Stream Thirst Movie Online
Jeudi, septembre 23rd, 2010 |
Stream Thirst Movie Online.
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Winner of the Substantial Jury Prize in the 2009 Cannes Film Festival and recipient of significant and box-office acclaim in Asia, I jumped at the chance to peep Park Chan Wook’s (Oldboy, Sympathy for Lady Vengeance) “THIRST”. The film is a horror-satirical drama that explores the shaded bestial side of humanity that is quite bizarre, even creepy on occasion, but never for one little does the film relent in exploring the psyche that comes from alienation and loneliness, while becoming a slave of fancy and lust.
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Sang Hyun (Song Kang-Ho, The Host, Memories of Kill) is a Catholic priest who volunteers in a local hospital. He provides last rites when primary as well emotional attend to its patients. Father Hyun is well-respected but he secretly suffers from emotions that can be defined as doubt, as he witnesses the dim world around him. Yet, he cherishes life, so he volunteers to engage fragment in an experiment to eradicate the lethal EV virus, which is a threat to every Caucasian and Asian male. Father Hyun becomes stricken with the deadly virus and a blood transfusion is ordered up for him to do his life; in turn he becomes the first survivor of the deadly virus and some folks initiate to regard him as a saint. But soon after his original lease on life, Hyun finds out that the blood he had received is infected and he is now living as a vampire that only the consumption of human blood can stave off the virus.
Father Hyun struggles with his original found carnal desire for blood, and now also, his faith is place to the test when a childhood friend’s wife, Tae-Ju (sexy Kim Ok-Vin) comes to him to hurry the life she knew all her life. Sang-Hyun is now overwhelmed with his desires of the flesh, as he plunges deep within the world of carnal and sensual desires that brings him in intimate terms with the Seven Deadly Sins…
Buy,Download, Or Stream Thirst! Click Here
Park Chan-Wook is one clever director in creating a unusual choose on the vampire lore that blends the elements of the Seven Deadly Sins; Gluttony, Sloth, Lust, Greed, Pride, Wrath and Envy. The vampirism as seen by Park’s rendition does have similarities to the established myths about vampires; vulnerability to sunlight, superhuman strength and hurry, with a strong need for human blood–curiously this vampire does not grow fangs. The need for human blood is important to stave off the virus that somewhat touches on the sin of Gluttony. Lust and Envy is represented through Father Hyun’s desire for Kang-Woo’s (Shin Ha-Kyun) wife. Pride is represented when Hyun allows himself to be seen as a “Saint” at first. Sloth when he gains lesions and when he has to live in a dirty basement. Greed for life as he becomes unnerved of dying and hungry for companionship. Wrath as Hyun is led to cancel and he is brought face to face with the consequences of his actions. Vampirism becomes seen as the ultimate root of nasty in the eyes of Father Hyun, but in some ironic manner, it all frees him of his inhibitions.
Song Kang-Ho is one VERY versatile actor. The man has played different roles throughout his career and he is clearly the true man for the role of Father Hyun. Hyun becomes a compelling character as we peek him torn between the need to survive while avoiding the need to end. “God feeds even the birds in the sky”, so Hyun resorts to slowly drinking the blood for comatose patients in the hospital (but never killing them) and people who wish to commit suicide. He also tries to overcome his lustful thoughts by hitting his thighs to overcome an erection. Curiously, Hyun becomes more aware of himself when he became a vampire; he realizes exactly who he is as he finds himself leaving the Order. Tae-Ju is one imbalanced woman who is manipulative of any space. She seduces the fine priest and manipulates him into believing that she is an abused wife; she is a woman torn between her reliance on her husband and the need to be free (as symbolized by her constant running at night) . The sex scenes between Kang-Ho and Ok-Vin are quite erotically creepy at times, and very graphic; comparable to some Japanese pink films.
The film’s takes up a darkly satirical tone that becomes weirder and darker as the film progresses, yet, it also becomes funnier, more bizarre and grittier. There is one very bizarre scene when Hyun and Tae-ju is having sex, with a vision of Tae-ju’s dull husband sandwiched between them to bring the guilt of the murderous deed into exposition. While the first half of the film brings the weaknesses of the flesh with Hyun’s character, the second half progresses in bringing its consequences. Hyun is overly obsessed with sexy Tae-ju as he would do whatever it takes to be with her, even though he is aware that she is somewhat imbalanced, she is all he has and he turns her; powerful to his regret later. While Hyun would avoid killing a human for his need, Tae-ju becomes drunk with power, as she doesn’t mind killing at all. It is a testament to Park’s skills as director as the station revolves around his characters; that somewhat touches upon definite definitions of being a monster as well as how you wield clear abilities, with the definition of being human coming bulky circle in the screenplay. I loved the procedure Father Hyun began to atone for his sins one by one. He also gets rid of his “Saintly” image by letting himself be caught with a woman that led to him becoming scorned.
It is hard for me to score flaws in the script, the metaphors and symbols are executed masterfully; even the supporting characters are well-known vehicles in fleshing out the main protagonists. I scream if one wanted to nit-pick, one may say that the paralysis of Tae-ju’s mother-in-law (played by Kim Hae-Sook) felt a slight forced to generate some humor. Also, it can be argued that Tae-ju’s character isn’t as well written as Father Hyun’s. Smooth, these flaws are very minor as Park Chan-Wook successfully brings us to a world chubby of darkness and very GRIM humor with an atmosphere that resembles a account and marvelous cinematography to match. “Thirst” isn’t a comedy, but it is comical in a contrivance that is both creepy and dusky at the same time. The film also has a apt portion of blood and some gore, and yes, quite a excellent number of nudity and sex. (It is also the first mainstream Korean film that features male pudgy frontal nudity)
“Thirst” is ultimately a success. Park Chan Wook was able to near up with a stunning film that is fat of elegy, while exploring the flaws of the human mind, that treats vampirism as a cause for the realization of one’s carnal desires in incorporating a Catholic overtone. I really loved the manner in which Park executed this new vampire film that BOLDLY dares to be different. It is not a fright film per se, but its alarm elements arrive from the Fears of making the contaminated decisions.
Definitely lyrical, darkly satirical, often Ironic and so erotically sexy, yet, so engagingly shapely with compelling characters, Park Chan Wook’s “Thirst” is destined to effect a grand cult following.
Highly Recommended! [5 Stars]
See this before Hollywood massacres it with a remake.
Winner of the Broad Jury Prize in the 2009 Cannes Film Festival and recipient of important and box-office acclaim in Asia, I jumped at the chance to gaze Park Chan Wook’s (Oldboy, Sympathy for Lady Vengeance) “THIRST”. The film is a horror-satirical drama that explores the murky bestial side of humanity that is quite bizarre, even creepy on occasion, but never for one dinky does the film relent in exploring the psyche that comes from alienation and loneliness, while becoming a slave of admire and lust.
Sang Hyun (Song Kang-Ho, The Host, Memories of Assassinate) is a Catholic priest who volunteers in a local hospital. He provides last rites when primary as well emotional help to its patients. Father Hyun is well-respected but he secretly suffers from emotions that can be defined as doubt, as he witnesses the dismal world around him. Yet, he cherishes life, so he volunteers to consume allotment in an experiment to eradicate the lethal EV virus, which is a threat to every Caucasian and Asian male. Father Hyun becomes stricken with the deadly virus and a blood transfusion is ordered up for him to do his life; in turn he becomes the first survivor of the deadly virus and some folks open to regard him as a saint. But soon after his original lease on life, Hyun finds out that the blood he had received is infected and he is now living as a vampire that only the consumption of human blood can stave off the virus.
Father Hyun struggles with his modern found carnal desire for blood, and now also, his faith is do to the test when a childhood friend’s wife, Tae-Ju (sexy Kim Ok-Vin) comes to him to run the life she knew all her life. Sang-Hyun is now overwhelmed with his desires of the flesh, as he plunges deep within the world of carnal and sensual desires that brings him in intimate terms with the Seven Deadly Sins…
Park Chan-Wook is one clever director in creating a recent purchase on the vampire lore that blends the elements of the Seven Deadly Sins; Gluttony, Sloth, Lust, Greed, Pride, Wrath and Envy. The vampirism as seen by Park’s rendition does have similarities to the established myths about vampires; vulnerability to sunlight, superhuman strength and hasten, with a strong need for human blood–curiously this vampire does not grow fangs. The need for human blood is well-known to stave off the virus that somewhat touches on the sin of Gluttony. Lust and Envy is represented through Father Hyun’s desire for Kang-Woo’s (Shin Ha-Kyun) wife. Pride is represented when Hyun allows himself to be seen as a “Saint” at first. Sloth when he gains lesions and when he has to live in a dirty basement. Greed for life as he becomes terrorized of dying and hungry for companionship. Wrath as Hyun is led to assassinate and he is brought face to face with the consequences of his actions. Vampirism becomes seen as the ultimate root of unfriendly in the eyes of Father Hyun, but in some ironic manner, it all frees him of his inhibitions.
Song Kang-Ho is one VERY versatile actor. The man has played different roles throughout his career and he is clearly the true man for the role of Father Hyun. Hyun becomes a compelling character as we study him torn between the need to survive while avoiding the need to destroy. “God feeds even the birds in the sky”, so Hyun resorts to slowly drinking the blood for comatose patients in the hospital (but never killing them) and people who wish to commit suicide. He also tries to overcome his lustful thoughts by hitting his thighs to overcome an erection. Curiously, Hyun becomes more aware of himself when he became a vampire; he realizes exactly who he is as he finds himself leaving the Order. Tae-Ju is one imbalanced woman who is manipulative of any spot. She seduces the righteous priest and manipulates him into believing that she is an abused wife; she is a woman torn between her reliance on her husband and the need to be free (as symbolized by her constant running at night) . The sex scenes between Kang-Ho and Ok-Vin are quite erotically creepy at times, and very graphic; comparable to some Japanese pink films.
The film’s takes up a darkly satirical tone that becomes weirder and darker as the film progresses, yet, it also becomes funnier, more bizarre and grittier. There is one very bizarre scene when Hyun and Tae-ju is having sex, with a vision of Tae-ju’s dreary husband sandwiched between them to bring the guilt of the murderous deed into exposition. While the first half of the film brings the weaknesses of the flesh with Hyun’s character, the second half progresses in bringing its consequences. Hyun is overly obsessed with sexy Tae-ju as he would do whatever it takes to be with her, even though he is aware that she is somewhat imbalanced, she is all he has and he turns her; considerable to his regret later. While Hyun would avoid killing a human for his need, Tae-ju becomes drunk with power, as she doesn’t mind killing at all. It is a testament to Park’s skills as director as the place revolves around his characters; that somewhat touches upon sure definitions of being a monster as well as how you wield sure abilities, with the definition of being human coming beefy circle in the screenplay. I loved the map Father Hyun began to atone for his sins one by one. He also gets rid of his “Saintly” image by letting himself be caught with a woman that led to him becoming scorned.
It is hard for me to collect flaws in the script, the metaphors and symbols are executed masterfully; even the supporting characters are famous vehicles in fleshing out the main protagonists. I dispute if one wanted to nit-pick, one may say that the paralysis of Tae-ju’s mother-in-law (played by Kim Hae-Sook) felt a limited forced to generate some humor. Also, it can be argued that Tae-ju’s character isn’t as well written as Father Hyun’s. Smooth, these flaws are very minor as Park Chan-Wook successfully brings us to a world rotund of darkness and very GRIM humor with an atmosphere that resembles a sage and suitable cinematography to match. “Thirst” isn’t a comedy, but it is humorous in a diagram that is both creepy and unlit at the same time. The film also has a apt allotment of blood and some gore, and yes, quite a safe number of nudity and sex. (It is also the first mainstream Korean film that features male plump frontal nudity)
“Thirst” is ultimately a success. Park Chan Wook was able to arrive up with a glorious film that is stout of elegy, while exploring the flaws of the human mind, that treats vampirism as a cause for the realization of one’s carnal desires in incorporating a Catholic overtone. I really loved the manner in which Park executed this new vampire film that BOLDLY dares to be different. It is not a alarm film per se, but its terror elements reach from the Fears of making the unfriendly decisions.
Definitely lyrical, darkly satirical, often Ironic and so erotically sexy, yet, so engagingly glowing with compelling characters, Park Chan Wook’s “Thirst” is destined to achieve a colossal cult following.
Highly Recommended! [5- Stars]
See this before Hollywood massacres it with a remake.
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