Parasite - 4K Ultra HD + Blu-ray + Digital

One of our favorite Korean movies! Such a twist and turn! A much watch!

Define "Social Thriller" - a film which discusses themes about the oppression of society. This is the type of genre that might best describe what PARASITE (2019) basically is. It is also a black comedy thriller, as well, basically a cross between a Coen Brothers-style black comedy and a Hitchcockian horror-thriller, and one that takes you completely by surprise. I had already known who Bong Joon Ho, was having seen two of his films: The Host (2006), an amazingly done monster film and family drama, and the underrated Memories of Murder (2003), which might be my favorite detective/serial killer film. So when I heard of his new film Parasite, as well as the huge praise it was receiving, and what it was about, I knew it sounded like my kind of film, and that I had to see it. Couldn't find it in my store, but thanks to Amazon's wonderful service, I was able to get it on DVD. And it was absolutely worth it, after my first watch, I actually ended up watching six more times almost back-to-back, it was that seriously good. PARASITE is Bong Joon Ho at his very best, a wonderfully done film that is deserving of its praise. Once it starts, I was so deeply invested into it, that the language barrier and subtitles stopped feeling like a bother when watching. And it is so deeply layered with themes and subtext, that it might require a few viewings to get them all, but I do kind-of see the film as the perfect culmination of other similar 2019 films (those being US and JOKER) that had also explored socio-political themes about classism, class division, and "the poor vs. the rich". I can assure you that PARASITE is a film that must been seen, and I strongly believe that it now earns a place on the list of Greatest Movies Ever Made in Cinema History along the likes of The Godfather, Fargo, and Shawshank Redemption. The kind of movie that will leave you thinking even after the movie is over. I seriously believe that PARASITE is quite possible the best movie of 2019, bar none.

This film’s title is “Parasite” (singular), because the survival of the Kim family depends on its ability to operate as a single organism, capitalizing on the gullibility and self-indulgence of the ultra-wealthy Park family. In the opening scene, we see the Kims in their cramped subbasement apartment in the South Korean slums where son Ki-woo/Kevin (Choi Woo-shik) and daughter Ki-jeong/Jessica (Park So-dam) find free Wi-Fi next to the toilet in the back of the apartment. Father Ki-taek (played by Song Kang-ho) seems like a hopeless optimist who finds opportunity in the mundane (e.g. free fumigation for stinkbugs in the kitchen) and teaches his children they must always have a plan. After the Kims’ failed attempt at folding pizza boxes for income, college student Min (Park Seo-joon) visits the family and changes their lives forever. Ki-woo agrees to replace Min in an English tutoring job for the Park family. Ki-woo also accepts Min’s gift of a special stone meant to bring fortune to its keeper. Indeed, the stone is part of the rise and devastating fall of the family as all 4 members intertwine their lives with the Parks’. When the Parks leave on a camping trip, the Kim family enjoys a rare night of luxury in the empty house. A heavy rainstorm leads to a Darwinian struggle with the Parks’ past housekeeper (replaced by Mrs. Kim), who returns to rescue her husband hiding in an underground chamber of the Parks mansion. In a long, nightmarish sequence in the dark, the Parks unexpectedly return early, and Ki-taek, Ki-woo and Ki-jeong narrowly escape. Returning to the slums to find their apartment flooded with sewage, they spend the night with others in a school gymnasium, and Ki-taek discloses his “plan.” In complicated events the following day, the divided classes violently clash, but ultimately coexist. The 2020 Academy Awards got it right in the unprecedented sweep for this movie (Best Picture, Best Director for Bong Joon Ho, Best International Feature Film, Best Writing--Original Screenplay). Don’t be scared away by the subtitles. This is a masterpiece you need to see.

I love movies of all kinds but this one was great. I am not a movie snob nor pretend to be! I was so pleased that there was no Spiderman, good cop/bad cop, or simple predictable plot. The setting is in Korea and it was awesome scenery. After watching the movie I looked for reviews and wasnt shocked at all to read instantly about "Income Inequality" and "Social Justice." YAWN! SO BORED WITH THESE POLITICAL TOPICS. The movie has NOTHING to do with inequality nor justice. It does have a lot to do with scarcity and karma! Here is my critical review of this interesting movie: (Don't read if you want to enjoy the movie for yourself - potential plot giveaway) This was a very good movie. This movie is about class warfare and three families: 1. The Parks (well to do) and two parasitic families. The Parks (well to do family) are taken advantage of by people of 'lower' income means (two lower income families. The Parks naively trust a tutor. The tutor wins over the Parks who become victims of two separate Parasite families. Parasite family 1: The original housekeeper, and the new parasite family (parasite family 2) that attempts to take over. They lie, cheat, get people fired from their jobs, and eventually kill. The original housekeeper family is also of lower means family taking advantage of the Parks by secretly housing family members in a bunker under the house, they are actually the first parasites. This is a surprise as I felt sorry for her up until a certain point. Are the Parks perfect? No of course not but they are using their means to create jobs for other people. The people who work for them, work voluntarily and the Parks seem to treat their people well. This movie is about envy and criminal exploitation by the parasites. The two parasite families(lower income families) eventually destroy each other attempting to take from the Parks family. The Parks family is also killed.

Parasite is one of those movies that grabs you in the first few minutes and refuses to let go. It’s hysterical, sharply written, and full of moments where you’re laughing one second and holding your breath the next. The characters are unforgettable — messy, clever, desperate, and weirdly lovable — and the way their lives collide is both chaotic and mesmerizing. What makes the movie so amazing is how it balances humor with tension. Every character brings something different to the story, and watching them navigate their complicated, layered relationships is half the fun. It’s smart, stylish, and full of surprises, and even after it ends, you keep thinking about the choices everyone made.

I'm not a Bong/Song fan and I was skeptical. Maybe the western viewers who are not familiar with Korean language/culture were hoodwinked by Bong. I decided to find out what the all fuss was about it since it was the first foreign language film that won Oscar Best Picture. Now I know why. At first, it looked like a typical Bong thing, complete with Song Gang-ho, and full of scheming buffoons . Then it unfolded into desperate people vs even more desperate people. It strikes the cord: in real life, here in the West as well as in Korea, it's the desperate people hustling and competing with the desprate, while the rest cruise on by. The film didn't set out to make it some sort of class warfare; it's just telling a story about desperate people. And the rich/poor happened to be a typical theme in Korean drama. The only thing that could pass as a social commentary in this film is at the end when the father Kim stabs his boss who turned up his nose on dying poor man. The real commentary though is the cynical outlook of the modern Koreans. You see, we grew up even poorer in the 60s and 70s. But we didn't go around making comments about the rich, how they are because they are rich, etc. Or pretending to be rich, or obsess with English as status symbol. Being poor was just the way it was because, well, most people were poor. Nowadays it's all about posing and pretending. The film at the end though is about family, their struggle, love. Kim asks "but you still love her", to which Park replies "of course" and then scoffs; the fired maid comes back for her husband in the basement, cries out for him; Ki-Jung yells at her father demanding that he give 우리 가족 (the family) priority when he ruefully worries about the driver he replaced; ki-woo promises that he'll come back for his father locked in the basement. It's the best film that Bong produced. It's better than the Memory of Murder which has been his best work so far.

Quick Story Recap: An extremely poor family of 4 is looking for ways to make money. The son of the family has a friend who comes to visit that sets the rest of the movie in motion. The friend was tutoring the daughter of a wealthy family but he was leaving to go abroad. He asks the son of the poor family to tutor the rich family's daughter for him which he accepts. From there the poor family devises plans to employ the entire family to the rich family through deceptive means. Crazy things happen, the movie ends. Acting seems good but it's hard to watch actors when you are reading subtitles the whole movie. I had to pause the movie many times just to read the screen. Overall, that was unexpected. Honesty, the first 75% of the movie I'm thinking, "How is this a best picture winner, it's quirky and weird and I don't know where this movie is going with this story." But this movie hits you you with some big twists and I was shocked at the last 20 minutes. Thinking about it in it's entirety I'm left with just how crazy it got from where it started. It's billed as a comedy of sorts but it is just soft of a chuckle here or there until it gets really crazy. I am still wondering if this movie is really Best Picture worthy but I haven't finished watching all the other nominees yet. Though I will say, in terms of being the first foreign film to win best picture - I think academy should have made Life Is Beautiful (1997) a winner long before Parasite ever came along. But that's just my opinion. I think that iParasite is an ok movie but not going to be something I'll get an overwhelming feeling to watch again. Maybe watch it with someone who hasn't seen it before just to see their reaction because this movie thrives off the surprise. I assume a second watch won't have the same impact, however, I have no desire to watch this again.

𝑷𝒂𝒓𝒂𝒔𝒊𝒕𝒆: 𝑨𝒏 𝒐𝒓𝒈𝒂𝒏𝒊𝒔𝒎 𝒕𝒉𝒂𝒕 𝒍𝒊𝒗𝒆𝒔 𝒐𝒏 𝒐𝒓 𝒊𝒏 𝒂 𝒉𝒐𝒔𝒕 𝒐𝒓𝒈𝒂𝒏𝒊𝒔𝒎 𝒂𝒏𝒅 𝒈𝒆𝒕𝒔 𝒊𝒕𝒔 𝒇𝒐𝒐𝒅 𝒇𝒓𝒐𝒎 𝒐𝒓 𝒂𝒕 𝒕𝒉𝒆 𝒆𝒙𝒑𝒆𝒏𝒔𝒆 𝒐𝒇 𝒊𝒕𝒔 𝒉𝒐𝒔𝒕. Parasite is a 2019 South Korean black comedy thriller film directed by Bong Joon-ho, who co-wrote the screenplay with Han Jin-won. The film, starring Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam, Jang Hye-jin, and Lee Jung-eun, follows a poor family who scheme to become employed by a wealthy family and infiltrate their household by posing as unrelated, highly qualified individuals. To begin with I want to give more of a heads up than anything else for my followers who can empathize when I say: foreign films can be conceptually intimidating. I've never been very good at giving a movie in my full intention (This applies to even the ones that I like. I know. Shame on me.). That said: Joon-ho’s Adoration for he Coen Brothers is in full effect here with ‘Parasite’ being filled with exceptionally heavy dialogue. What's important to note, however, is that this isn't to a detriment, and is instead 𝒓𝒆𝒒𝒖𝒊𝒓𝒆𝒅 to escort viewers through a maze of tonal shifts and significant points of Discord or chaos. If I might indulge I would say that it is difficult to neglect commenting on the pacing and which ‘Parasite’s exposition is developed. Conflicts and their subsequent solutions emerge inconsistently and at times makes the narration seem mildly distracted by the bigger purpose it obviously has in mind. A large amount of deception must be fulfilled in order to force ‘Parasite’s hand, and as a consequence of this it becomes naturally filled with plot holes that are not easily filled or ignored outright. This is only excavated by the extent in which some overwhelming convenience and detached coincidences are to carry much of ‘Parasite’ through its first half. Regardless, expertly crafted tension makes this one point that is easily forgiven and temporarily stifles this complaint. What might come as a surprise to viewers is that Joon-ho originally conceptualized ‘Parasite’ as a play; with a clear understanding of the advantage specific vantage points can play in addition to the intricate set design the chance to make this a feature film is seamlessly unparalleled. Voyurist motifs are integrated as a way of instigating a “predator versus prey” dynamic between the Kim and park family with certain features (like stairs) literally elevating the sharp contrast between the complacently wealthy and the begrudgingly impoverished. Equal parts forthcoming and mysterious: Hong Kyung-pyo executes Joon-ho’s vision with the use of visual disparities that are endlessly stunning. (Fun fact: The set design of the affluent Park family house was made completely from scratch in addition to the view of the environment just immediately outside of the Kim’s family home). I have yet to know if any film has claimed an official monopoly on plot twists - but if so ‘Parasite’ is a more than worthy contender. From the first moment of climatic surprise Joon-ho and Jin-won put their foot on the accelerator with no intention of laying off of the metaphorical gas that keeps viewers guessing. This isn't just to say that some conclusions are completely unexpected - because in hindsight some seem unavoidable in the grander context - but the delivery throughout remains hauntingly engaging. Over time its viewers become a piñata with ‘Parasite’ acting as a fustigating stick: with each of its devastating blows any sense of optimism (and quite literally some jaws) are forced into a state of submission that mimics the ground underneath them. Ushered along by a class act of ‘Chameleon-aires’: ‘Parasite’ transcends above what would otherwise be mundane and monotonous commentary as it relates to fiscal and social stratification. Taking away ( but not completely removing) avenues of sympathy while remaining ambiguously hopeful - the gaps between what someone is, what someone aspires to be, and what someone is capable of a coming are violently exploited, meticulously explored, and proficiently examined. An archaic reminder transformed by an excess of cruel originality: ‘Parasite’ stresses the importance of being careful what you wish for... because in the end you just might get it (and more). I would recommend. Side note: In watching this my 'favorite first watch of 2021' has been officially dethroned.

A estas alturas todo el mundo sabe que esta película ganó los dos premios de la Academia a Mejor Película y la Palma de Oro en Cannes. La historia sigue a la familia Kim y sus condiciones precarias de vida. Un día el hijo menor, Ki-woo, recibe una oferta de trabajo en la casa de los Park, quienes viven una vida opulenta. Poco a poco, una serie de sucesos tanto divertidos como impactantes ocurrirán. Una de las mejores películas que se han hecho en décadas. La edición de Universal tiene excelente calidad de audio y video. Los extras no son muy abundantes, pero se disfrutan. Sin subtítulos ni doblaje al español. Video: 2.40:1 1080p Audio: coreano dts-HD Master Audio 5.1 (24 bit, 48 khz) Subtítulos: Inglés.

Enjoyed watching this movie.

Edición estándar pero decente de todo un clásico de los últimos años. Lo malo es que es un Blu-ray de región A, por lo que necesitas un reproductor multiregión. De extras tiene varios tráilers y un pequeño coloquio del director.

Excelente qualidade, para quem se interessar em comprar: Legendas somente em inglês.

Uma obra prima!