Scott B’s review published on Letterboxd:
A work of shocking empathy about structures--both buildings and systems--that keep some people above others. Bong's cinematic voice, as it has been for years, is one that commands heightened tone, heightened characters, and heightened emotions (remember what Herzog said: ecstatic truth comes from stylization, not documentation) and demands a meticulous script with absolute narrative precision. The craftsmanship is the nail in its gorgeous coffin. The production design, performances, and crisp, immaculately blocked and choreographed photography sell what already would have been an inventive and dramatic thriller as the work of a master.
Parasite has gotten its share of praise, I know. Everything I've said is redundant in view of how this film has been discussed to death. But even as someone with a particular love for the challenging, the ambiguous, and the novel sorts of filmmaking, this film is a striking reminder that sometimes all you need is sheer craft and clarity to get your ideas to stick. Unfortunately, it takes something accessible to get Americans flocking to theaters to see a Korean auteur's newest (Oscar-winning) movie. Fortunately, however, accessible doesn't have to mean shallow. What it lacks in experimentation it more than makes up for in sophistication and hard-line confidence. The waves upon waves of discourse that hit this film have largely settled by now, and both its champions and detractors are surely dead fucking tired of hearing about it again.
But let's not take that as an excuse to forget just how good it really is, or how true.
Parasite is so good.
Bong Joon-Ho is so good.