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Purple Phoenix Games (2266 KP) rated Potion Explosion in Tabletop Games
Jan 6, 2020
Your senior year at Horribilorum Sorcery Academy for Witty Witches and Wizards is almost at an end, but one thing stands between you and graduation – final exams! You’ve passed everything with flying colors, and now it’s time for your final exam in Potions class. Do you have what it takes to brew the most difficult and impressive potions? Or will amateur mistakes result in inaccurate recipes and ultimate failure? The time for studying is over, and the time for potion making is NOW!
Disclaimer: There are several expansions for this game. I do not have any of them, nor do I have any gameplay experience with any of them. If and when I do get them added into my base game, I will either amend this review or write a new one! – L
Potion Explosion is a game of set collection in which players are trying to complete potions for end-game VPs. To start the game, each player takes two beaker-shaped potion tiles to be kept in their desk (play area). On your turn, you will select one marble from the dispenser and play it to one of your potions. Easy enough. The marbles are housed in an angled dispenser, so when a marble is removed from one of the tracks, the rest roll down to fill in the gaps. Neat, right? But there’s a catch. If the marble you take causes two marbles of the same color to collide as they move down the dispenser, you have triggered an explosion! That means that you are allowed to take all marbles of the same color that were involved in the explosion on that same track. Sometimes, by removing all the marbles involved in an explosion, a second explosion may be triggered! In that case, you take all of those marbles as well!
Once you’ve taken a marble (or multiple, depending on any explosions), you immediately play those onto your active Potion Tiles. You have the option of keeping up to three marbles in the Ingredient Pool on your desk to be played in later turns. Extra marbles that cannot fit on your Potion Tiles or in your Ingredient Pool are returned to the dispenser. If you complete a potion on your turn, return its corresponding marbles to the dispenser and place the Potion Tile beneath your desk, to be scored at the end of the game. Then you select another Potion Tile from the available stacks to be added to your desk. You will always have two Potion Tiles on your desk. Your turn is now over, and play continues with the next player. The game ends when a certain number of Skill Tokens (earned for completing sets of 3 identical potions, or for completing sets of 5 different potions) have been awarded to players. Play continues until everyone has had the same amount of turns, and then VPs are counted. The player with the most VP is the winner!
I’ve got to lead this off by saying that one of the things I love most about Potion Explosion are the components. The Potion Tiles are nice and thick cardboard, and the marbles are just so much fun to fiddle with throughout the game. Yeah, I may accidentally roll some off the table every once in a while, but they’re a neat addition to the game. I’ve heard that the cardboard dispenser doesn’t hold up after many plays, but I have yet to see that issue, and know that lots of people are now 3D printing dispensers for themselves to circumvent this problem.
So how does it play? Potion Explosion is relatively fast to play, and requires more strategy than meets the eye. You’re selecting and playing marbles, but you’ve also got to keep an eye on any explosion possibilities. Maybe you need 4 blue marbles – are any of the dispenser tracks loaded with blues so that you could strategically trigger an explosion? Or is your neighbor really going for red marbles, so you trigger a red explosion just to keep those from them? The marble placement in the dispenser may be random, but your manipulation of the available marbles is not. Strategy is everything here, because one mistake in marble selection could end up handing your opponents the game.
I thoroughly enjoy Potion Explosion. It’s fast to teach, fast to learn, and fun to play with all ages! The mechanism of the marble dispenser is pretty neat, and it adds an extra element to the game. This game keeps me engaged the entire time because it is just so fun to watch the marbles moving down the tracks and potentially triggering multiple explosions. Although it requires good strategy, it’s a light enough game to give your a break in between some heavier brain-burners. If you haven’t had the opportunity to try Potion Explosion yet, I would highly recommend it. Purple Phoenix Games gives it a bubbling 14 / 18.
Disclaimer: There are several expansions for this game. I do not have any of them, nor do I have any gameplay experience with any of them. If and when I do get them added into my base game, I will either amend this review or write a new one! – L
Potion Explosion is a game of set collection in which players are trying to complete potions for end-game VPs. To start the game, each player takes two beaker-shaped potion tiles to be kept in their desk (play area). On your turn, you will select one marble from the dispenser and play it to one of your potions. Easy enough. The marbles are housed in an angled dispenser, so when a marble is removed from one of the tracks, the rest roll down to fill in the gaps. Neat, right? But there’s a catch. If the marble you take causes two marbles of the same color to collide as they move down the dispenser, you have triggered an explosion! That means that you are allowed to take all marbles of the same color that were involved in the explosion on that same track. Sometimes, by removing all the marbles involved in an explosion, a second explosion may be triggered! In that case, you take all of those marbles as well!
Once you’ve taken a marble (or multiple, depending on any explosions), you immediately play those onto your active Potion Tiles. You have the option of keeping up to three marbles in the Ingredient Pool on your desk to be played in later turns. Extra marbles that cannot fit on your Potion Tiles or in your Ingredient Pool are returned to the dispenser. If you complete a potion on your turn, return its corresponding marbles to the dispenser and place the Potion Tile beneath your desk, to be scored at the end of the game. Then you select another Potion Tile from the available stacks to be added to your desk. You will always have two Potion Tiles on your desk. Your turn is now over, and play continues with the next player. The game ends when a certain number of Skill Tokens (earned for completing sets of 3 identical potions, or for completing sets of 5 different potions) have been awarded to players. Play continues until everyone has had the same amount of turns, and then VPs are counted. The player with the most VP is the winner!
I’ve got to lead this off by saying that one of the things I love most about Potion Explosion are the components. The Potion Tiles are nice and thick cardboard, and the marbles are just so much fun to fiddle with throughout the game. Yeah, I may accidentally roll some off the table every once in a while, but they’re a neat addition to the game. I’ve heard that the cardboard dispenser doesn’t hold up after many plays, but I have yet to see that issue, and know that lots of people are now 3D printing dispensers for themselves to circumvent this problem.
So how does it play? Potion Explosion is relatively fast to play, and requires more strategy than meets the eye. You’re selecting and playing marbles, but you’ve also got to keep an eye on any explosion possibilities. Maybe you need 4 blue marbles – are any of the dispenser tracks loaded with blues so that you could strategically trigger an explosion? Or is your neighbor really going for red marbles, so you trigger a red explosion just to keep those from them? The marble placement in the dispenser may be random, but your manipulation of the available marbles is not. Strategy is everything here, because one mistake in marble selection could end up handing your opponents the game.
I thoroughly enjoy Potion Explosion. It’s fast to teach, fast to learn, and fun to play with all ages! The mechanism of the marble dispenser is pretty neat, and it adds an extra element to the game. This game keeps me engaged the entire time because it is just so fun to watch the marbles moving down the tracks and potentially triggering multiple explosions. Although it requires good strategy, it’s a light enough game to give your a break in between some heavier brain-burners. If you haven’t had the opportunity to try Potion Explosion yet, I would highly recommend it. Purple Phoenix Games gives it a bubbling 14 / 18.
Gareth von Kallenbach (971 KP) rated Bravetown (2015) in Movies
Aug 6, 2019
Today’s movie selection is certainly a ‘heavy’ …. and by heavy I mean 1 half serious and 1 half inspirational. It’s one of those stories where the protagonist has been fighting an uphill battle most of their lives and in the end, being the catalyst for change in the lives of others ends up being that factor which changes their own life for the better.
‘Bravetown’ stars Lucas Till as Josh Harvest. A rising star and one of the best club DJ’s in the New York music scene. Night after night his music draws friends, crowds, promoters, and record producers looking to sign him. By day he sleeps and watches ‘Platoon’ when he’s not skipping school. Just as suddenly as the music starts spinning it all comes crashing down though when Josh overdoses one night and is raced to the hospital. After a confrontation with his mother (Maria Bello) and faced with the alternative choice of arrest and imprisonment,
Josh agrees to be sentenced to court ordered rehab and is sent from the mad streets of New York City to a small town in North Dakota to live with his father.
After the culture shock of going from the ‘city that never sleeps’ to a small town only known for their kids joining the military upon graduation right out of high school and going off to war (many of whom never return) subsides, Josh succumbs to his situation and settles in to his court appointed rehab with Alex (Josh Duhamel) a veteran who’se obsessed with soccer and has a dark past of his own. Sooner or later, everyone’s past catches up to them though .One night after his arrival, Josh’s reputation from New York catches up to him while attending a school dance. Dissatisfied with the music being played, Josh spins one set while the school’s dance team is performing on stage and then abruptly leaves. Unbeknownst to him, a member of the dance team recognized his music, recorded his set which they then used to win a competition.
After reluctantly agreeing to help them, the school’s last place dance team proceeds to win competition after competition and Josh and the dance team’s captain Mary (Kherington Payne). It soon becomes all to clear to Josh though that Mary’s grief is connected to his therapist’s past and that only by confronting it will Mary and Alex be able to come to terms and heal.
There a very few movies that did what this movie his done which is to touch on a subject that very few want to talk about or even acknowledge today in America. The knowledge that most of the people in this country who are sent off to war are young people from small towns or people from low income communities who either have no money to attend college after high school or have no other options for the future except to n the military. Now please don’t misunderstand me. I have nothing but the utmost respect for the men and women who serve and defend our nation and I come from a military family. However, for young people though in the present day …. many really have no other future to look forward too because of the high cost of university or college education. As part of the backstory, this film shines a light on that subject and does so in a respectful way. They way the ‘life in the big city’ merges to that in ‘small town america’ in the movie was done so in such a way that it seems like the two are right next door. As you are watching the film for the first time, the ‘culture shock’ is not so much a ‘shock’ itself but more like a record slowly spinning after the music is over.
Personally, I’m not a fan of any of the dancing shows and movies that have apparently captured the attention of everyone else over the last few years whether it’s ‘Dancing With The Stars’, ‘So You Think You Can Dance?’, ‘Step Up’, ‘Bring It On’, etc. But I freely admit that the dancing in this film was pretty GORRAM awesome and it impressed the heck out of me. The collection of actors and actresses assembled for this film was equally as awesome. Lucas Till (The X-Men Movies), Laura Dern (Jurassic Park), Josh Duhamel (Transformers), and Kherington Payne (True Blood, CSI, Glee) all brought their own serious brand of acting to this film and they don’t disappoint. There no war flashbacks, no car chases, and only one violent scene in the movie. All the action in the movie centers around the music and the brilliantly choreographed dancing. All the drama centers around the characters coming to terms with grief and lose. It’s better than many of the movies you find in theaters right now. Try to find ‘Bravetown’ between all the blockbusters that start hitting theaters in May. Trust me, it’s worth the view and if you can’t find it in theaters, order it online. I’m going this one 4 out of 5 stars. It clocks in at 112 minutes, but it’s worth it.
‘Bravetown’ stars Lucas Till as Josh Harvest. A rising star and one of the best club DJ’s in the New York music scene. Night after night his music draws friends, crowds, promoters, and record producers looking to sign him. By day he sleeps and watches ‘Platoon’ when he’s not skipping school. Just as suddenly as the music starts spinning it all comes crashing down though when Josh overdoses one night and is raced to the hospital. After a confrontation with his mother (Maria Bello) and faced with the alternative choice of arrest and imprisonment,
Josh agrees to be sentenced to court ordered rehab and is sent from the mad streets of New York City to a small town in North Dakota to live with his father.
After the culture shock of going from the ‘city that never sleeps’ to a small town only known for their kids joining the military upon graduation right out of high school and going off to war (many of whom never return) subsides, Josh succumbs to his situation and settles in to his court appointed rehab with Alex (Josh Duhamel) a veteran who’se obsessed with soccer and has a dark past of his own. Sooner or later, everyone’s past catches up to them though .One night after his arrival, Josh’s reputation from New York catches up to him while attending a school dance. Dissatisfied with the music being played, Josh spins one set while the school’s dance team is performing on stage and then abruptly leaves. Unbeknownst to him, a member of the dance team recognized his music, recorded his set which they then used to win a competition.
After reluctantly agreeing to help them, the school’s last place dance team proceeds to win competition after competition and Josh and the dance team’s captain Mary (Kherington Payne). It soon becomes all to clear to Josh though that Mary’s grief is connected to his therapist’s past and that only by confronting it will Mary and Alex be able to come to terms and heal.
There a very few movies that did what this movie his done which is to touch on a subject that very few want to talk about or even acknowledge today in America. The knowledge that most of the people in this country who are sent off to war are young people from small towns or people from low income communities who either have no money to attend college after high school or have no other options for the future except to n the military. Now please don’t misunderstand me. I have nothing but the utmost respect for the men and women who serve and defend our nation and I come from a military family. However, for young people though in the present day …. many really have no other future to look forward too because of the high cost of university or college education. As part of the backstory, this film shines a light on that subject and does so in a respectful way. They way the ‘life in the big city’ merges to that in ‘small town america’ in the movie was done so in such a way that it seems like the two are right next door. As you are watching the film for the first time, the ‘culture shock’ is not so much a ‘shock’ itself but more like a record slowly spinning after the music is over.
Personally, I’m not a fan of any of the dancing shows and movies that have apparently captured the attention of everyone else over the last few years whether it’s ‘Dancing With The Stars’, ‘So You Think You Can Dance?’, ‘Step Up’, ‘Bring It On’, etc. But I freely admit that the dancing in this film was pretty GORRAM awesome and it impressed the heck out of me. The collection of actors and actresses assembled for this film was equally as awesome. Lucas Till (The X-Men Movies), Laura Dern (Jurassic Park), Josh Duhamel (Transformers), and Kherington Payne (True Blood, CSI, Glee) all brought their own serious brand of acting to this film and they don’t disappoint. There no war flashbacks, no car chases, and only one violent scene in the movie. All the action in the movie centers around the music and the brilliantly choreographed dancing. All the drama centers around the characters coming to terms with grief and lose. It’s better than many of the movies you find in theaters right now. Try to find ‘Bravetown’ between all the blockbusters that start hitting theaters in May. Trust me, it’s worth the view and if you can’t find it in theaters, order it online. I’m going this one 4 out of 5 stars. It clocks in at 112 minutes, but it’s worth it.
Gareth von Kallenbach (971 KP) rated 21 Jump Street (2012) in Movies
Aug 7, 2019
Back in 1987, the fledgling Fox Network debuted, offering entertainment on Saturday and Sunday evenings aimed at a younger audience. One of the network’s first breakout shows was a police drama with young cops and plenty of action, a show named 21 Jump Street. The show featured a cast of largely unknowns who quickly bolted to overnight notoriety, most notably its star Johnny Depp who, much to his chagrin, became a pinup boy and sex symbol for the show.
The show mixed humor, action, and romance. It followed a team of young officers who were part of a special undercover unit that infiltrated high schools and colleges where they posed as students to solve various campus crimes. Johnny Depp left the show after the fourth season, wanting to be taken seriously as a legitimate actor. The show soon ended one year later. Despite having run only five seasons and having a short-lived spinoff series for star Richard Grieco, “21 Jump Street” remained a pop-culture hit 25 years later.
As such, I had a lot of skepticism when I first heard that Jonah Hill and Channing Tatum would be bringing an updated, raunchier version to the big screen that was heavy on laughs and would definitely aim for an R-rated. This theatrical version stars Hill as Officer Schmidt and Tatum as Officer Jenko, two young officers who met while in high school and, despite being on opposite ends of the social spectrum, bonded and became close friends during their time at the police academy years after graduation. When the duo find their lives as bike cops not as exciting as they had hoped and after they bungle their first chance at a significant arrest, the duo find themselves reassigned to the revived Jump Street project.
Schmidt, in spite of his misgivings, decides to face his fear of the horror that was high school decides to give it another chance. Jenko is soon horrified to see that the social structure that he dominated back in his day has clearly turned upside down. Jocks are no longer the big men on campus, replaced by sensitive New Age types. Nerds that he preyed upon are now the cool kids in school.
After the death of a student who took a new designer drug he bought at school, Schmidt and Jenko are assigned to find the dealers, infiltrate the gang and get to the bottom of the drug distribution ring and stop it at all costs. This proves to be easier said than done, especially for Schmidt. He begins to really relish his new found popularity in school and he starts to live the high school experience that he only dreamed about back in his day. Further complicating matters is Molly (Brie Larson), an attractive high school senior who quickly catches Schmidt’s attention and becomes a focal point of his day-to-day activities.
Jenko, on the other hand, finds himself struggling as the former high school kingpin now finds himself a social outcast, spending much of his time with the chemistry nerds trying to find a way to work the social structure to get to the bottom of the school’s drug trade.
Now what would be a simple assignment for two seasoned cops becomes completely unhinged for the to raw recruits who become more obsessed with social status than their mission and take extreme measures to ingratiate themselves with their new classmates. This all comes at a cost as their bond becomes strained due to Schmidt’s rapidly ascending social status and their continued inability to crack the case.
Now this is a premise that has been done countless times in numerous cop films. “21 Jump Street” has a bold and fresh formula that deftly mixes elements of the gross-out teen comedy with an action-adventure film. While the film drags a bit in the middle, there are some incredibly funny jokes throughout the film. The action in the film is solid and fits well with the story rather than trying to spice things up with random explosions.
I loved how the film, based on a story co-written by Jonah Hill, and produced by both Hill and Tatum, took a fresh approach to the subject matter but also respectfully made fun of the source material, banking on nostalgia while updating it for a younger audience.
I can easily say this was probably Jonah Hill’s best comedy to date as they were numerous laugh out loud moments in the film and he and Tatum make a fantastic duo, playing extremely well off one another. There are also several cameos in the film and strong supporting work from Ice Cube, who plays the extremely agitated captain of the inept cops placed under his command. The film sets up very well for a sequel and I understand that there’s already preparation underway should this one do well at the box office.
“21 Jump Street” is easily the funniest movie I’ve seen this year. I have not laughed this much, for all the right reasons, in quite a long time. Hip and fresh again, there’s plenty of bounce left in “21 Jump Street.”
The show mixed humor, action, and romance. It followed a team of young officers who were part of a special undercover unit that infiltrated high schools and colleges where they posed as students to solve various campus crimes. Johnny Depp left the show after the fourth season, wanting to be taken seriously as a legitimate actor. The show soon ended one year later. Despite having run only five seasons and having a short-lived spinoff series for star Richard Grieco, “21 Jump Street” remained a pop-culture hit 25 years later.
As such, I had a lot of skepticism when I first heard that Jonah Hill and Channing Tatum would be bringing an updated, raunchier version to the big screen that was heavy on laughs and would definitely aim for an R-rated. This theatrical version stars Hill as Officer Schmidt and Tatum as Officer Jenko, two young officers who met while in high school and, despite being on opposite ends of the social spectrum, bonded and became close friends during their time at the police academy years after graduation. When the duo find their lives as bike cops not as exciting as they had hoped and after they bungle their first chance at a significant arrest, the duo find themselves reassigned to the revived Jump Street project.
Schmidt, in spite of his misgivings, decides to face his fear of the horror that was high school decides to give it another chance. Jenko is soon horrified to see that the social structure that he dominated back in his day has clearly turned upside down. Jocks are no longer the big men on campus, replaced by sensitive New Age types. Nerds that he preyed upon are now the cool kids in school.
After the death of a student who took a new designer drug he bought at school, Schmidt and Jenko are assigned to find the dealers, infiltrate the gang and get to the bottom of the drug distribution ring and stop it at all costs. This proves to be easier said than done, especially for Schmidt. He begins to really relish his new found popularity in school and he starts to live the high school experience that he only dreamed about back in his day. Further complicating matters is Molly (Brie Larson), an attractive high school senior who quickly catches Schmidt’s attention and becomes a focal point of his day-to-day activities.
Jenko, on the other hand, finds himself struggling as the former high school kingpin now finds himself a social outcast, spending much of his time with the chemistry nerds trying to find a way to work the social structure to get to the bottom of the school’s drug trade.
Now what would be a simple assignment for two seasoned cops becomes completely unhinged for the to raw recruits who become more obsessed with social status than their mission and take extreme measures to ingratiate themselves with their new classmates. This all comes at a cost as their bond becomes strained due to Schmidt’s rapidly ascending social status and their continued inability to crack the case.
Now this is a premise that has been done countless times in numerous cop films. “21 Jump Street” has a bold and fresh formula that deftly mixes elements of the gross-out teen comedy with an action-adventure film. While the film drags a bit in the middle, there are some incredibly funny jokes throughout the film. The action in the film is solid and fits well with the story rather than trying to spice things up with random explosions.
I loved how the film, based on a story co-written by Jonah Hill, and produced by both Hill and Tatum, took a fresh approach to the subject matter but also respectfully made fun of the source material, banking on nostalgia while updating it for a younger audience.
I can easily say this was probably Jonah Hill’s best comedy to date as they were numerous laugh out loud moments in the film and he and Tatum make a fantastic duo, playing extremely well off one another. There are also several cameos in the film and strong supporting work from Ice Cube, who plays the extremely agitated captain of the inept cops placed under his command. The film sets up very well for a sequel and I understand that there’s already preparation underway should this one do well at the box office.
“21 Jump Street” is easily the funniest movie I’ve seen this year. I have not laughed this much, for all the right reasons, in quite a long time. Hip and fresh again, there’s plenty of bounce left in “21 Jump Street.”
Kirk Bage (1775 KP) rated Parasite (2019) in Movies
Jan 22, 2021 (Updated Jan 22, 2021)
Hello there! It’s been six weeks since my last post – Covid 19 related restriction issues sent me to a very odd place mentally and it has taken me a while to snap out of it enough to have the energy and will to keep writing these reviews. But what better way to recomense than with the history making Best Picture film from earlier in this strange year of 2020, before all the things that changed our way of thinking began?
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.
The hype surrounding this movie in January was immense, for a film coming from Korea out of the blue, with an image and plot that didn’t fit into any of the normal marketing boxes. Every review ranged from this is incredible to… just see it for yourself. Nothing could have been more intriguing. I was certainly hooked on the idea, although by the time the Oscars came around I still hadn’t managed to see it at the cinema.
I found it fascinating that the academy had chosen 2020 as the year to change the dodgy sounding “Best Foreign Language film” to “Best International film”. It was about time, really, to acknowledge the us and them philosophy of world cinema didn’t really wash. And as the sublime Roma had paved the way for non English films to be considered again in all the main categories as serious contenders, I just had a feeling this was the year Oscar would make a statement with this film.
And so it turned out to be. It was a strong year. At the time I was a huge Joker advocate, having not yet seen 1917 either. Looking back now, I think, although not as perfect as Roma the year before, Parasite certainly deserves the praise and accolades it garnered from all around the world. Although any of those 3 films (Parasite, 1917 and Joker) would have been obvious winners in any other less competitive year.
So what is it about Parasite that raises it above the masses? Well, for a start it looks both beautiful and awe inspiring in every shot. Each image is designed and framed expertly to create a montage of mood and form that holds the multi-layered storytelling in place. Rarely have I seen such a well balanced and crisp visual design for a film, of any kind. Even with the subtitles off there is plenty to engage the eye and mind here. But it’s real secret is how it draws you in to believing you are watching one kind of satirical drama for about 40 minutes and then punches you in the solar plexus with the revelation that it has mutated into something darker, weirder and more entertaining on every level.
The “twist” when it comes along is so well placed and unexpected, even if you are told to expect one, that it entirely transforms your experience. You have been engaging with social issues and a basic satire on the rich vs the poor, where true power is a good wifi signal, and then, blam, you are watching a modern horror story with truly disturbing ramifications. I found this gear shift riveting and striking in a way that I can’t remember from a film in a long time.
But, looking back on it after several months, is that tonal shift really a strength? Some criticism, however minor in the scheme of things, did point this out, that what we get with Parasite is an unfocused and confused mix of genres that doesn’t entirely cohere. I mean, I see that, but have to disagree, simply because the writing at every point is too intelligent and sharp to give a damn about staying still and balanced on just one idea. Parasite is an exercise in energetic chaos that juggles many balls, all as interesting as one another, without dropping any of them.
Poverty, class, elitism, generational gaps, vanity, work ethics and morality, roles within a family unit, loyalty, weakness, revenge and bitterness are all themes here, and many more. Start going down the alley of one conversation that Parasite starts and end up somewhere entirely different in just a few sentences. And that is why it is worth seeing, several times. And that is why it works and was rewarded.
Is it a film I will be keen to see over again as the years pass? Yes and no. I’d probably be most interested to see it with someone who hasn’t seen it, to see their reaction. But I’m much less likely to give it multiple watches than the previous mentioned Joker and 1917, or indeed Roma, which I just can’t help comparing it to, even though they have virtually nothing in common, as I wish it had been Roma that made history at the awards rather than this. Of course, it is personal taste at that level of quality, but I believe Roma to be the better film.
If nothing else, however, Parasite marks the graduation of Bong Joon Ho, from a quirky filmmaker, whose interesting but not quite great near misses include The Host, Snowpiercer and Okja – all entertaining but flawed – to an auteur of considerable skill. Will the elements of his mind and vision ever align this well again. I hope so. I’ll be looking out for it, as will the rest of the world now.