Parasite ★★★★½

Parasite is a crowd-pleaser the same way a roman gladiator match is, but with more doors flying open with new twists than any colosseum could. Like a gladiator fight, it’s morally ambiguous and evocative of political and societal class issues. Even realizing this context, you will still find yourself rooting for things you don’t expect too or want to.

Bong Joon-ho (or Joon-ho Bong), an auteur, unrestrained by genre and intricately adept in theme and moral complexity, sets his latest film Parasite in an upstairs-downstairs Korean world of murky gray waters.

It is transformative, like most of his other work, in that you are constantly watching what the movie is doing, saying, how you feel about it and what it is literally about, changing almost minute by minute before your eyes. It’s the greatest storytelling and use of cinema that there can be--constant thoughtfulness every moment.

It’s delightfully evil in that it is terribly realistic. I haven’t felt so maniacal and rooting for the bad guys since I watched Nightcrawler. It focuses on social inequality and capitalism and its cyclical, parasitic nature. It will leave you wondering who is the real parasite, the lower-class family taking advantage of the rich one or the rich family that feeds off the labor of the lower class family. It begs to ask where it the lowest you can be and then reminds you there is always someone lower.

It’s all so metaphorical.

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