This review may contain spoilers
Park Chan Wook's most entertaining movie yet. Maybe one that finally earns him his Oscar nom?
No Other Choice is one of those rare films that made me laugh, squirm, and quietly question how far I'd go if pushed into a corner. It's darkly funny, beautifully made, and a little too close to home--a story about pride, desperation, and what’s left of us when survival becomes the only goal. The title insists there's "no other choice", but that's the cruel irony, there are always other choices, just not the kind that let you keep everything you've built your pride on.The setup hits hard. Man Su (played by Lee Byung Hun) loses his job and starts to unravel, and the fear isn't just about money but also identity, about what is left when the work that defined your worth disappears. In a capitalist world obsessed with efficiency and cost-cutting, and how human labor can be easily replaced by robots/AI, that anxiety feels sharper than ever. [Ironically, Park Chan Wook was expelled from the WGA just two months ago for continuing work as an editor during the 2023 WGA strike, which protested the use of AI to replace writers. Timing doesn’t get sharper than that.]
No Other Choice treats unemployment as transformation, but for the people living it, it still feels like failure. The job competitors Man Su meets along the way mirror parts of himself, and the less time we spend with them, the less human he seems to become. Even his toothache, throbbing whenever guilt creeps in and ending in its removal, quietly tracks how far he is willing to go.
The movie walks a fine line between empathy and irony, treating the absurd premise of "eliminating" job competitors with the dry rhythm of office bureaucracy. The humor doesn't come from punchlines, it comes from restraint--the awkward gestures, the small silences, the moments that feel too human to laugh at without guilt.
Park Chan Wook lets those moments breathe. He stretches time just enough for the absurdity to hit, so you end up laughing and immediately wondering if you should have. It's darkly comic in that uncomfortable, Park Chan Wook way.
There's one scene I keep thinking about: a tense confrontation that should've been horrifying but somehow becomes comedic. The music swells until it drowns out all dialogue, leaving only gestures and anxious movement. It's one of those moments where you're half-laughing, half-holding your breath, wondering if you even want him to succeed. It's the movie's tonal centerpiece, the best example of how Park folds comedy and dread into one perfect beat.
Visually, No Other Choice is stunning. It's a full cinematic experience. Every frame feels intentional, even when no one’s speaking. The cinematography is so deliberate that the images often carry the story themselves. The direction is precise almost to a fault. Every camera move, cut, frame and screen transition suggests control, even as the story unravels underneath.
Light becomes its own character. The film starts in warm sunlight, matching Man Su's illusion of stability, and slowly fades into gray and artificial tones as his humanity erodes and his world turns mechanical. Even in the opening barbecue, when clouds slide over his smiling family, the coming darkness is already there. The autumn palette--all muted golds and dying reds--turns beauty into warning. Everything glows because it’s decaying.
The camera placement is equally purposeful. It doesn't follow Man Su, it watches him. It's like we're standing behind a window or bushes or trees, quietly complicit, as he prunes away his conscience, just like the bonsai in his greenhouse.
Characters are often shot through glass or metal reflections, showing not who they are but who they pretend to be. One shot splits the frame with rocks: on one side, a storm rages; on the other, Man Su carries out his plan. It's a simple composition, but it captures everything the film is about, the inner storm of a man convincing himself he has "no other choice".
If the direction is the engine, then Lee Byung Hun is the heartbeat. His performance is all about the quiet breakdowns and small, painful attempts to stay composed. The guilt shows in his eyes, in the smile that never quite fits, in every hesitation. Even his comedy comes from that restraint, until he suddenly breaks it with an awkward dance or clumsy movement.
Son Ye Jin doesn't need big gestures to leave a mark. You can see her thoughts shift across her face as she processes everything quietly falling apart around her. Her smile tightens scene by scene, her wardrobe fades from bright to muted, and that subtle change says everything about what she’s holding in.
Yeom Hye Ran is the scene stealer for me. I've always loved her in everything, and this is no exception. I'm used to seeing her in more ordinary ahjumma roles, so it caught me off guard how elegant and beautiful she looks here. She brings a sharp, unpredictable energy, switching from tense to funny in a heartbeat, and she makes every darkly comic moment land without ever breaking tone.
The rest of the cast fits perfectly around them. Lee Sung Min’s quiet desperation made me feel for him, Cha Seung Won brings a worn out melancholy, and Park Hee Soon adds just the right amount of smugness. Together, they make the movie feel deeply human. It's not about heroes or villains, just people trying to survive and losing small pieces of themselves along the way.
Compared to the operatic violence of Oldboy, the seductive chaos of The Handmaiden, or the quiet yearning of Decision to Leave, No Other Choice feels like a more grounded Park Chan Wook, more deliberate, and less interested in shock than precision. The violence here is quieter but hits closer to home.
In some ways, it reminded me of Parasite: that same perfect balance between arthouse and crowd-pleaser. It might even be Park Chan Wook's most accessible film, and honestly, his funniest. And really, if anyone deserves an Oscar nomination at this point, it's him. This could finally be the one.
On a cerebral level, there's almost nothing to fault about the movie. Maybe the third act stretches a bit long, or the final twist feels a bit tacked on, but those are minor personal quibbles. What stuck with me most was that slight sense of detachment while watching this move. It's fascinating, funny, and beautifully made, but I never felt fully immersed in its world the way I did with Parasite.
That said, just like Parasite, you don't have to catch every symbol or metaphor to enjoy the movie. It's engaging, darkly funny, and sharply observed in a way that lingers. I'm giving the rewatch value a 10, because I'm sure seeing it again would reveal more, the small visual cues, the quiet ironies, the things I only notice when I already know how it ends.
Was this review helpful to you?
What else did we expect?
I'm surprised by the abundance of bad reviews but also understandable. I am not caught up with the webtoon but I have seen every scene the movie adapted. It's always difficult to translate a webtoon into a live action. There will be some things left out, it will feel choppy and unorganized, but that's inevitable. I actually think I enjoyed it as much as I did because I read the webtoon. For viewers who never read ORV, I feel like everything would be really confusing. I was able to keep up because of all the details from the webtoon. It was exciting because I knew what was coming up. The movie was a nice visual presentation of the world. It was fine, I enjoyed it.Was this review helpful to you?
1Hachiya Koichi works at the amusement park’s Squid Shack. He’s secretly training for the arrival of an outer space monster due to arrive in 2019. The local Exploration Group led by Kameoka stumbles across his boat carrying his kaiju fighting equipment. Middle schooler, Kame, and his three younger friends are looking for an adventure. Hachiya sends them on a scavenger hunt after he leaves town and the boys are sure they’ve been pranked. At least mostly sure.
First of all, the setup was a bit strange. The story was set in 1970 so Hachiya would be a very old man by the time the creature arrived in 2019. There was no time jump, so you do the math regarding a kaiju actually appearing. Most of the story focused on Kame and his young friends riding their bikes and hanging out. Kame was bullied at school and looking for belonging and meaning in his life. But believing a kaiju was going to destroy his town nearly 50 years in the future was too much for even his imagination.
As a slice of boys’ life I’d rate the film a 7.0 given its low budget. There was some nice cinematography and the friendships were realistic. As a kaiju film it would receive a 3.0. Around the hour mark there was a possible sighting for a few minutes. The filmmaker couldn’t quite make up his mind what kind of film he wanted it to be. Most of the screen time was spent on Kame and the Exploration Group. Given how little Hachiya was shown it was hard to tell if the film was playing it straight about the asteroid or if the pending disaster was all in his head. Perhaps if the extraterrestrial threat looming wasn’t 50 years in the future, there would have been more urgency to the story whether it was for real or the object of a disturbed mind.
10 October 2025
Was this review helpful to you?
acting coach...?
it is i, the niel.if you want to watch 3 minutes of dialogue, 4 minutes of things vaguely happening, and 20 minutes of absolutely nothing, you're in the right place. the awkwardness wasn't giving cutesy young love, it was giving "this is bad and cringe". the braces actor had more chemistry with the post-credits behind-the-scenes footage crew. the other actor was giving literal child. that's all that happened. boring, bizarre, and too oily. get out. you're done. sweet dreams!
best,
the niel.
Was this review helpful to you?
Bizarre, reminds you of 'Midsommar'
Watched during our scary movies month, the acting in this is great. I hope to see the FL in many more!!The filming and scenes are well done, I loved that old house and the fields. Well-done and recommend watching and leans towards how Midsommar left me feeling. Twists are good, very weird! /posi
The audio is also pretty decent for the gore sounds, you can see the care put into it which is refreshing in this genre. Some things were disturbing, some made us laugh, the ending makes sense and I don't want to spoil anything and let everyone go in with fresh eyes if possible.
Was this review helpful to you?
This review may contain spoilers
Confused by the Story, Intrigued by the Idea
Tale of Cinema was quite a confusing watch for me. It took a while to realize that the **first part is actually a film within the film**, while the **second part follows the real people behind it**. Once I understood that, things made more sense, but it still felt emotionally distant and hard to engage with.The concept is interesting — showing how cinema and reality can blur, and how someone might try to live out what they see on screen. However, the pacing is very slow, and the story drifts without much emotional connection. The performances are subtle, but the overall tone feels detached.
There are thoughtful ideas about regret, obsession, and imitation, but the execution left me more puzzled than moved. It’s clever in theory, but not something I’d call enjoyable. I think it would worked well in a book.
A smart idea that doesn’t quite work. Worth a watch only if you’re into Hong Sang-soo’s unique storytelling style.
Was this review helpful to you?
A Tight, Smart Thriller That Keeps You Guessing
The Vanished is a well-crafted mystery thriller that wastes no time pulling you in. From the very beginning, the tension builds steadily, and there’s never a dull moment. The story is tightly written, filled with clever twists and turns that keep you second-guessing everyone’s motives until the final reveal.The direction and pacing are spot on — nothing feels dragged out, and every scene adds something to the bigger picture. The performances are solid, especially from the leads, who manage to keep the emotions believable while maintaining the suspense. The atmosphere stays dark and intense, which suits the story perfectly.
If you like thrillers that make you think and keep you hooked till the very end, this one definitely delivers. A sharp, exciting watch that’s both entertaining and satisfying — **10/10** from me.
Was this review helpful to you?
Great Cast, Underdeveloped Relationships
I watched this for Xin Zhi Lei and Huang Jue, only to learn that Zhao Li Ying is a big deal too.This is a rather simple story about an older sister that sacrificed her future to secure the future of her younger sister. Younger sister becomes a successful actress and brand ambassador, whereas older sister is stuck in an unpleasant life in Myanmar. Older sister's husband decides to extort money from the saved younger sister, and chaos ensues.
Having slept on this film, I think I see a major story issue problem. The husband was a device to introduce desperation and violence to the story, to keep it from being a thoughtful character piece. And that was a huge mistake here. His character should have been erased entirely.
In screenwriting there's a very important question the writer must answer correctly: who's story is this? I don't believe it was the younger sister's story at all. I believe it was the older sister's story of sacrifice given paid off with filial abandonment.
The evidence here is the final scene where the sisters are hanging out together at a street vendor, kind of like best of friends. Well, if they were capable of being such friends, why weren't they already on this page together? Why did older sister show up so mad? Clearly she was dismissed and forgotten, but as the awkward mid-story flashback revealed -- they left on good terms.
I also believe the casting should have been reversed, where Xin Zhi Lei was the big famous actress and brand ambassador, since... she already is one, lol. I would have made the victimized sister more sympathetic, less attractive.
This is that tragedy when a rough draft isn't refined but made into a film instead. The film is certainly watchable, and the direction and production values are solid -- if not sometimes compelling -- but I have so many other Chinese films I'd recommend to someone before I'd recommend this one I'm sorry to say.
Was this review helpful to you?
I Want to See This Film
I ‘ve wanted to be able to see this film, since hearing about it, almost two years ago.I refuse to watch on my phone, with ads, on Daily Motion or bilibili.
When will a major streaming service pick up this film?
I pay for three streaming services for Asian series & movies, so I’m highly disappointed that none of them have decided to air this film, for whatever reason.
I had to leave a rating in order to post this non-review, but I’m certain, from all I’ve heard & read that I will love it.
All the best gay films are, unfortunately, depressing, I’ve found.
Was this review helpful to you?
The loop to find happiness
We know the drill. You have the worst day ever. Everything goes wrong. You make the silliest mistakes or the worst choices. Feels like the universe is out to get you. Eventually, you end up reliving it all over again. Only you're not lying in bed at 2AM, scrolling through the 'worst moments of my life' highlights reel in your brain. You're literally living it. Over and over again.We know the drill with time loops.
But what happens if the time loop is your horror movie, which somehow transitions into a rom - com, only for you to end up realising that.. your time loop is not yours to control after all?
Some Day With Someone took that exact trajectory, and has become one of my favourite time loop stories in the process. Without giving too much of the story away (it's a good story), this had everything you look for in a groundhog day feature, while also being heartfelt and grounded.
I loved that the FL, Mesa was so relatable. I loved that I could personally relate to her on so many levels. I loved that the ML, Ben was the dorkiest sweet pie ever.
The humor was understated, the romance slapped and the acting was wonderful.
I walked into this expecting a quintessential - finding true love - kind of story but this was so much more.
I hope you like this when you watch it, because I kind of want this review to have convinced you to give it a try! I kid, but seriously, give it a try :)
Was this review helpful to you?
This review may contain spoilers
Heads gonna roll...
The eccentric archaeologist Hieda Reijiro, a novice demon hunter, and Masao, the son of Professor Yabe, find themselves teamed up in the hunt for the terrible creature Hiruko, an evil spirit capable of possessing its victims. The demon has appeared in the rural school attended by Masao himself. The young student, who has seen his classmate Reiko Tsukishima—with whom he is shyly in love—inside the school, comes to the same conclusion as the archaeologist: A mysterious portal may exist in those places which, if opened, would spread the gates of Hell, releasing other demonic creatures.Conceived in the summer of 1990, “Hiruko The Goblin”, the second movie by the extraordinary director Shin'ya Tsukamoto, ranks among the first two chapters of the “Tetsuo” saga in the filmography of the Tokyo-born author, appearing almost as a sort of “foreign body” within his cinematic vision.
Produced with a substantial budget by Shochiku, the project attracted the interest of Tsukamoto, who was seeking funding for the sequel to his sensational debut film, “Tetsuo: The Iron Man”. Although the script is based on a non-original story (the source is a series of tales from a manga by Daijirō Moroboshi), "Hiruko" proves to be a work of extraordinary imagination and genius, highlighting the great eclecticism of the thirty-year-old Tsukamoto, who is perfectly at ease even in a more “commercial” production.
Clearly indebted to a certain horror classicism of the 1960s—with a little imagination, one might think of the various Kaidan movies or episodes of Yokai Monsters— “Hiruko The Goblin,” somewhat in keeping with its comic book origins, moves in a sort of amused equilibrium, perhaps a little off-balance, with that ability, at times masterful, to jump between the most disparate genres, from pure horror to exaggerated gore, to comedy that is at times surreal, alternating frenetic rhythms with almost meditative pauses.
The narrative structure finds its natural place in many classic Japanese clichés, starting with the school location, set in a bucolic countryside setting during the summer holidays (almost in contrast to the “urban/industrial” style found in “Tetsuo”), continuing with the particular representation of the (terrifying) demons of Japanese tradition and folklore. However, these elements are mixed and reworked by Tsukamoto in a referential key, also through elements typical of American horror, which was so successful in those decades.
It is impossible not to notice the various references to the movies of Sam Raimi or John Carpenter (but in the finale there is also room for James Cameron's contemporary “Abyss”); While the swirling tracking shots that introduce the demon immediately bring to mind “Evil Dead”, archaeologist Hieda's vintage equipment (who rides a bicycle like Doc from “Back to the Future”) seems to come straight from “Ghostbusters”. Where technology fails, a good insecticide, perhaps even with a broom, achieves the desired effect!
The mystery features are spot on, with Masao's classmates “disappearing” one by one, the school location, which is decidedly creepy at night, and the characterizations. The combination of Masao and Hieda is a dynamic duo with strong elements of a buddy movie and a mentor-student relationship, while the school building's caretaker is reminiscent of many characters from American made movies. However, it is Reiko, with her chanting, almost siren-like refrain, who is truly unforgettable.
More grotesque than hyperkinetic, Tsukamoto's style in “Hiruko” is perhaps a little regimented, less subversive, and adapted to the classic conventions of the genre. undoubtedly less experimental, but still not without some of his characteristic visual solutions, such as stop motion, accelerations, and, to a lesser extent, body mutations, the Tokyo director nevertheless displays a truly remarkable formal elegance, especially in moments of apparent calm, at times even poetic, capable of creating the right atmosphere that inevitably leads to the most typical horror.
For many, Hiruko is considered a minor feature or a transitional work in Tsukamoto's filmography. In several analyses, some complain about a certain decline in the ending, perhaps a little too naive compared to the development of the story, but it should be remembered that this is still a commissioned work, over which Tsukamoto could not have full control and that, probably, the film company forced certain solutions;
Moreover, the substantial budget had been exhausted, forcing the director to abandon certain stylistic and narrative choices.
Personally, I've always loved it, ever since I first saw it; it was often shown on TV in late-night programs, slotting it in between the first two “Tetsuo” movies; I believe its strength lies precisely in this uneven, comic-book style, ironic and caricatural, in its perhaps naive and even slightly retro style (before the overdose of special effects, CGI, etc.), that artisanal taste, now almost completely lost, perhaps anachronistic for many (not for me, for sure) but undoubtedly fascinating and visionary, which has contributed to making it that cult object that still resists today.
8 ½
Was this review helpful to you?
Highly Recommended Gem!
I initially watched this film solely for Kim Taeri and didn't have any high expectations. I was genuinely blown away by the beautiful visuals and found it unexpectedly emotional. The OST is great too.There's been some online criticism saying that Kim Taeri and Hong Kyung weren't as good as professional voice actors. I think that this is unfair because a lot of their recording was pre-scored before any animation was done, which was a tough job. I watched the same scene (Nan-Young's video for Jay) with Korean, English and Japanese audio to compare, and found that Kim Taeri has the nicest voice and gave a more emotional performance.
I really enjoyed the movie and have rewatched it several times. 😊
Was this review helpful to you?
The Price of Every Step Up the Social Ladder
This is another hidden gem of Korean cinema from the 1960s, providing a classic depiction of the wronged female vengeful spirit (wonhon).This black and white film's plot of betrayal and revenge, use of dramatic music, and creating tense scenes out of mundane incidents like making a small noise when trying not to get caught, was similar to what we have come to expect from Alfred Hitchcock movies.
For those who appreciate social commentary, the film's main theme of social climbing and its price is a great appeal. One such example being the use of the staircase itself as a visual metaphor for the desire for social elevation—a technique still used in modern classics like Parasite.
Despite its sometimes slow pace, the film managed to keep the viewers' attention through it's use of various horror and suspense elements; from the ruthlessness demonstrated by a man who will stop at nothing to achieve his goals, to the retaliatory psychological torment.
Though not my first recommendation, this is definitely an interesting watch for fans of the golden age of Korean cinema or Korean horror enthusiasts looking to watch a film which had an influential role on the genre.
Overall Rating: 3.5/5
Quality: 3.5/5
Enjoyability: 3/5
Was this review helpful to you?
This review may contain spoilers
Pretty Crazy Was So Entertaining
It's been a while since I wached a movie that made me laugh, cry and then laugh again, everything was balanced it was entertaining but emotional at the same time.YoonA was amazing in the movie she nailed the two characters she was playing, I especially enjoyed nighttime Seon Ji's scenes, she was so much fun and childlike in her behaviour but deep down she was a kind person who was treated with cruelty so she had to protect herself by behaviour that way.
Ahn Bo Hyun was also amazing I liked that he cared for both of them.
Overall this movie was great, definitely recommend.
Was this review helpful to you?
So adorable
Super sweet short movie.Min Ah's drunk rambling was so cute and funny (especially her asking Ji Yeong to wait just one year for her).
It was so nice to see these girls interacting, everything felt so real and like I was there just watching two drunk, shy girls confess to each other.
I was smilling throughout whole film. I liked it a lot and it definitely deserves more recognition.
Was this review helpful to you?
