Saturday, April 4, 2020     Volume: 21, Issue: 5
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Santa Maria Sun / Film

This weeks review
1917
AD ASTRA
BINGABLE: ABANDONED (2016)
BINGABLE: DON’T F**K WITH CATS: HUNTING AN INTERNET KILLER (2019)
BINGEABLE: Barry
BINGEABLE: CASA DE LAS FLORES
BINGEABLE: FLEABAG
BINGEABLE: GRACE AND FRANKIE
BINGEABLE: NATIONAL GEOGRAPHIC DOCUMENTARIES
BINGEABLE: OUTLANDER (2014-present)
BINGEABLE: PRIDE AND PREJUDICE (1995)
BINGEABLE: RUSSIAN DOLL
BINGEABLE: STRANGER THINGS 3
BINGEABLE: THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY
BINGEABLE: THE SINNER (SEASON 2)
BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN)
BLAST FROM THE PAST: COOL RUNNINGS (1993)
BLAST FROM THE PAST: FISH TANK (2009)
BLAST FROM THE PAST: HOUSE
BLAST FROM THE PAST: OLDBOY
BLAST FROM THE PAST: RAIDERS OF THE LOST ARK
BLAST FROM THE PAST: ROBOCOP
BLAST FROM THE PAST: THE MATRIX
BLAST FROM THE PAST: THE PRESTIGE (2006)
BLAST FROM THE PAST: WILD AT HEART
BLAST FROM THE PAST: YOU’VE GOT MAIL
BLOODSHOT
DOCTOR SLEEP
EMMA
FORD V FERRARI
GUILTY PLEASURE: THE HANGOVER
GUILTY PLEASURES: CHEER (2020)
GUILTY PLEASURES: GIRL MEETS WORLD (2014-2017)
HATEWATCH: 92ND ACADEMY AWARDS (2020)
HATEWATCH: NAILED IT!
HATEWATCH: THE WITCHER (2019)
HEARST CASTLE: BUILDING THE DREAM
I STILL BELIEVE
JOJO RABBIT
JOKER
KNIVES OUT
LITTLE WOMEN
MOTHERLESS BROOKLYN
ONCE UPON A TIME … IN HOLLYWOOD
ONWARD
THE ART OF RACING IN THE RAIN
THE BIGGEST LITTLE FARM
THE CALL OF THE WILD
THE GENTLEMEN
THE HUNT
THE INVISIBLE MAN
THE LIGHTHOUSE
THE PEANUT BUTTER FALCON
THE WAY BACK
TV REVIEW:
TV REVIEW: LITTLE FIRES EVERYWHERE
TV REVIEW: SELF MADE: INSPIRED BY THE LIFE OF MADAM C.J. WALKER
TV REVIEW: TABOO
TV REVIEW: WESTWORLD (Season 3 debut)
UNCUT GEMS
UNDERRATED: BATMAN BEGINS
UNDERRATED: DOUBLE DRAGON (1994)
UNDERRATED: INSOMNIA
UNDERRATED: SHUTTER ISLAND
UNDERRATED: THE BATTERED BASTARDS OF BASEBALL
UNDERRATED: THE FALLING
YESTERDAY
ZOMBIELAND: DOUBLE TAP

BLAST FROM THE PAST: OLDBOY

PHOTO BY PHOTO COURTESY OF CJ ENTERTAINMENT

BLAST FROM THE PAST: OLDBOY


Where is it playing?: Vudu, Tubi

What's it rated?: R

User Rating: 0.00 (0 Votes)

If someone ruined your life, and I mean ruined it, what’s the worst form of retaliation you can think of? Say this person broke your heart, publicly embarrassed you, stole your money and dignity, killed your child—whatever it may be—what’s the most horrible, awful, painful plan you can drum up to get even? The strategy for vengeance you’d fantasize about night after sleepless night?

Whatever your worst is, I guarantee it’s not half as shockingly cruel and unusual as the story of revenge that plays out in Oldboy. In this South Korean action-thriller, known originally as Oldeuboi, director and co-writer Chan-wook Park (Sympathy for Mr. Vengeance, The Handmaiden) shows us just how disturbing and somehow still unsatisfactory getting payback can be.

The plot hinges on the beaten path of Dae-su Oh (Min-sik Choi), a typical businessman who is suddenly abducted on the night of his daughter’s fourth birthday. Dae-su is taken to a strange, illicit prison, where his cell is reminiscent of a windowless hotel room. He’s left with nothing more than a bed, a bathroom, and a TV, and that’s where he stays for 15 years, all the while unsure of who has imprisoned him and why. 

Television is Dae-su’s only source of entertainment and connection to the outside world throughout his kidnapping, and on the news one day he sees that his wife was murdered, his daughter is missing, and he’s the suspected killer. Eventually he begins to dig his way out through the wall of his room, but just before he breaks through to the outdoors, he’s hypnotized by a mysterious woman and then wakes up on a rooftop dressed in a suit.

It’s 2003, the first time he’s seen sunlight since 1988, but Dae-su wastes little time. Instantly, he’s on a fervid hunt for his captor, for whom he has vicious plans. He also begins the search for his long-lost daughter, who he discovers was put up for adoption shortly after his wife was killed. 

But it soon becomes apparent that Dae-su’s captor, a man named Woo-jin Lee, is several steps ahead, and is somehow always watching. Dae-su’s only consolation is Mi-do, a young sushi chef he quickly falls in love with who helps him search for his daughter and fight his tormentor.

It’s impossible to really write about this movie without giving away all the big twists and turns and shockers, but I will say that Mi-do—though sweet, helpful, and loving—is not what she seems. And although Dae-su is seeking a little quid pro quo for the murder of his wife, the loss of his daughter, and his 15-year imprisonment, it’s really his captor, Woo-jin, who is seeking revenge, and he gets it not through gory torture, but through mental and emotional anguish. Years of imprisonment turns out to be the least of Dae-su’s worries.

Why? You’ll have to watch to find out.

—Kasey Bubnash 








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