No Other Choice

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/no-other-choice-review/ "No Other Choice proves to be a fantastic piece of art with superb tonal control and dedicated performances that solidify P... FULL SPOILER-FREE REVIEW @ https://fandomwire.com/no-other-choice-review/ "No Other Choice proves to be a fantastic piece of art with superb tonal control and dedicated performances that solidify Park Chan-wook's return to the style that defines him. It's a painfully entertaining analysis of a man driven to madness by corporate greed and social pressure, and a courageous, violent, hysterical look at how dysfunctional our world has become. In the end, the film isn't just about a man who lost his job but a voracious critique of the madness of a system that teaches us to kill the rivalry, literally or figuratively, and the human cost of that survival game." Rating: A-

They say that “Imitation is the highest form of flattery,” and, arguably, that might be true – but only when the imitation works. When it doesn’t, the result is more of a pale wannabe clone, and that’... They say that “Imitation is the highest form of flattery,” and, arguably, that might be true – but only when the imitation works. When it doesn’t, the result is more of a pale wannabe clone, and that’s precisely the problem with this latest release from writer-director Park Chan-wook. This dark comedy essentially seeks to be this year’s equivalent to the Oscar-winning South Korean offering “Parasite” (“Gisaengchung”) (2019) from filmmaker Bong Joon-ho. But, try as it might, “No Other Choice” is no “Parasite” – not by a long shot. The edgy humor that made this film’s predecessor successful was grounded in its skillful handling, knowing just how far to push the bounds of propriety and absurdity without going overboard while still being able to evoke nervous but genuinely earned laughs from viewers. This picture, however, tries way too hard to produce those chuckles, sometimes crossing the line of appropriateness and landing in territory that falls flat, becomes excessive and sometimes even verges on being of questionable taste. These results emerge from a storyline in which Man-su (Lee Byung-hun), a South Korean paper mill manager who genuinely believes he’s attained all of the material, domestic and career satisfaction he could ever want, unexpectedly loses his job as a result of an American company buyout. Upset but undeterred, he vows to land a new job within a few months, but, much to his dismay, he’s still out of work long thereafter. He and his family reluctantly begin economizing, but Man-su is dissatisfied with the direction in which his life is heading. He thus decides to try a different approach to winning a managerial job that’s opened up at another paper company – by eliminating his competitors before they can be hired. On the surface, this deliciously wicked premise might seem like a viable plot for a sinister dark comedy, but that’s not the issue here – rather, it’s a question of (ahem) execution. To move the narrative forward, the picture relies on heavy-handed storytelling tactics that result in overwrought slapstick, dubious comedy bits (some of which aren’t even laughing matters) or material that just flat-out bombs. In addition, the story is woefully bogged down by extraneous subplots involving erroneously suspected infidelity, youthful antisocial behavior and alcohol-induced lapses in sobriety (what’s funny about any of that?). As a consequence, these ancillary story threads needlessly lengthen an already-overlong film, prompting viewers to want to yell at the screen to get on with it already. What’s perhaps most puzzling, however, is the protagonist’s single-mindedness about the need to land another job in paper manufacturing, regularly proclaiming that he has “no other choice.” Why? It’s an argument that’s made repeatedly but never adequately explained, a plot device that, in turn, causes the film to become repetitive, making this production seem even longer than it actually is (I can’t begin to say how often I looked at my watch while screening this one). These attributes also make me wonder how this release was able to earn two Critics Choice Award nominations, three Golden Globe Award nods, and accolades from numerous film festivals and critics’ organizations, given that this is one of the biggest disappointments of this year’s awards season. Indeed, I find it amusing that the protagonist routinely insists that he has no other choice about the options open to him, but, thankfully, we as viewers do have a choice when it comes to this film – by simply choosing to turn it off, a temptation I had to resist many times and almost wish I had.