Tag Archives: kim jee-woon

WATCH: Nicole Kidman Is Mommie Not-So-Dearest In New ‘Stoker’ Clip

Park Chan-wook is one of a few successful Korean filmmakers attempting an English-language foray into Hollywood this year (also see: Kim Jee-woon ‘s Arnold Schwarzenegger vehicle The Last Stand ) and his moody March thriller Stoker continues to tease with a new clip ahead of its Sundance debut this weekend. Take a peek at just under two minutes of Nicole Kidman absolutely owning the screen with a riveting, sinister mother-daughter chat opposite Mia Wasikowska . Synopsis: After India’s (Wasikowska’s) father dies in an auto accident, her Uncle Charlie (Goode), who she never knew existed, comes to live with her and her emotionally unstable mother Evelyn (Kidman). Soon after his arrival, she comes to suspect this mysterious, charming man has ulterior motives, but instead of feeling outrage or horror, this friendless girl becomes increasingly infatuated with him. Stoker also stars Matthew Goode, Dermot Mulroney, and Jacki Weaver and opens on March 1, 2013. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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WATCH: Nicole Kidman Is Mommie Not-So-Dearest In New ‘Stoker’ Clip

REVIEW: The Good, the Bad, the Weird Lousy for Viewers, Worse For Horses

What we commonly call genre films — westerns, romantic comedies, horror and action films — may have been born in Hollywood, but the great proof of their durability is that no one can claim ownership of them: They belong to everyone, to interpret and revitalize as they wish. That explains how a Korean filmmaker would be inspired to make his own version of an Italian western, which itself was inspired by Hollywood movies that mined America’s “Westward, ho!” mythology, a case of the American experience being reflected back at us through double mirrors. But Kim Jee-Woon’s The Good, the Bad, The Weird is no The Good, the Bad, and the Ugly, and it doesn’t so much build upon its namesake as climb over its back on its way to somewhere else. There’s no modesty in Kim’s movie, not even the false kind. It’s faux-Leone baloney.

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REVIEW: The Good, the Bad, the Weird Lousy for Viewers, Worse For Horses