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Oldboy (2005)
Tomatometer
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Reviews Counted:118
Fresh:96
Rotten:22
Average Rating:7.3/10
Consensus: A strange, powerful tale of revenge.
Rated: R [See Full Rating] for strong violence including scenes of torture, sexuality and pervasive language.
Runtime: 2 hrs 25 mins
Genre: Foreign Films
Theatrical Release:Mar 25, 2005 Limited
Box Office: $637,778
Synopsis: It would be a sin to reveal too much about this riveting and bizarre thriller from Korean director Chan Wook Park, except to say that it's about a man named Dae-Su (Choi Min-Sik) who is locked in a... It would be a sin to reveal too much about this riveting and bizarre thriller from Korean director Chan Wook Park, except to say that it's about a man named Dae-Su (Choi Min-Sik) who is locked in a hotel room for 15 years without knowing his captor's motives. When he is finally released, Dae Su finds himself still trapped in a web of conspiracy and strangeness. His own quest for vengeance becomes tied in with romance when he falls for an attractive sushi chef (Gang Hye-Jung), who feeds him live octopus and who may or may not be involved with the bizarre mystery. This is all served up in a striking palette of purples and dark reds; oozing with post-neo-noir style, and stuffed with insanely malicious twists and turns. Choi Min-Sik is terrific in the lead, counterbalancing over-the-top hysterics with deadpan cool to run the gamut of Asian antihero traits. There are intense fight scenes (Dae Su's favorite weapon is a hammer), look-away moments of torture and self-mutilation, sex, and gallons of black humor. Not for the squeamish, but for those seeking something wholly original and daring, this cinematic entree is alive--it's hard to imagine a better slice of psycho-shock sensationalism. [More]
Starring: Choi Min-Sik, Bo-Kyeong Kim, Yoo Ji-tae
Starring: Choi Min-Sik, Bo-Kyeong Kim, Yoo Ji-tae
Director: Chan Wook Park
Director: Chan Wook Park
Screenwriter: Chan Wook Park
Studio: Tartan Films
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Reviews for Oldboy
[T]he movie approaches us as if we were both a primitive religious congregation and a benumbed action-picture audience, in either case a group in need of shocks.
The more of the plot's secrets are revealed, the more laughable it becomes.
Consistently, astonishingly, inventive ... relentlessly and ruthlessly vile. Style may ultimately not be able to triumph over content, but it's one hell of a fight.
Oldboy has the fatal air of wanting so desperately to be a cult movie that it forgets to present itself as a coherent one.
The gratuitously vile Oldboy seems content to toy with viewers' sensibilities for no other reason than a few cheap shocks.
That Park has talent in the technical department is a given; that he's a good filmmaker is debatable.
We're riveted throughout, almost pulled into the protagonist's mania -- who has perpetrated these horrors on him and why.
The suffocating Oldboy’s existentialist angst promises sophisticated returns only to spiral into callous Identity territory.
As ludicrously complex and silly as any of Brian De Palma's worst thrillers...suffers from an excess of filmmaking brawn and a lack of brains.
You will either feel mollified by the hysterically moral denouement or feel offended by the filmmaker's strategy of debasement, which reduces the audience to the mongrel-like prostration of its protagonist.
Parts of the movie are luridly enthralling, and its ugliness is strangely appealing (at least to people with a high tolerance for such things). Yet it pushes too many buttons and is filled with so many false endings that eventually it becomes tiresome.
Its tentacles are still wriggling in my memory, as if I just ate something that should never have been served in the first place.
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| 66% 66% | Public Enemies |
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