Marshall On Film’s review published on Letterboxd:
Check out Parasite on Episode #9 of the We Watched This Movie Podcast 🎙
“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. Did you think these people made a plan to sleep in the sports hall with you? But here we are now, sleeping together on the floor. So, there's no need for a plan. You can't go wrong with no plans. We don't need to make a plan for anything. It doesn't matter what will happen next. Even if the country gets destroyed or sold out, nobody cares. Got it?” 🍑
Standing head and shoulders above its awards season competition in spite of an obvious language barrier, Gisaengchung is the smartest film about class warfare for some time, and by and large the best of 2019. A brilliantly brutal masterclass in editing, pacing, writing and everything in between, acclaimed director and now household name Bong Joon-ho does for stairs in this "pitch-black modern fairytale" what he did for trains in 2013's Snowpiercer, and follows in Hitchcock's footsteps by taking the movie medium to a higher level. Raising his game with riveting and nail-biting sequences that rival, if not eclipse, the best of any English-language picture, Bong transfixes audiences regardless of background, race or social status, for a breath-taking and genre-bending 132 minutes that descends deep into the belly of Seoul's semi-basement dwellings in a metaphori-, no, allegorical movie miracle. Demonstrating commanding craftmanship with his scintillating, near-perfect execution, the South Korean director is not the only talent deserving of 'a glass of soju', as the oustanding ensemble cast shine brightly in this black comedy thriller, spearheaded by Bong's male muse Song Kang-ho, and dynamic camerwork from fellow countryman Hong Kyung-pyo completes the impossibly satisfying package, shooting every frame so visually rich in prescient themes that resonate with today's troubled times flawlessly. As close to cinematic poetry as achieved in the 2010s, this sardonic social satire defies genre, clichés and storytelling conventions for surprising narrative turns, gasp-inducing horror and hilarious chamber piece exchanges, all working in service of a filmgoing experience like no other released in many years. Best watched with no prior knowledge of what to expect, yet still encourages and greatly rewards repeat viewings, show this stunning feature to someone you care about, and prepare to have them left speechless by "a comedy without clowns, a tragedy without villains".
9/10 nuclear text messages.