from "iQ-filmovi" at blogspot

Rating: 5/10 (14 January 2020)

Among movies that will be in the running for the Oscars 2020, the most interesting is the achievement of Korean director Bong Joon-Hu, not because of some special quality and originality, but because of the marked overestimation given to him by both lay audiences and from modern critics.
Please note that the writer of these lines is not one of the experts of Korean films, nor was he ever interested in being one. On the other hand, Bong Joon-Hu became an international creator with his excellent Snowpiercer from 2013, so the criteria should be in line with that fact.
The film is at first indisputably interesting to watch, drinkable, extraordinarily driven. It is placed between comedy, drama and thriller, intelligently refusing to classify itself, as well as engaging in a deeper understanding of social problems, avoiding to take sides with either of the two families portrayed in the film from the two ends of the social ladder, so that it cleverly made the culmination as interesting as possible.
He will undoubtedly be awarded with some Oscars, except for acting, because there is no reason for that. But there is also no reason to emphasize the over-originality of the story itself, ie. screenplay, because the critics seem to have forgotten the masterpiece of the 1964 French director and screenwriter Rene Clement's "Joy House" (aka "The Cage of Love") with Alain Delon and Jane Fonda. The main thrust of Joon-Hu's film is taken from the title, with the motives and plot of the love affair being transferred to the social sphere, which of course is so modern today, but in that case it is somewhat hypocritical not to give a simultaneous and deeper analysis, for the sake of mere viewability and commercial reasons.
Also, in addition to the many other banalities used in the plot, communicating with the Morse Code as presented in the film could also include it in science fiction genre.
Since Hollywood has not been bothered by originality before (just remember the "contribution" in directing of the 2015 award-winning plagiarism "The Revenant"), there is no reason not to repeat the situation again this year.