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There, his invisible and pitiless captors will feed him, clothe him and sedate him to avoid committing suicide, and as his only companion and a window to the world is the TV in his stark cell, the only thing that helps Oh Dae-Su keep going is his daily journal. I will explain this later, but i have to spoil the hell out of it to do so. I literally couldn't close my mouth, and yet there wasn't any sound coming out of it.\
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Therefore this film is definitely in my top 3 films ever made. Some of them were pretty brutal and seemed a bit out of place. Everything the film promised and more was delivered. The music sticks in your head and every time I put in my Oldboy-DVD and the theme-song comes up, I'm just flooded with good memories even though the plot doesn't have a single reason to be happy about. I left the cinema shaking of anger, and i wasn't the only one.

They'll be baffled, they'll be astonished, but it is unlikely if you are encountering this tale for the first time that you'll be impressed. Don't be as shallow as a lot of people here tend to be. But then, unexpectedly, after fifteen long years in captivity, the perplexed prisoner is deliberately released, encouraged to track down his tormentor to finally get his retribution.\
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**Oldboy** - Lee also does himself little favour by undermining an otherwise grim and thoughtful story with cartoonish elements, most notably Jackson's garish performance complete with blonde ponytail we may add as Joe's chief jailer turned tormentor.\
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Synopsis Obsessed with vengeance, a man sets out to find out why he was kidnapped and locked into solitary confinement for twenty years without reason. An advertising executive is kidnapped and held hostage for 20 years in solitary confinement. When he is inexplicably released, he embarks on an obsessive mission to discover who orchestrated his punishment, only to find he is still trapped in a web of conspiracy and torment. At first, I just came back from the theater and I found this movie a very poor remake if I compare it with the excellence, the complexity and power of the Asian film. That film was purely brilliance. So this new version was really promising but had the bar raising too high. From Spike Lee we could expect a truly mesmerizing movie or a very weak one. And in this case I say that this one is not so bad as it looks like here. It's obvious that some people is apparently going too far. It's a disappointing movie, but not a bad movie. It focuses too much in blood and gory instead of the script and the complexity of the characters and situations. The ending can be a bit upsetting for some viewers. Josh Brolin is one of the better things of this version. His performance is as good as he always do his roles. The rest of the cast is between average or good. Nothing remarkable under my watch. It's weird and bloody. Be prepared for that. Those unfamiliar with Park's original, which itself was based on a late 1990s Japanese manga, will likely find it bizarre and even off-putting; and yet those who have seen and loved Park's 2004 Cannes Gran Prix winner are likely to dismiss this as mild and underwhelming compared to the original. Yes, to call Lee's version a remake will be? According to Lee, he and his writer Mark Protosevich had not sought to remake Park's movie; rather, they have returned to the manga by Garon Tsuchiya and Nobuaki Minegishi to shape a similar yet somewhat different story that keeps the essential baroque details intact. And so the setup is the same? The ever dependable character actor Josh Brolin plays the titular character named Joe Doucett, which we are introduced to as a boozy advertising executive who blows a make-or-break deal by propositioning his client's wife at the very meeting. His sentence for the next two decades while in captivity includes watching a ripped off version of 'America's Most Wanted' where he is held as the prime suspect for his ex-wife's murder, in between being fed the daily news as well as Chinese dumplings. The question upon his release is not who, but why? Joe is aided in his subsequent quest for punishment and redemption by a bartender friend The Sopranos' Michael Imperioli as well as a kind- hearted social worker Elizabeth Olsen. He has a timeline too? Copley threatens to kill his daughter in the next 48 hours if he fails to figure out his identity as well as the reason for his imprisonment. Neither should be unfamiliar to those who have seen Park's version; indeed, despite what Lee and Protosevich claim, they have only sought to vary the details from their predecessor. So instead of an exercise in dentistry when Joe confronts the caretaker of his prison Samuel L. Jackson , we are treated to an equally grotesque sequence where he slices bits of skin from off the man's throat. Instead of gobbling an octopus live and whole, Joe merely stares hard at the animal in a restaurant aquarium. And perhaps most significantly, Joe gets to restage the original film's iconic extended sequence where his character takes on an entire army of thugs with no more than a claw hammer and pure rage - a three and a half minute scene rehearsed for six weeks which to Lee's credit, loses none of its predecessor's visceral thrills. Notwithstanding the distinct sense of familiarity with the proceedings, there is just something lost in translation. Lee also does himself little favour by undermining an otherwise grim and thoughtful story with cartoonish elements, most notably Jackson's garish performance complete with blonde ponytail we may add as Joe's chief jailer turned tormentor. Thankfully, Brolin anchors the titular role with his compelling presence, built on a single-minded embrace of his character's vengeance. His transformation from self-pity to determination is a testament to his prowess as an actor, not to mention his dedication by having gained and then lost a lot of weight. Olsen provides a surprisingly warm emotional centre to the movie, especially in portraying the love angle between her character and Joe - which happens to be one of the ancillary additions Protosevich has brought to this adaptation. Copley is similarly excellent as the demented mastermind behind Joe's depravity, in particular when the two finally confront each other's demons in the operatic climax. Not only do the key elements remain similar, Lee also retains the iconic touches of the South Korean original. But beyond the graphic brutality, there is just something too culturally specific about the story's twists on revenge and redemption that defy a cross-cultural interpretation. It won't satisfy fans weaned on Park's version, nor for that matter is it likely to win over new converts with its uneven mix of fantasy and stylised naturalism. They'll be baffled, they'll be astonished, but it is unlikely if you are encountering this tale for the first time that you'll be impressed. Simply put, some movies should never be remade. The Korean masterpiece possess a highly stylized, gritty sensibility while providing an emotional depth to its characters. An alcoholic whose life is falling apart, Joe Josh Brolin is far from the ideal father who is willfully neglecting his three-year-old daughter, Mia. Drugged and kidnapped one night, Joe awakens in a small room with a television, only to learn that he's been framed for the murder of his ex-wife, and will spend the next 20 years trapped in this cell where he is held as a prisoner. During the duration of his imprisonment, he trains his mind and body for escape attempts while pouring his heart out to Mia in letters. After two decades of torment, Joe is suddenly set free, seeking out an old friend Chucky Michael Imperioli , and meeting Marie Elizabeth Olsen , an advocate for the homeless who helps him in his cause. Hunting for the individual who locked him away, Joe spares no one as he works his way to Adrian Sharlto Copley , a deranged man masterminding the mystery Joe and Marie are now determined to solve. Subtly goes by the waste side, and almost abandoned completely early into the third act in favor of expeditious explanations. The remake remains largely faithful to the story of the 2003 effort, but seriously lacks in intensity and a sense of meaning. The original film achieves a sublime blending of ultra-violence with extreme art, while the remake feels bogged down in its copycat status, and its overall lighter tone hampers its enigmatic, disconcerting story of revenge. My advice is to avoid this altogether, pull up the original on Netflix, and deal with the subtitles America.
