Might Be Too Smart

Matthew Goode (at about 8:00) says 'Stoker' doesn't spoon-feed the audience. In fact, it makes the audience 'work quite hard' and leaves questions unanswered, with loose ends.

It's getting mixed reviews and I'm thinking this must be the reason (though I haven't seen the movie). Americans simply like their entertainment neat. Ambiguity or having plot points whose meaning is open to debate is not sought after in this country.

This being the case I'd expect 'Stoker' to do poorly at the box office though I hope it will find an audience as a rental or be a draw on cable, etc.

Personally, this is exactly the kind of flick, especially in this genre, that I enjoy. I wait, sometimes for years, for a movie like 'Stoker' to come along. Usually, I give up on Hollywood fare and end up going with something Euro.

Good interview. Worth a few minutes. (There are a couple minor spoilers). I like the poster in the mirror which is a motif from the movie.

I'm surprised (and a bit embarrassed) to find Goode so regular, so likeable. After seeing clips from 'Stoker' I had come to think of the guy (Goode, not the weird uncle) as a creep. I thought he was actually that way. Isn't that dumb. For someone who watches movies, analyzes them, to allow a character to get under their skin like that. I guess it's a nod to the writing, directing, and acting.

I'm looking forward to watching 'Stoker' again and again.



















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More Virtuosity: But This Time, Yeah, You Notice

Couple days ago we get a very nice clip with some very subtle camera/editing. I said, "Director Chan-wook Park's virtuosity is on display, though not so you'd notice. He doesn't toss technique around for its own sake. His camera work enhances character without bringing attention to itself."

Well, today we get a another clip and this time, indeed, the camera draws attention to itself and I'm not so sure it's in service of the characters. It does, for sure, create a smooth flowing scene all in one take, and that's worth something. Seeing how you have to either cut or at least move the camera to shoot this setup, it might be more fair to call Park's lensing 'dynamic'. It does match the mood, what with all the machinations swirling around.

Very Hitchcock, pretty fresh, however way noticeable. I like it. It's good. Yes, I'm sure of it. I've convinced myself. But, especially on the big screen, it's going to be conspicuous and might do little more than take the audience out of the moment. Still, though, nice movement. Obviously. Very much so.

So, in conclusion: Makes you dizzy but it's fun -- or -- In context, at that point in the movie, it could be brilliant and spellbinding and have you on the edge of your seat biting your nails however, out of context, in this clip, it's just a little busy.

I'm liking 'Stoker' a lot. Safe money is on 'Park knows exactly what he's doing'.
























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Clip From 'Stoker': Virtuosity, Though Not So You'd Notice

'Stoker' is shaping up to be a cinematic experience. One of those movies you can study in small bits or even freeze-frame.

Clip is very well cut, made from highly crafted parts. I notice the tail end of a steady-cam shot at the very beginning which would indicate a switch from casual observation to the more dialed-in stillness of having the camera on sticks, a bit too close to its subject.

I especially like the sound -- cool, with fine grit. Silence is heavy at first -- almost uncomfortable -- then it's cut down the middle by the glass sliding across the table. You don't know which you prefer less, the sound or lack of it.

While Matthew Goode does a fine job with his odd uncle character, it's Mia Wasikowska who carries the scene. What an emotional shift her character has, and all within a few seconds. Off the top of my head, from recent movies, I can't remember such an engrossing, quick display.

Very confident and capable writing by Wentworth Miller and Erin Cressida Wilson. Overtly, not much happens however, to be sure, a lot is going on under the surface. Most scripts don't offer such subtlety, most writers don't bother.

Director Chan-wook Park's virtuosity is on display, though not so you'd notice. He doesn't toss technique around for its own sake. His camera work enhances character without bringing attention to itself. He makes it look so easy, but a lesser director would be at a loss as to how to turn this particular page of screenplay into a such an elegant snippet.

This has novelistic depth that demands a lot of actors and, clearly, they rise to the occasion. While that may sound like a dusty exercise -- theater captured on film, perhaps -- polished yet breezy lensing brings 'Stoker' to life and makes it a pleasure to consume.




















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Drop Everything. The New Trailer for 'Stoker'

Last week we were blessed with one of the most sharply cut and dynamic trailers -- for 'Stoker'. Today, we get another look at the movie and it's even better.

Did I just say that? So far, the trailers for this flick are qualifying for 'Best of 2012'...one after the other. That camera work by Chan-wook Park, that lighting, that editing. It's just too too.

The best thing you'll see today. If it isn't you're having one hell of a day.
























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(Heavy Sigh) 'Stoker'

From the first voice-over from (the new sharp, penetrating, yeah I'm talking to you) Nicole Kidman to each clean visual cut just so, and sound effect that sets you on edge, this trailer is no less than captivating.

It's a safe bet the script by Wentworth Miller and Erin Cressida Wilson is rock solid but the real draw is the direction by Chan-wook Park (Oldboy, Thirst). There's more fresh camera technique in this short trailer than is found in most full-length movies.

'Impressive' doesn't cut it. This is a home run.

Must-see, must-own Blu-ray, must watch again and again. 


























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