American film noir took basically everything from this movie but the romance, maybe out of respect, so this can always be a little bit greater.
Such a exquisite film, one of Hong's most beautiful, emanating in every moment some sense of absurd wonder. Now free from the schematic structures he employed from at least 2011-2015, the past few years have proven his genius extends beyond such devices. He's gotten more improvisational, more reactive, and more intuitive, and his films have become more mysterious and revealing for this impulse. If there's a lovelier scene this year than when Younghwan gives his sons their stuffed animals, I'll be very glad to see it.
WONDER WOMAN is the first film in nearly a decade that gave me that feeling of inspiration I got when I really loved comic books, and reminded me what makes their simple narratives enduring and powerful. It makes goodness and decency riveting, and assumes that most people genuinely want to be good.
It's also surprisingly romantic and playful, funny in a warm and human way free of irony or snark, and is fundamentally a story about leaving home for the…
This review may contain spoilers. I can handle the truth.
The rare film that at once opens itself up, and yet, in so doing, becomes vastly more mysterious with each viewing. Also one of the saddest films I've ever seen, even before the context in which it was viewed this week - a whole world searching for some sort of meaning and completely unable to satisfy it. Dodd's eventual entrapment in a mythology of his own creation is devastating. The last scene between him and Freddie..."or you can stay," he says, on the verge of begging him to do so.
"Maybe this isn't your life."
"Oh...I hope it isn't."