#Parasite film review

[captaingimpy]

Parasite: Who Is the Real Parasite?

This review was intended for Release in 2019, shortly after we saw the film. We contemplated deleting it and letting this mistake pass after so long siting in the drafts folder, but in light of the recent passing of Lee Sun-kyun on December 27 of last year, we decided this review would serve as an informal trubute. Rest in peace, and thank you for bearing your soul to the world so that we could…

[isobelleposts]

“Eat The Rich” — My Favorite Genre in Film

by Isobelle Cruz [February 1, 2022]

The Menu (2022) dir. by Mark Mylod

The phrase in the title comes from political philosopher Jean-Jacques Rousseau’s quote, “When people have nothing to eat, they will eat the rich.” The last film I watched that had me surprised they did not literally eat the rich was The Menu by Mark Mylod.

This film never took itself too seriously despite its center around the wealthy and the lengths they go to just to experience the finer things in life. It is fully aware of its bizarreness and adds bits of humor here and there, making it enjoyable despite mostly taking place in one setting.

As the first film I had seen this year, The Menu truly sets up expectations and a fresh path to more of what the industry has in store for the rest of the year. Moving on, here are four more films to see if you enjoyed The Menu:

Triangle of Sadness (2022) dir. by Ruben Östlund

Starting off strong with one of my final watches of 2022 that had me saying “what the fuck?” under my breath every few minutes is Triangle of Sadness directed by Ruben Östlund. What initially caught my interest in watching this film was a clip in the opening part wherein we see a bit of the modeling industry and its quirks, or so, ridiculousness. What I didn’t know, and certainly wasn’t prepared for,  was what I would witness next.

I went into this film after refraining myself from spoilers or even a hint of what it could be about, preparing myself to be either disappointed or pleased with what I was about to be met with. And that is exactly what I suggest to you as well. Ditch the synopsis and logline and head straight into this experience. Just know that you’ll be met with great dialogue, delicate cinematography, and a whole lot of shit—both figuratively and literally.

Parasite (2019) dir. by Bong Joon-ho

Behind my little song to the clouds to tuck its raindrops away, a certain thought would always lie at the back of my head while growing up. As we celebrate a class suspension and give thanks for the chilly weather in the desert-like heat of the Philippines, I wonder what life is like for those living by the rivers, whose roofs are made with cheap iron or yero and whose walls are made of thin wood.

It hasn’t occurred to me before how important these thoughts were until I encountered this film a few years back. Parasite presents its audience with the rich’s ignorance of their surroundings and several contrasts between the everyday life scenes of a wealthy and poor family. 

Parasite is precise, well-written, and surely deserving of its multiple awards.

Knives Out (2019) dir. by Rian Johnson

Whodunnit—-they say that when you see them once, you’ve seen them all. And that may be true, but Knives Out’s fast pacing and quick cuts from past to present still kept my eyes glued to the screen. It’s a classic murder mystery, encouraging the audience to say things like “It’s too early on for such an obvious clue.”

This will keep you thinking throughout its length, asking questions again and again in your head, eager to beat the ending before the killer’s reveal. Though predictable for some, Knives Out nonetheless offers a fun view into the world of a money-starved family and their deceased father, along with a bunch of odd and entertaining characters.

The Handmaiden (2016) dir. by Park Chan-wook

Of course I found a way to sneak The Handmaiden into this list. 

The film follows Kim Tae-ri’s character who falls in deep romance with Lady Hideko, the woman she works for. Just when you think it is about to finally end, a sharp turn comes and it’s as if the story had only begun then—this happens thrice, by the way.

As we go further along the story we encounter money’s play in the wickedness of men and are left with our mouths agape after another unexpected revelation or scene. 

The Handmaiden is not only a story of forbidden romance between two women but also a showcasing of comradeship and care for another in suffering. Looking past its long length and adult scenes is a mind-boggling and thoroughly written story accompanied by excellent direction, camera work, and acting.

[goawaywithjae]

This Sunday, “Past Lives” is up against films like “Barbie” and “Oppenheimer” at the Academy Awards. While I don’t think Celine Song’s extraordinary movie will win for Best Picture, I do think she has a great shot at earning an Oscar for Best Original Screenplay.

Of course, “Past Lives” is an American film set partially in South Korea and with half the dialogue in Korean.

But this got me thinking about some of my favorite Korean films (plus the superb U.S. film "Minari") that I wanted to share with you. (The anchor links will take you to each review if you don’t want to read them all. As always each film is rated on a scale of ☆ to ☆☆☆☆.)

° “Miss Granny” (수상한 그녀) ☆☆☆☆ ° “My Love, Don’t Cross That River” (님아, 그 강을 건너지 마오) ☆☆☆ ° “Once Upon a Time in High School” (말죽거리 잔혹사) ☆☆☆☆ ° “Parasite” (기생충) ☆☆☆☆ ° “Train to Busan” (부산행) ☆☆☆½ ° “The Way Home” (집으로) ☆☆☆ ° “Minari” ☆☆☆☆

[adamwatchesmovies]

Parasite (2019)

Parasite is the kind of wholly original film that’s impossible to predict. It also has a lot to say about our world, which means there’s no way you’ll be able to catch everything on a single viewing. With plenty of dark laughs, the kind of suspense that will have your stomach in knots, an ending that sticks with you and masterful direction by Bong Joon-ho, it’ll knock you right off your feet - even if you’ve seen it before.

Kim Ki-taek (Song Kang-ho), his wife Chung-sook (Jang Hye-jin), their son Ki-woo (Choi Woo-shik) and daughter Ki-jeong (Park So-dam) make ends meet by snatching up whatever prospect comes their way. One day, Ki-woo finds a job tutoring Da-hye (Jung Ji-so), the daughter of the wealthy Park family. Sensing an opportunity, the Kims scheme, lie and fake their way into the household.

Part of what makes Parasite such a wild ride is that you never know who you should be cheering for or what the movie wants you to feel. When we first meet the Kim family, they’re scrambling around their dump of a semi-basement apartment looking for a free wifi signal so they can get a shipment of pizza boxes sent to them. Folding the boxes is how they’ll pay for their next meal. When they submit their work, part of their earnings is deducted because 25% of the boxes are badly folded. There are four family members. A quarter of the boxes are no good. Hmmm… There’s something funny and pathetic about the way they manage to screw up such a simple, honest job but excel at conning their way into the Park household. The more elaborate and extravagant their scam becomes, the more they thrive. You know it’s wrong, but there’s something "admirable" about their resourcefulness and determination. You don’t feel too bad for the Park family. Aside from Ki-jeong, everyone is actually doing the job they’ve been hired to do and there’s no way she’d get away with spinning her bullshit into dollars if Mrs. Park wasn’t such a dummy.

Then, your feelings about the Kims start changing. It’s one thing for them to exploit the Parks, whose wealth is wasted on them but this quest to get all of them on the same payroll means taking away jobs from other people. As we eventually find out, the current housekeeper of the Park family, Gook Moon-gwang (Lee Jung-eun) REALLY needs this job they’re stealing from her. As the film progresses, Bong Joon-ho shows us how the lap of luxury has made the Parks into ugly, entitled snobs. The more we see of the parents (Lee Sun-kyun and Cho Yeo-jeong), the less we like them. The thing is, the Kims are not much better. They’re also recklessly gobbling up the jobs in their employer’s household at the expense of everyone else. The people currently employed? they’re obstacles to be toppled over, not people with similar plights to their own. They never have a goal to make enough money to move into a nicer home. Their goal becomes to have THIS home, a building they know is too much for two parents and two children. While all of these people are on opposite ends of the financial spectrum, they both disregard others equally.

It would be criminal to give away the big surprises that come at the end of the film - and you probably wouldn’t believe me if I told you what they were anyway. Revealing all the intricacies of the scam would be just as heinous. The proof is that even upon multiple viewings, it’s a horrifying delight to see it play out the way it does. I do want to discuss the very very last scene, however. In the film, it’s presented as hopeful, a long-term strategy Ki-woo will follow to get the family what they desire the most. It all seems good but when you take a step back, you realize how hopeless it is. That final moment is about how wide a gap is between the rich and the poor. It's not about leaving us with a smile on our faces. It’s not as clear as it would be in a documentary but it’s a thousand times more impactful - and entertaining.

Parasite is mesmerizing, the kind of film you want to watch over and over so you can fully appreciate everything. It’s full of surprises, masterfully directed and certainly as good as everyone is saying it is. (Original Korean with English Subtitles, July 25, 2022)

[girltomboy]

I just watched Triangle of Sadness, a movie that's been on my watchlist for some time now, and while I was hesitant to click play on a 2.5 hour long movie, it was definitely worth it. It didn't feel long and excruciating, I didn't constantly check to see how much I have left of it. It's a gripping movie that honestly achieved what The Menu didn't even crawl close to: comedy, satire, a statement, a mirror.

The ending took me by surprise, I was pleased to discover that Ruben Östlund intended for it to be a puzzling cliffhanger, and even said himself that he doesn't know more about it. This playful approach to movies is rare but welcome, and it's quite refreshing to be able to analyze an ending in its entirety.

The big question about it seems to be whether or not Abigail ends up killing Yaya with the large stone after hugging her so genuinely moments before. I thought the parallel between the torturous killing of the female donkey and the rage-induced, cold blooded murder of Yaya would be quite clever. Some kind of a Cain vs. Abel moment, especially in the context of Abigail seeking Carl for herself. Returning to life as before would mean a loss of power and authority for Abigail; she would go back to her stable and secure life, but she would lose her entire "matriarchy", as Yaya had put it, that she quickly curated on the island. So it would somewhat make sense for her to wish to keep it, no?

Then there's (what would probably be) Yaya's last words. She proposes to Abigail that she work for her as an assistant, once they return. She speaks with her back turned, unaware of Abigail's intentions (or so we think - maybe she hears her footsteps? Maybe she senses Abigail's malice? The beauty is that we don't fucking know!). This could make Abigail hesitate, out of fear of Yaya turning around, or maybe out of gratitude. Why go back to being a toilet manager, when you can be the assistant of an influencer, go from a thankless job to an empty job? But Yaya utters this proposal with her back turned, we don't even see her mouth moving. So perhaps these words are only in Abigail's head. Perhaps she's trying to fuel her rage so she can drop the large rock on Yaya's head. Or perhaps she's trying to mentally talk herself out of it from Yaya's perspective. Either way, her expression makes it clear that she is about to make a life-changing decision.

The last shot of the movie shows Carl running through the island in a bloody and sweaty frenzy, at dusk. He is running towards the other side of the island, making it clear that the girls have not returned - or not both of them, at least. I read an interpretation that said he was running for his masculinity, I think that's a reductive take. Men are always expecting other people (mainly women) to bring them their masculinity on a tray, and when they're not satisfied with it, they spit it out and say "not like that", blaming the other for it, of course. Anyway, I thought that was a pretty sad projection, but it's welcome nevertheless because it's a fictional creation with an open ending.

Overall, I think this movie is a pertinent commentary on the futility of wealth, class differences and the ridiculousness of rich people. On the yacht, Abigail was a toilet manager. On the island, she was the captain, and made sure to let everybody know. Her skills were valuable to everyone both on the yacht and on the island, whereas the wealth of the customers was only meaningful on the yacht, where it was merely symbolic - a symbol of what they were allowed to say and do: order the staff around with ridiculous requests - power and authority. Not taking no for an answer, even being offended at the sound of a No. Ultimately, the abuse of power and authority leaked, and lead to a reversal of roles in terms of class, manipulation, cowardice, death.

What I also loved about it was that, despite being an open-ended movie, it left no room to question anything but the ending. Everything is pretty much pieced together and there was no scene that was pointless or useless. Every detail holds a message, which made me eager to check out Ruben Östlund's other creations, and VERY excited for his upcoming project.

[tiffsflickpicks]

“You know what kind of plan never fails? No plan. No plan at all. You know why? Because life cannot be planned. Look around you.”

Parasite (2019)

Dir. Bong Joon-Ho

Comedy/Thriller

tiffsflickpick score: 4/5

Rotten Tomatoes: 99%

“Parasite” directed by Bong Joon-Ho is an excellent dark comedy riddled with suspense. It serves as a commentary on wealth and class which is constantly mirrored between the two main families. Every twist keeps you on the edge of your seat wanting more and more. The created characters have such depth and every character plays their role spectacularly. The ending is beautiful and yet heartbreaking in a way that will make you think about it after the screen has gone dark. This thought provoking and unsettling film is also beautifully shot. On looks alone, I could rate this to be one of the best films I’ve seen! Hopefully if you haven’t seen this film, you will soon because you are missing out!

[moviesandmania]

BRAIN DAMAGE Reviews of Frank Henenlotter's satrirical horror

‘It’s a headache from Hell!’ Brain Damage is a 1988 American comedy horror film written and directed by Frank Henenlotter (Bad Biology; Frankenhooker; Basket Case and sequels). The movie stars Rick Hearst (The Vampire Diaries; Warlock III), Gordon MacDonald and Jennifer Lowry. TV horror host John Zacherley provided the voice of creature “Elmer/Aylmer”. Street Trash (1987) director Jim Muro…

[kyle-reviews]

Parasite Review

After months of anticipation and dodging spoilers online, I finally got to see Parasite, a movie that took not just the Oscars but the whole world by storm. From the very first scene, I knew I was diving into something more than a simple film. Parasite is not just a narrative; it's a social dissection. It places you right in the heart of the lives of two starkly different families and the intricate dynamics between them. As the story plays out, you're left contemplating the underlying themes: social disparity, class struggle, and the disturbing reality of a world divided. The beauty of Parasite lies in its ambiguity, allowing each viewer to derive their unique interpretations and conclusions about its socio-political commentary.

The film opens with the Kim family, living in a semi-basement, scavenging for Wi-Fi, and folding pizza boxes for a meagre living. This introduction captures their humour, resilience, and the everyday struggles of life in the lower classes of society. Then enters the wealthy Park family, living in an architecturally magnificent house, fully immune to the struggles the Kims grapple with daily. The clever, almost parasitic, maneuvering of the Kims to integrate into the Park household provides comic relief and heightens the drama. This dynamic contrast between the two families lays the groundwork for an unpredictable series of events that exposes the stark class divide; something we should probably pay more attention to. The characters in this movie are a masterclass in depth and complexity. Every character, regardless of screen time, is thoughtfully crafted and they all symbolize different aspects of society. Ki-woo, played by the exceptional Choi Woo-shik, personifies the ambitious youth trapped in societal constraints, while the mother, Chung-sook, portrayed by the outstanding Jang Hye-jin, embodies resilience. However, it is Song Kang-ho, who steals the show as Ki-taek, the father figure whose tough exterior masks a man grappling with his reality.

The Park family's portrayal is equally nuanced. Yeon-kyo, played by Jo Yeo-jeong, is not a mere caricature of the clueless wealthy housewife, but a woman navigating her privileged world with her insecurities. The enigmatic housekeeper Moon-gwang, portrayed by Lee Jung-eun, delivers a haunting performance, adding another layer of complexity to the narrative. Parasite takes a sharp turn midway, delivering a gut-punch that shakes you to your core. The movie's climax, set against a picturesque backdrop, descends into an unforgettable sequence of events. A beautifully orchestrated chaos that keeps you guessing, questioning the unfolding reality. The build-up to this climax, with the film's remarkable use of visual metaphors and sound, completely engulfs you in its atmospheric storytelling and the intricate emotional landscapes of its characters.

One of the things that made this movie so captivating for me was, even though the storyline is quite ominous, gloomy, and somewhat dark, I was completely drawn in from the beginning to the end. No other movie has ever given me such a rush of adrenaline. I believe that Bong Joon-ho achieved this by beautifully executing his filmmaking technique. As Bong wrote the script, he made mock-ups of the houses. After paying close attention, I noticed that there were front-facing windows in each house that mirrored the windows in the neighboring house. The poor family's window is small, and they can see a drunken man urinating. An expansive window was built for the rich family which faces a lovely garden. The poor family also lives underground while the rich family lives on a high hill. Bong used High and Low shots to engage the Kim family. We look up at the son as the tutor, and the perspective flips. It was Kyung-pyo's lighting, as well as Bong's framing and shooting style, that helped convey the tone of the film very effectively for me. A lack of sunshine intensified the contrast between the rich and poor which Kyung pyo played with as a way to draw attention to the differences between the rich and the poor. Most of the interior of the rich family's mansion is bathed in warm, natural light throughout the day. Only a small window lets sunlight into the poor family's basement.

One other thing that truly stayed with me long after Parasite ended was how it presented social disparity in an ingenious and haunting style. The film is brilliant in the way it holds up a mirror to society, forcing us to confront uncomfortable realities that we often ignore. Even though I believe movies that deal with such issues of classism and social injustice often don't convey a larger message for a better world, Parasite still stands out for its frank and accurate portrayal of the human condition.

Like an intricate piece of art, Parasite demands reflection and introspection. Its genius lies in its moral ambivalence, refraining from spoon-feeding answers, thereby compelling its viewers to question, analyze, and understand the complex layers of societal structures. Much like life, there isn't an absolute right or wrong, good or evil in Parasite; it’s a compelling reflection of the shades of grey we live in. Director Bong Joon-ho masterfully raises difficult questions about class division, survival, and the human condition but leaves the interpretations to the viewer.

Only and only because of my love for feel-good movies, I give this movie a score of 9.5/10 :)

[atlastv]

"Low Budget Movies That Totally Cleaned Up At The Box Office"

[mediamatinees]

Another Eat-the-Rich Film, "Parasite" is an Exploration of Class at Its Deadliest

The wait is (finally) over! My review of Bong Joon-Ho's materpiece, "Parasite" is now live!

Content Warning: Parasite contains depictions of severe class disparity, violence, grooming, and extreme manipulation. Viewer discretion is advised. Spoilers for Parasite ahead! In January of 2020, the English-centered film industry was put on blast for not giving foreign language films their proper flowers. Director Bong Joon-Ho, already celebrated by Hollywood and audiences alike for previous…

[jesncin]

have y’all watched superman: man of tomorrow? what did y’all think, if you did?

I have! If they could put a reviewer quote from me on the poster, it would say "it'd be nice if this movie had more music" because 80% of this movie is so awkwardly dead silent?

The animation style is beautiful, I like the designs! The actors are competent, but they're given a dry script with no music to couple their performance. Long pauses between Lois and Clark that should be romantic are instead rendered super awkward because there's no music. Also some of the transitions and shot designs are jarring to me. My biggest issue with Man of Tomorrow is that it has the ingredients of things I would love in a Superman story: themes of xenophobia, otherness and a Martian Manhunter team up that parallels them as survivors, but it doesn't commit to those things. They're all very awkwardly stitched together in a way that weirdly undermines itself.

There's this quote that Lois says about taking down Lex Luthor: "People with that much power think they wield it over everyone. If you can take that away from them for a moment, you can take it away for good. It's called a power move." And it's such an awkwardly oxymoron way to frame systemic power. It becomes unintentionally funny at times.

Rudy Jones is made other and inhuman by turning into Parasite, but it's a bit weird to pull a parallel between him and the 2 alien immigrant characters when he's an American man. The story tries to talk about xenophobia's relation to fear of the unknown. In Superman's speech at the end, he says that people become so afraid that Aliens Could Be Among Us that they even assumed this All-American-Previously-Serving-In-The-Army-Man was one of those aliens!! I'd much rather a story about xenophobia to center the humanity of the perpetual foreigners instead of having the story tell me to not judge others because they could secretly have been an American white man.

This is made even more comedically awkward when Superman comes to the realization that Parasite doesn't just suck power and knowledge but people's...personhood as well? So he does an appeal to Parasite by basically saying "I know you're a good person Rudy! Not just because you're a decent guy who served in the army and stuff but because there's A BIT OF ME IN YOU! AND I'M GOOD!" The source of sympathy is based on projecting oneself onto the other instead of listening to what they have to say and recognizing their worth on their own.

Martian Manhunter is a plot device with very lightly touched upon themes. He opens up the pyramid hologram device so Clark can have The Talk with his parents, he fakes his death so that Clark can mope in the second act, he comes back in the climax to grab Lex and tell Superman to do everything else. But when he's not doing that, he's being sexy and telling Clark to lay low because they should be extra careful about preserving their existence as the last of their kind. But Clark wants to help people, so we move on. I'm glad they didn't stick here too long though because the movie could've easily slipped into Man of Steel's Superman's Stuck in the Refusal of the Call problem. There could've been a great discussion of how J'onn is more Other compared to Clark who is white-human-passing. Why did J'onn, as a shapeshifter, pick the appearance of a Black man as his human form in this film? Does he relate to how they're othered?

The part where this plot line becomes funny is by the end, Lobo reveals that neither Clark nor J'onn are the last of their kind. Clark watches Lobo leave and says "dang I hope we never see that guy again he sucks" and I kid you not, he turns over to J'onn and says "hey you should follow him". I know it's because he wants J'onn to find other Martians, but lmao it felt like a backhanded way to tell J'onn to gtfo it cracks me up. J'onn asks Clark if he'd like to go to space too and find other Kryptonians, but Clark answers that he already has a home on Earth. So...did Clark just assume that J'onn never found solidarity with humans the way Superman did? It's out of pocket considering how underdeveloped J'onn is. It's that undermined theme again, the narrative empathizes with Clark, but others J'onn without realizing it. This is very common in stories J'onn is in, you get used to it as a Martian Manhunter fan. It's part of why CW Supergirl is such a breath of fresh air.

To bring this back to Lois-I think a very expected evolution of her character is that as she's modernized, writers will drop the early part of her character where's she's marginalized by rampant misogyny (because they think it's archaic and outdated to portray sexism) and just keep the parts where she's jaded and sassy. The result is a Girl Boss Lois Lane, who's jadedness isn't informed by marginalization unique to her. This isn't unique to Man of Tomorrow, many modern Loises have this problem. But at least it's unintentionally funny here.

She keeps talking about "power moves". One of which involves standing Superman up despite scheduling an interview with him. She thinks ghosting Superman will make him desperately tell her everything because he craves her attention as a powerful man. She's also going to write an exposé about him by interviewing the uncooperative Lobo! That'll show him!! She sure is girl boss for forcing the alien immigrant out of the closet again! I think what's funny about her "power move" tactic is that in reality that would only work if Superman had nothing else going on in his life. It's not a power move, it's just unprofessional. If I was a big powerful influential man and was going to be interviewed by a journalist who ghosted me, I wouldn't be seething and tracking her down, I'd just wait for the next journalist who wants to interview me because I'm so important. Apparently that's not the movie's logic though.

So overall, it's a very strange movie! I didn't hate it, but I was very bored because of the lack of music. Extremely sexy Martian Manhunter design though, 10/10.

[princesslunamoon19]

My Review on the Venom Trilogy

My god, can't believe I haven't make a blog review like fine wine. The reason I made a comeback blog mood because I finally watched Venom Trilogy from 1 and 2 was a movie marathon as the 3rd movie was on cinema in 2 days total. Therefore, it's just a share of my personal thoughts, opinions and criticism like after watch all 3 in a go as a fresh perspective.

Spoiler Alert!!!! for those who doesn't want to spoil basically knowing about all 3 trilogy of Venom (2018),(2021) and (2024) that I didn't warn u.

Venom (2018) Scoring: 8/10

A great introduction to the characters. Loves the concept that the protagonist is from a rational to a complete loser. The awkward moments are on point. Easy to remember the side characters' situations to motivation. The parasite lore is straightforward to understand. I like the story's antagonist's motive, evil, malicious, and cunning. The depth of the antagonist is Chef Kiss ~ Also, I like Dr. Dora plot and sabotage Drake plans and the very scene she's stuck with Drake of confession is thill. The Dymanic between main protagonist and love interest is comedy base even tho making the intention of doing the back and forth situation. Adding another the 3rd party (Dan) is alright even tho he just there in scenes happen. The protagonist shows a good depth of evolution of acceptance and grief in his situations and learning his mistakes.

Is more towards gore than horror. Introduction of Parasite travel building intense is good hype watching the first time. Comedy is up tops that middle part onwards. The action scenes are epic with slow effects and quick moments are hype. The ending is cute as an opinion.

Venom: Let There Be Carnage (2021) Scoring: 6/10

A complex story plot with a good follow becomes the focus of the story. Love the villain power dynamic and backstory pilling up on them. Enjoy the male antagonist really carries the movie. The female antagonist is somewhat a mix when the red parasite interfere about it. This is just me but, I really don't like her powers using at moments by moments or the red parasite demanding her to mute.

The actions scenes are chaotic good during the beginning and middle part as for close to the ending, I felt is a bit fast pacing. As for the police investigator guy, Love interest and 3rd party really don''t put up the fight by capture by villains tactics. Also Dan do something yay. As how it ends is more on symbolic to the 1st film about self-reflection and communication of understanding a person to another.

Venom: The Last Dance (2024) Scoring: 4/10

The story plot is a whole and very contradicting to the 1st movie. The Codex MacGuffin is bad. stupid. dumb. Necessary to rely upon the entire story. God of the Void, really lacks and might as well he has a sidekick into the story to make it interesting. I don't even want to compare the comics. Way to much things going on that protagonist need to deal with Goverment and Aliens which I'm good with that concept but is travelling action movements which doesn't cover up the backstory of how Venom got the MacGuffin? To be honest, the entire of Rex, Dr. Panye and Chirstimas Tree is a mess as Rex idk was he an antagonist or he is an idiot. Dr Panye backstory is very filter and really doesn't help of the plot and Chirstimas Tree... I don't know what she do as one side with Dr. Panye then side Rex then again back to Panye... OH I AM AWARE THEY ARE SHOWING GAY SYMBOLIC BUT BRUH filter is doesn't help with the story.

The only thing I like throughout the movie is different colour parasite to the host and fight which I don't know how are the host alive ? As didn't the 1st film said along with "maintain a perfect host" but I guess that's dump now. As for the family trip thing, even tho is filter but is better than scenes showing on Rex, Dr. Panye and Christimas Tree in their own space waiting for shit to happened.

Lastly the ending in fighting scenes... they really save the entire plot showing acid is the tool to burn shit and I seriously don't know what the hell that let the main character btw haven't seen the acid only knows the acid by plot convenience. Loosing Venom is ugh.... like there are better ways to kill off a character in my opinion. Espeically, I understand the ending scene but... it doesn't really pilling up of symbolic to appreciate of empathy and resentful to life. I think what kill the message is plot convenience.

Overall of likes and dislikes characters:

Best Character: MRS CHEN!!!! in all 3 films. Hands down my favourite character in the entire series.

Least Character: God of the Void. Really no idea what he is doing.

Best Villain : Drake the businessman.

Overall Personal Ranking:

Venom: Let There Be Carnage (2021)

Venom (2018)

Venom The Last Dance (2024)

[linghxr]

My spring 2024 cdrama/cmovie/cvariety updates

I can't believe it's already been over 6 months since my last watching updates post! I've been watching more movies, and I'll also mention a couple variety shows, so it's not just cdramas.

Shows/series:

Some of these were mentioned as “currently watching” in my previous post.

《不良执念清除师》 Oh No! Here Comes Trouble A young man learns to use his supernatural calligraphy powers to help strange beings, with help from his frenemy and a young police officer. This show was like a breath of fresh air and very humorous. That being said, it was difficult to follow all the storylines. If you're going to watch it, I think you should binge it if possible. Content warning: Death, gore

《此时此刻》 At the Moment An anthology of quirky pandemic love stories, not all with happy endings. It's kind of like Love Actually in that the characters are connected across stories. Initially I didn't plan to watch because of the pandemic through line—I thought it would bum me out. But it didn't, actually. My favorite episode was Head of the Family. Content warning: Unhealthy relationships, sex and nudity

《隐秘的角落》 The Bad Kids Three kids accidentally film a murder and try to blackmail the killer, resulting in devastating consequences. I felt the first half of this show was more captivating than the second half—the second half went a bit overboard IMO. Apparently the original novel is way darker so…! But I still recommend it wholeheartedly. Content warning: Death and violence (but not graphic)

《沉默的真相》 The Long Night The murder of a disgraced prosecutor seems like an open-and-shut case, but his past reveals a much more complicated story. This show masterfully weaves together three different timelines. I was so confused after the first episode, but it all made sense in the end. I don't recommend binge watching it—I regretted doing so. Content warning: Violence, death, sexual assault

《双镜》 Couple of Mirrors A young woman's personal and professional lives are turned upside down, and she befriends a mysterious woman with a dark past. You have to suspend your disbelief to enjoy this show. There was a ridiculous number of car accidents! It's a GL drama, but if I hadn't know that, I don't think I would have noticed until the end. Content warning: Death, violence

Variety/reality:

《披荆斩棘的哥哥》 Call Me by Fire In the past I didn't include variety shows, but this time I thought why not? I finally finished all 3 seasons of this show, the male spinoff of 《乘风破浪的姐姐》 Sisters Who Make Waves. It's similar to an idol survival show, but instead of trainees, the contestants are established celebrities. The sets are always amazing, and I might have enjoyed this show more than 《乘风破浪》 honestly!

Movies:

《家庭简史》 Brief History of a Family The description of this movie sounded dull, but I ended up enjoying it a lot! I've seen reviews compare it to Parasite and Saltburn. There is definitely some similarity–it's about a well-off family that takes in a mysterious, quiet boy–but the takeaway of this film is very different. It leaves a lot of room for ambiguity.

《流浪地球》 The Wandering Earth After being on my watchlist for years, I finally got around to seeing this movie. I knew the basic premise: humanity bands together to move Earth away from the expanding sun. I wasn't expecting that it would focus on one family, which gave the movie a more personal feel. I enjoyed it despite not being a huge sci-fi person. Content warning: Death

《美国女孩》 American Girl A family moves back to Taiwan for their mother's cancer treatment after several years in the US, and the eldest daughter struggles to adapt. It's set during the SARS outbreak, but I don't remember that being very prominent. This movie was quite bleak and bummed me out. And I found the ending rather abrupt. It wasn't for me I think. Content warning: Illness, disease outbreak

《你好，李焕英》 Hi, Mom This movie was super popular when it came out. It's about a woman who gets transported back in time and meets her mother (who is young and childless at this point). At first I was confused about where the movie was going—it didn't seem to be building to much. But it had a heartwarming and touching ending. Content warning: Death

《周处除三害》 The Pig, The Snake and The Pigeon After seeing a lot of buzz about this movie online, I had to check it out. It follows a terminally ill hitman who learns he is the third most wanted criminal in Taiwan and decides to kill the two criminals ranking above him. Despite this, the main character is actually pretty likable. I enjoyed the movie despite the violence. Content warning: Excessive violence, death, sexual assault

Currently watching:

《火星情报局》 Mars Intelligence Agency This is a variety show. The cast consists of celebrities who take turns telling funny stories and making jokes. I started watching because my favorite singer 薛之谦 is a cast member. I was unsure about the concept at first, but honestly it's really entertaining!

《摩天大楼》 A Murderous Affair in Horizon Tower I finally started this show, which has been on my watchlist for a while. I'm only 2 episodes in—so far it's mostly been about the past of the titular murder victim. I'm not yet sure what direction the show will go in, but I'm excited to find out.

Abandoning:

《你的孩子不是你的孩子》 On Children I got through 3 out of 5 episodes before abandoning this show. Each episode is the length of a movie, so they drag on. But I totally understand why episode 2, Child of the Cat, was nominated for and won so many awards. The acting was really strong.

《汉化日记》 God Troubles Me I wanted to try watching a 动画, but after a few episodes, I wasn't feeling this one. Each episode is quite short, so it's an easy watch. I think it just wasn't for me.

On my watchlist:

《漫长的季节》 The Long Season

《尘封十三载》 Thirteen Years of Dust

I'm trying to be better about content warnings. But please note, I only included them for things I finished watching, not things I'm currently watching or abandoning.

[subliminalbo]

Mind Control in the Wild #3: Shivers

Hotness: 1 Context: 4 Creativity: 4 Final Score: 2.33

CW: Sexual assault

You can watch Shivers for free on Tubi.

While mind control creeps into David Cronenberg's early work enough to make you wonder if he's a secret weirdo like me (this is a joke, Cronenberg is such a fucking weirdo), none of his films come as close to an EMCSA plot as 1975's Shivers. Often miscredited as Cronenberg's feature film debut, I would say that it is his first notable film.

Like many of the shock horror films of the 1970s, Shivers was panned by contemporary reviewers for its violence and gore. Also like many of the shock horror films of the 1970s, it's not really that gory at all. In the 80s, Cronenberg would codify the body horror genre with films like Videodrome and The Fly, and Shivers does play with similar tropes, but it never goes as far into the gore as you might expect. It does feature plenty of bloody parasites being vomited up and the eruption of one from a host's stomach that would be replicated to better effect a few years later in Alien, but the horror in Shivers is largely found in the actions of the parasites' hosts.

To put it more bluntly, David Cronenberg's Shivers is about sex zombies. It's an apocalyptic story where humanity ultimately succumbs to a parasitic invasion that, to use a direct quote from the film, turns the world into "one beautiful, mindless orgy." I imagine that it watches a lot differently for someone who doesn't have a mind control fetish.

There's enough brutality in this movie that I felt the need to include the content warning up top. It is about people being compelled by preternatural forces to commit sexual violence and ultimately that's a big reason that it ranks so low in the hotness category. There is a lot of mind control sex in this film, but there isn't a moment where it's being played for anything but horror. It may not be very scary to a hypnofetishist, but it's more likely to make you interrogate your fetish than to scratch an itch.

The entire film takes place within a large apartment complex in Montreal where a mad scientist has developed a sexually transmitted aphrodisiac parasite with the intention, I guess, of making the world sexier. The disgraced professor uses one of his young students as a guinea pig, and we open on him brutally murdering her before killing himself. The medical staff at the apartment is left to piece together the story, learning too late that the professor's student was a carrier of the parasite and that she was sleeping with several men in the complex.

The first third of the film is largely dedicated to this mystery while establishing the handful of characters that we follow. It's very slow, but once the parasites begin infecting the tenants, the pace ratchets up. From a story structure, it checks a lot of boxes for me. We get enough of a glimpse of these characters' everyday lives that we know who they are and we feel for them once the weird shit starts happening, but that also makes it more exciting when these characters become victims. I preach a lot about the importance of establishing characters in mind control stories before throwing them into the mind control. There are many scenes in Shivers that introduce random strangers who immediately become victims, but there are plenty of long set ups and payoffs. The film ends with every character infected; what we're really watching is the serial recruitment of an entire apartment complex.

I've used that word "zombies" to describe the infected, but it's not exactly one to one with Romero's living dead. In some scenes they shuffle around mindlessly, but in others they speak clearly and appear capable of (mostly) rational thought. The infected are alive, which means that they can be easily killed. In one scene, we see an infected tenant flee from gunfire, so we know that they retain a sense of self-preservation over the compulsion for sex. Cronenberg's follow-up, Rabid, features a far more straightforward zombie apocalypse where the infected shuffle and growl and leak shit from their orifices before ultimately falling into a coma and dying. If the parasites in Shivers aren't fatal and its hosts are just super horny forever, is it really an apocalypse?

Shivers is the kind of movie that exists on the boundaries of hypnofetish content but never fully crosses over. It's not interested in being sexy with its premise at all, it's a body horror movie. To anyone who might be interested in watching it, my biggest warning is that Cronenberg is known for taking things too far, and in a couple scenes he shows that even children aren't immune to the parasitic infection. It's nothing explicit, but the implication is enough to make it the only genuine horror in the movie and likely a reason to avoid it.

Still, it's hard not to respect the influence that Shivers has on the squicky mind control community. Later parasite invasion movies would go much harder in the zombie apocalypse direction, like 1986's Night of the Creeps and 2006's Slither, the latter of which features a parasite in the bathtub scene that is reminiscent to one in Shivers. But beyond influences in mainstream media, you can see Shivers' DNA in random hypnokink webcomics or EMCSA stories or in those parasite porn videos that are everywhere on Reddit. It's a classic case of one man's horror is another's kink. So watch it with caution: it's a little boring, it goes a little too far in one direction while not enough in another, and the parasites look like dried turds.

[cadmium-free]

Day 20 of 26 with @neopetsdotcom

THE BAY (2012)

Lauren’s Review

Incredibly surprised by and also deeply respect this movie for being able to perfectly evoke a very real and highly specific fear/paranoia I sometimes feel in response to medical situations that has never ever been portrayed by any piece of media I’ve ever watched/read/listened to before

Like, everything in this movie culminates to perfectly capture this feeling I have always had trouble quantifying. brutal affliction you can get from innocuous activity, once you notice symptoms its already too late, the realism of the format, the realism of the. Scenario. like yea toxic radioactive chemicals making flesh eating parasites, possibly ridiculous, but the factors that led to it in the movie, government negligence, personal selfishness, and corporate greed, Real in Real Life, and could very easily lead to some kind of comparable disaster, and in fact have, and surely will again, and its like, having to face that reality while Also knowing you're never Really safe from the possibility that you are Currently doing something entirely innocuous that will eventually have unforeseen negative or even fatal consequences. SCARY!

It’s singular flaw. Is. Making the monster. A species of isopod. Like I’m supposed to be scared of that guy??? Why’d they pick the ocean’s least nefarious creature when there were a thousand billion better and scarier options. Like genuinely not being able to take the Creature seriously is the only thing that keeps this movie from being unwatchablely upsetting to me

Awl’s Review

I really don’t like the eco-horror/eco-disaster genre. I think these flicks can get some people to notice and care about things like corruption, pollution, and corporate malfeasance. We can’t deny that some people are moved by these for the better! But they feel irresponsible in their sensationalism and inaccuracy.

This is a found footage/mockumentary, and this one is technically a very good one. In fact, it is too good at the form it mimics: the aggressive conspiratorial environmental documentary. You know the ones. The most exploitive “activism” documentaries. It just rubbed me the wrong way!

It’s definitely a little bit funny how some people were like I’m surprised you could watch a kind of medical horror film about parasites, but the power of being a 2000s-early 2010s hater makes me immune to its scares

Also, add this to the list of horror media where the parasites reveal irritates me. oooohhh so scary, isopods. ok.

[moviesandmania]

PARASITIC (2012) Reviews of low-budget sci-fi horror

‘You are what it eats’ Parasitic is a 2012 American sci-fi horror film about a group of young people who become trapped inside a nightclub with an alien terror. Unable to escape, one at a time they fall victim to the ravenous, bloodthirsty beast. Worse still, the undead return as zombies. Written, produced, directed and edited by Timothy Martin [as Tim Martin]. The Still Night Monster Movies…