Beautiful and intriguing
Park Chan Wook director is back in 2022 Cannes and won the Best Director award this time around. His signature touches are so precise that it looked like beautiful portrait shots with extremely fine details for each and every of the scenes and frames, even the editing and transition is extraordinarily stylized. He has the ability to find the beauty of the broken love in this wicked romance story which works wonders, where even a subtle affection comes in great effect on a person's mindfulness, and reaching it through extreme means might be of utmost importance. The broken ones will definitely understand the intention of this film where protecting that little love in this shattered world is what all we had left.Was this review helpful to you?
A mixture that resulted in a masterpiece
was another Korean movie to release this summer that I was highly, highly looking forward to. One of the biggest reasons why I was so hyped for this film was because it was directed by the legendary Korean director, Park Chan Wook. Director Park is one of the most well-renowned directors of Korean cinema; up there alongside Bong Joon Ho. Some of his other masterpieces include , , and of course, , all of which are MUST watches. Also, a film with a mixed genre of thriller and romance? Sign me up! Had me intrigued from just the genre.Moreover, it’s been over 6 years since Director Park’s last work, and with the mind-blowingly good film that Director Bong put out a few years back, it’d be an understatement for me to say I was excited to see what Park Chan Wook had under his sleeve.
The film starred the duo of Park Hae Il and Tang Wei, and these two were absolutely amazing. I’ll get more into this later on in the review.
>The Good<
The movie definitely had a uniqueness that only Park Chan Wook can deliver. Amazing cinematography with incredible camerawork and angles had me mesmerizing each scene. You can tell that each shot, each angle was thought out, and shows how much of a detailed person Director Park is.
Moreover, there were symbolisms and metaphors throughout the film, one of which we can find across Park Chan Wook’s movies: ants. And like many of Director Park’s other works, the film had strange vibes to it that gave it its own, unique mysterious elements. Mystery, thriller, romance; an odd blend, but it works, and it’s because of Park Chan Wook that this is possible.
Furthermore, the film had great musical score that really enhanced the tone and the mood. It’s with its auditory elements that the film was able to be elevated on another level.
I also loved how keeps you guessing. It keeps you wondering what’s going on, and as it starts revealing, it gets a little confusing, but in a good way. You keep trying to fit the pieces of the Park Chan Wook puzzle together, and I absolutely love it when films are able to accomplish this successful. The movie then takes a turn and gets you even more invested; love it.
Another great part about was the acting. Tang Wei’s acting was amazing; her expressions, like when she slightly smiles, was subtle but gave off an impression that can’t be put into words. All I can say is that it was “Scary good.” And Park Hae Il also showed his best in this. His and Tang Wei’s chemistry was out of this world, and definitely one of the biggest reasons why the movie was so good.
And it wasn’t only with the two main leads, but it was fun seeing all the cameo appearances as well. Park Jung Min made a special appearance and had a pretty impactful role, but the one that really stood out to me was Kim Shin Young. I was really caught off guard when she came on screen. Kim Shin Young is a famous comedian in Korea, and she was the last person I was expecting to see, especially in a Park Chan Wook film in this type of genre. But man was she good! She pulled off the role VERY well, and you would think she’s a seasoned actress.
>The Bad<
I’ll be honest, the movie is on the longer side. There were parts with pretty slow progression, and you’re gonna need some patience. As I said before, the movie takes a turn, and it’s going to take a while for that to come. And even after, there still is a lot left in the film. Not saying the movie was bad because it was slow; not at all. But am saying that it’s definitely gonna be a little too slow for some people. For me, I’m gonna have to watch it again to fully understand and grasp the full picture.
>>Verdict<<
was definitely different, in a good way. It had that unique characteristic that comes with Park Chan Wook films, and I found it to be closer to and than . The film was beautifully shot, and had perfect casting and chemistry with Park Hae Il and Tang Wei. Absolute incredible performances by both actors. The movie did feel pretty long, but it wasn’t so dragged that you don’t want to watch. In fact, I actually want to watch again.
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Aberrant romance and captivating mystery that leads to making a difficult decision to leave
A multilayered neo-noir with a dash of eccentric yet almost inappropriate romance. This film conveys an outlandish narrative wherein the rigid, workaholic police officer Hae-joon (Paek Hae-il) obssesses then falls for the main suspect of a murder case he is investigating, Seo-rae (Tang Wei).The first half was not immediately engaging, but it was able to successfully build-up tension between the complex lead characters while in a middle of an intricately-created murder mystery. What I find unique here compared to previous Park Chan-wook's filmography was that I was able to follow the plot easily compared to some of his works yet there were still subtle context clues and nuances that I had to think twice. Unfortunately, the second half was not able to hold the same calibre of obsession and tension as the first half. For me it was quite draggy, and the runtime could've been shortened since it already had a tight and suspenseful first half.
Also, the well-thought cinematography helped the overall quality. It was carefully crafted which was very prominent on the scenes where Hae-joon was imagining he was on Seo-rae's side. The camera angles and shots amplified his obsession towards the case and towards her as well. The foggy weather, the mountain and the sea (based on the Confucius quote mentioned) striked to me and perhaps to the storyline as well.
Aside from that, I highly applaud Tang Wei's performance here. It's the first time that I watched her and the fact that she's not Korean but speaks the language suprisingly well, together with her morally-gray characterization, speaks amounts of her effort as an actress to nail the role. Park Hae-il's performance is also nothing to be brushed off. I think that this might give him a nomination for this year's Baeksang, if not win just for that final scene where he was able to portray anguish and longing emotions (very well).
Overall, a great movie despite with its fuzzy moments. This may not have the same quality as Oldboy and The Handmaiden, but Decision to Leave creates a distinct caliber that proves why Park Chan-wook definitely is a master of this craft. The neo-noir element was not as intense as the aforementioned movies, but the addition of the aberrant romance and captivating mystery ultimately proves why there was a difficulty to make a decision to leave.
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This review may contain spoilers
Beautifully sad love in a illusory and unrealistic story
Distinguish between movies that create interesting fantasy stories and movies that talk about stories that happen in everyday life but make no sense. The first one is a movie genre, but the second one is a failure. If you want to create a compelling story that happens in everyday life, you're going to want the story to be as real as possible, I mean, the characters, the dialogue in the movie has to be very natural and look good, like a documentary film. About this movie, it's pretty illusory. I mean, there are details that make me laugh, they just can't happen in real life. So the story in the movie also has no truth.It's really a pity, because I really love the love between the two main characters in the movie, the relationship between them is as gentle as the wind, very poetic and beautiful, I mean their acting, very natural and attractive. I can compare this love to everyone's childhood memories, things that are beautiful but no one can experience again in their life. Because I liked this love story so much, I was even more upset with the detective investigation story in the movie, too complicated and confusing. The detail of Seo-rae going to the police station making the fire alarm ringing is too ridiculous, it's a police station, not a school. No matter how smart she is, she can't do it so comfortably, she's no god. Even Hae-joon and Ji-goo's chase scene and the scene where they fight while Miss Seo-rae peeks from inside the car, what? She's not a super cop to be able to drive after them from start to finish. This makes no sense. The character Seo-rae is a complicated and unpredictable person who falls in love with Hae-joon, but the director only shows us that she is a girl like Gone Girl's Amy Dunne towards the end of the film, due to so I can't sympathize with her death, which the director could have done better.
The fact that Seo-rae was brutally beaten by Do-soo was only mentioned once, through the doctor's account with Hae-joon. Do-soo even stamped his wife, right? And with Hae-joon's love and concern for Seo-rae, he doesn't question her injuries, not even a word. Am I missing something, or does Hae-joon have amnesia? Or the doctor gave the wrong patient's medical record and X-ray film? Not to mention the absurdity of Hae-joon having feelings for Seo-rae just because she's pretty and good looking? Give me one good reason why a police officer who is questioning a suspect falls in love with the suspect. Even the identity of Seo-rae's grandfather is a detail that needs attention, it can't be used as a reason for Seo-rae to kill her own mother.
It is also a pity that the supporting characters in the film, Hae-joon's wife, young inspector Soo-wan and the female assistant, Hae-joon's boss, Hae-joon's son, Ho-shin, Do-soo, San-Oh, Chul-sung... they're all just useless puppets in the movie, none of them leave an impression, it's a waste of characters. The fact that there are so many characters that do not affect the two main characters makes the story of the supporting characters seem to be thrown away.
Another unfortunate detail that is missed is that Inspector Hae-joon has dry eyes, is it because he has trouble sleeping? Anyway he often uses a bottle of solution to put in his eyes, and after all this detail is not important, just a guy who likes to put liquid in his eyes, over.
I really wish Park Chan-wook could have made this movie simpler, with fewer supporting characters, connecting them with the main characters so deeply and solving the absurd details, turning Seo-rae into a The girl looks like a normal person. This could make this movie a living novel. Because I really like the scenes in the movie, the angles, the scenes with the colors in the movie, even the metaphorical details and the cutscenes, they are all very unique and personal. Music is also a point of interest for me, sometimes the tunes appear very timely and full of passion, but sometimes a bit too much, making me not like it very much.
And lastly, I don't know if this is true or not, but it seems that the police characters in the film are portrayed unduly poorly, they look almost incompetent and useless, or this is a hint of disparagement of the police industry by the director? I don't know lol and in the movie too much use of cell phones and smart devices, as well as scenic locations, I guess this is for advertising purposes? Too obvious, isn't it? To me, these things made the movie less interesting. They should reduce these.
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The temptation of a burning romance made alive through suspense.
What a strange movie it was.It's one of those slow burners where you wonder what's there to it , at every moment .
The pristine romance, the feeling of yearning for someone yet falling short every time.
The illegality of a relationship shared.
The chemistry of both MC and FMC is one you'll rarely see.
A sadist story.
It's a really long movie, it takes it time and somehow to the end , you'll yourself see falling for the charm of FMC .
Those long stares, endless pauses, dual translation.
Her job was to make the role shine through a mysterious aura , and she just made sure we feel tempted towards her through out, an award-winning performance that's for sure.
The movie is just storytelling, nothing more to it.
It's one of those where to sit back and enjoy the form of storytelling.
The sense of suspense it maintains through out each scene is what tempts you to watch it cautiously.
The magic is in the direction and interaction of the characters, not the screenplay which rarely happens.
I enjoyed it. You'll too .
Just be in the mood .
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"The moment you said you loved me, your love is over. The moment your love ends, my love begins."
In the first half, I thought that this was a murder mystery film mixed with a simple romance, but it turns out to be very intimate. As the film progresses, the second half of it becomes more like a romance wrapped in a murder mystery.I gotta say that I like this film, to see this film more as a romance film, how it gave me the feeling that I usually get from conventional romance films. My emotions are raging, and my chest tightens as I witness this love relationship that feels both wrong and cozy, wrapped in a murder mystery that somehow becomes the sentimental playground of this love story.
One of the things that makes this film good, IMO, is that it looks too beautiful, combined with the good performances of the actors, making this film even more charming.
Anyway, this film made me absolutely sad, it hurts my meow meow. The moment Hae-joon found the stock analyst's phone, can I put "if only" to what it brings to the story? Knowing there's a chance they'll get the ending I dream of, if they wait patiently. I'm weak for this.
Idk what to type anymore. That's all. Thanks.
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Not for everyone, but for its target audience, it's brilliant!
Slow? Yes.Pretentious? Some will say so.
Worth watching? See the above.
A man is found dead at the bottom of a mountain; the lead detective is very thorough but also unhappily married, and the widower is a stunner he feels himself gradually falling for. As emotions begin to cloud his judgement and the case becomes much too personal, can the detective re-establish a professional distance... and does he want to?
This film reminded me of Hitchcock's stuff; I personally enjoyed it a great deal but I can understand why others wouldn't like it.
The acting is really good - I was totally enthralled by the characters - the script is definitely faultless for the most part and, where I really liked the way it was shot and cut together, there will be many who will say it's "arty" or "pretentious"... and I can see their point, but it's by no means one of those crappy style over substance type of films.
Recommended.
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Good Enough
Korean Movie " Decision to Leave " is a drama about obsession, love and crime.The movie's charm is its oddness, with wild edits, strange POVs and magnetic scenes; a cinematography that trully steals the scene.
The performances were also great and captivating, especially by the female lead who was excellent. The rest of the cast did a good job as well.
However, dispite being intriguing at first, the movie fails to deliver enough emotion for the romance-obsession part of the film to be believable. And yet, that's where the movie should have exceled. Hence, the story feels flat and abstruct, with shots of the main character's life and a mystery that was partially presented. The finale of the film is probably its most intense part.
So, overall, six out of ten.
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An Average Park Chan Wook film
An honest relationship between a detective and a suspect in Park Chan Wook direction...That sentence itself makes us to watch the movie and you won't disappoint a bit
Worth watching becoz it goes in a flow without any kind of drama. Just plain and simple. No twists and turns. A love story which mw us to root for them somehow and wish they live together in the end.
The female lead was just brilliant with her acting. Innocent and unique characterization.
138 minutes..Two murders..One Unsolved Case... AT LAST a tragic.
Do watch 3.5/5
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This review may contain spoilers
An eerie relationship between a detective and his murder suspect
A dark romance between a detective and his murder suspect certainly captivates its audience. Me.The story is about a detective helplessly falling in love with a murder suspect who was the main suspect of her husband's murder. As the movie takes us through the journey of the detective's romantic and emotional roller coaster, the woman was cleared of the murder simply because she had an alibi.
However, the detective discovered another piece of evidence that proved otherwise.
What did he do?
The story began from the moment he decided to deal with the evidence.
The last scene on the beach is truelly heartbreaking.
Watch this movie.
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Masterpiece cast in silky noir.
The ultra-violence of the revenge trilogy feels distant when the Korean visionary Park Chan Wook serves delicious romance of the absolute highest class.The irresistible scent of classic noir hangs like a dense fog over Park Chan Wook's latest opus. Decision to Leave (2022) undeniably has films like Double Indemnity (1944) and Vertigo (1958) to thank, but at the same time, Park Chan Wook is refreshingly unique in his filmmaking and voice as usual. It is not long before what is initially very "Hitchcockian" and familiar is taken in completely unexpected directions.
The story begins in an accident investigation led by the chronically melancholic police officer Jang Hae Joon (Park Hae Il). A middle-aged climber appears to have fallen from the mountain he was climbing and died instantly when he hit the ground. Most of Hae Joon's colleagues shrug their shoulders and want to shrug it off as quickly as possible, while he himself begins to turn the magnifying glass on the deceased's mysterious widow, Chinese Song Seo Rae (Tang Wei). Her cold nonchalance about what happened and her murky background means that Hae Joon is no longer so sure that her fate was an accident. The instant chemistry that develops between the two further complicates the case.
So far it feels like movies I've seen before but every minute of playtime me further away from them. What could steer towards a conventional investigative thriller instead becomes something far more dreamy and sublime. What generally results in something cold and hard instead turns into something warm and silky. With each passing scene, it becomes increasingly clear that the murder mystery and its "whodunit" question is completely subordinate to the central relationship and that it is a love story unfolding on the big screen, albeit a strange one. The corpses that keep turning up are just icing on a cake of passion and longing. Park Chan Wook's transformation into bloody romantic (something already noticed in 2016's The Handmaiden) is total, and I love it.
Given that's the direction Park Chan Wook chooses, it's Tang Wei and Park Hae Il that everything hinges on, because if you don't buy their almost Phantom Thread twisted romance, everything else falls like a house of cards. Fortunately, there are sparks about them from the first frame they share and it is with ease that one capitulates to their restrained "courtship" of each other. Hae Il's portrayal of someone stuck on autopilot in career and marriage only to gently thaw back to life is utterly devastating, and Tang Wei's multi-layered, vulnerable and utterly unique femme fatale interpretation will carry with me for a long time.
As always with Park Chan Wook's filmmaking, he maximizes the visual potential of every frame. Here he is more playful than in his previous works and allows everything from smartphones to GPSs to merge with the visual language and the result feels as hypermodern as it does classic. Aesthetically, he continues on the trail he opened with 2018's The Little Drummer Girl, allowing both set design and costuming to rise far beyond realism. There are strong reds, strong blues and strong greens, almost to the point that Pedro Almodóvar feels like a possible source of inspiration. Few filmmakers can pull off a visual feast of this breathtaking caliber.
When the incredible finale (incidentally the obvious peak of a film that conquers the epithet masterpiece in every scene) is over and the credits roll, I can't help but think of Michael Gambon's narration in the Coen brothers' Hail, Caesar! (2016) and how he describes a film- "A potion of balm for the ache of a toiling mankind". That's exactly what Decision to Leave is, a soft and healing balm for the heart, brain and soul.
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This review may contain spoilers
l'intrigue policière est le support d'une étude de la psychologie complexe des personnages !
Je viens de voir à mon tour "[b]decision to leave[/b]" (merci à l'invention du DVD ! ) et je l'ai beaucoup aimé ! Je n'ai rien vu d'autre de PARK Chan Wook même si j'ai toujours en projet sa trilogie sur la vengeance !Dès les premières images j'ai été ensorcelée par la beauté de la lumière, de la photographie et des paysages choisis (le suicidé a eu une idée merveilleuse d'accomplir son geste dans un site aussi époustouflant de beauté ! ) Ceci dit, quand la beauté picturale est aussi évidente ça augure mal pour la suite, souvent, surtout que la mise en scène elle-même n'est pas conçue pour ouvrir facilement les portes de l'histoire (mélange de réalité, d'imaginaire et de rêve pas vraiment évident au début, ou alors mon cerveau vieillit et perd sa perspicacité ! )
Cette introduction pourrait laisser entendre que je suis restée en dehors de l'histoire, mais pourtant ce n'est pas du tout le cas, ceci grâce à l'écriture incroyablement fouillée des personnages, la précision chirurgicale des dialogues (surtout du fait que Sore est chinoise, maîtrisant mal le Coréen) Ils nous permettent de pénétrer au cœur des sentiments, des hésitations, des choix des deux personnages principaux. Ce travail du scénariste et du réalisateur est magnifiquement soutenu par le talent impeccable des acteurs qui nous font partager, non, mieux, vivre leurs déchirements intérieurs. L'esthétique très poussée de l'image et le raffinement presque excessif de la réalisation deviennent alors le soutien des personnages et leur mise en valeur, alors qu'au départ je craignais qu'ils en soient écrasés !
J'ai adoré le fait que la relation des deux héros ne se concrétise jamais, qu'en fait cette relation n'ait jamais été accordée, lui est d'abord attiré, puis quand il comprend qu'il a failli dans sa tâche de policier, il part, et là c'est elle qui se découvre un sentiment qu'elle ignorait, s'étant simplement servie de lui jusque là. Cela lui rendra une certaine pureté qui la conduira à la solution définitive de la fin et qui la sauvera d’être totalement la froide manipulatrice qu’elle semblait être jusque là. Car il faut bien reconnaître que l'intrigue policière n'est que le support d'une étude très fouillée de la psychologie complexe des personnages !
La fin est époustouflante d'imagination, de beauté et de désespoir, c'est la fin grandiose d'un opéra, les cris d'appels et le bruit des vagues en constituant la musique !
C'est un film que je reverrai car je comprendrai mieux l'écriture de [b]PARK Chan Wook[/b] et je pourrai mieux le déguster depuis la première image !
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