hirokazu Kore-eda’s latest film follows an impoverished Tokyo family surviving on a hierarchical system of thievery, nicking small items where the opportunity arises or, more frequently, setting out on an express mission to steal that which they need. The setup, of course, is worlds away from the heist genre, but it’s still refreshing to experience these criminal acts for what they actually are: desperate, thrill-less acts devoid of meticulous planning or grifter’s luck. And if there is any thrill in stealing shampoo and ramen noodles, it’s a thrill that quickly sinks into the pit of one’s stomach, weighed by the immorality of it all.
Shoplifting — or crime, more broadly — isn’t really the main focus of Shoplifters, anyway. This is a movie about family, and the family in focus happens to sometimes commit criminal acts. For the first chunk of the film, we might almost leave it at that. We spend as much time at home in quiet moments with the members of this family as we do in the “action” of their thievery, although it quickly becomes apparent that both are survival tactics. Fulfilling the role of Family Member, in many ways, provides much the same life-giving sustenance as does the role of Thief.
Continue reading Shoplifters (2018) →