MPAA Rating: R/Genre: Psychological Thriller/Stars: Mia Wasikowska, Matthew Goode, Nicole Kidman, Dermot Mulroney, Jacki Weaver, Lucas Till, Alden Ehrenreich, Phyllis Somerville, Ralph Brown, Judith Godrèche, Harmony Korine/Runtime: 99 minutes

If there is one thing that those who know me best still find to be an absolute joy when it comes to the writing that I have the immense pleasure of engaging in for you, the reader it is when a slice of cinema comes out and I tragically miss it only for the movie in question to act like the film equivalent to a boomerang, come back around, and promptly hit me square in the back of the head. As for me, I can say that whilst I too enjoy the majority of the aforementioned scenario the only part that I really don’t have much fondness for (big surprise coming your way here) is the relentless taking of Tylenol in order to cure the seemingly reoccurring migraine I get as a result from these movies turning my head into a moving target that they feel compelled to hit over and over again. All jokes aside though dear reader, I think it can be quite safely argued that the slice of cinema I am reviewing for you today, 2013’s Stoker, is a film that definitely is the latest member of that distinct group that I mentioned at the beginning of this section. This is because whilst at the time this first came out I was tragically occupied with other creative endeavors with an action-packed take on Jack and the Beanstalk to name but one example. Thus, as a result of scheduling conflicts (to say nothing of seriously lacking a Time-Turner from Harry Potter) I tragically found myself having to give this one the ol’ push to the side until here recently when it decided to surprise me by making its presence known on Hulu. In hindsight, and having seen the finished product, I can now safely say that I owe this slice of cinema an apology for missing out on it the first go-around. To be sure, this slice of cinema is one that I can most assuredly say is not going to be everyone’s distinct brew of cinematic coffee and besides that it is also by no means is a film that is perfect in every way possible. Even with that in mind though, there is still quite a bit to really enjoy and appreciate here. I say this dear reader because with the aid of compelling work behind the camera as well as downright riveting work in front of the camera by a more than capable cast of players even if some are better utilized here more than others, there is no denying that 2013’s Stoker manages to be quite the potent cinematic blend that might be an equal mix of ominous and unnerving, but which also still manages to be malevolently engaging all the same.

The plot is as follows: Stoker gets its intriguing story underway by introducing us to our heroine by the name of India. A young woman who, among other things that I feel might be worth keeping in mind about her, is not only very shy and keeps to herself, but who also has been blessed (or is it cursed?) with having her five and 3/4 senses intensely magnified more so than the “typical human being” (thereby also making this an unofficial entry in the X-Men franchise….joking, joking). Oh, and one other thing dear reader: that being that she has a wonderful relationship with her devoted dear ol’ dad Richard who she goes on hunting trips with fairly often. Tragically, as is far too often with this particular genre of movie magic, we see that Lady Fate is fixing to throw this relationship, to say nothing of our main heroine’s life in general, a serious curveball straight to the gut. A curveball that takes the shape and form of Richard, on India’s 18th birthday no less, tragically losing his life in a horrific yet quite mysterious in nature car crash. An event that not only sees India placed in the care of her more than slightly dotty and vain in equal measure mother Evelyn, but also have them come into contact with a rather…distinct individual. That being Richard’s younger, fairly charming in his own way, and more than slightly enigmatic brother Charlie. A man who not only has spent the vast majority of his life traversing the planet, but who also up until his sudden appearance at her beloved father’s funeral was not exactly known to have been among the people who either exist and/or existed on this planet by our heroine. Of course, it should come as no surprise to learn that, in the aftermath of Richard being laid to rest, Charlie announces he will be staying for an indefinite period of time to do his best to support both our heroine and her mother during this dire and uncertain time in their lives. A decision that is an absolute delight to one, but nothing more or less than an irritating hinderance to the other (five guesses and the first 4 and a half don’t count as to which of the two ladies feels which way). However, it isn’t long after Charlie’s decision to stay that we, alongside India, start to see a string of rather…unnerving for lack of a better word events begin to occur. Events that will not only cause India to embark on an investigation into Charlie’s background to say nothing of how it ties back to both her father as well as herself, but also see her bit by bit come out of her own shell as well. As for what our heroine is able to discover to say nothing of the ripple effect that it has on both her to say nothing of the world around her that is something which I think I shall leave for yourself dear reader…..

Now right off, it is worth noting that the work done behind the camera on this slice of cinema is fairly well-done. This starts with the work done by Park Chan Wook in the director’s chair and it is a twisted treat to behold though given that this IS the phenomenal talent behind the original Oldboy from 2003 and Lady Vengeance from 2005 I can’t lie and say that I am all that surprised. Indeed, Park helms this slice of cinema with such a skilled degree of harmonious assertiveness that, despite the movie goer being completely aware that this iconic helmer is deliberately and calculatedly leading them astray, he is still able to ensure this hypnotic slice of cinema is able to unnerve and keep our heart anxiously beating. In that regard, the work done by Park feels less like what you might expect from the director of a motion picture and more like what you might encounter if you are being given a shot at the doctor’s office from that one nurse who shows off a delightfully pitch-black macabre sense of humor by telling you the needle is at least 7-8 feet long. Along with the wonderful work at the helm by Park, we see that the truly gorgeous work he does in terms of the visuals for this particular cinematic outing are such a blend of exaggerated yet painstaking you could definitely be forgiven for thinking that at best Park is doing no more or less than just boasting and at worst is overloading the narrative with an extreme degree of beauty, but nowhere near as much in terms of substance. Fortunately, we see that is not the case as this slice of cinema’s bold blend of passion and viscerality is still able to cast a genuinely disturbing spell upon movie goers to such an extent that the viscerality present here, when we are treated to it on-screen, is able to be sharp and distinct yet still make you wince all the same. Yet the wonderful work done behind the camera is thankfully by no means limited to the contributions to this film by Park. I mean from a cunning vibrantly musical accompaniment provided by noted musician Clint Mansell to jaw-droppingly beautiful cinematography from frequent Park collaborator Chung Chung-hoon there is no denying that by and large Park is able to get the best work possible out of his team behind the camera on this. Indeed, if there is any issue to be found with the work done behind the camera on this particular slice of cinema it would have to be with respect to the script penned by none other than Wentworth Miller (Captain Cold on The Flash and Legends of Tomorrow DC TV shows). Don’t get me wrong dear reader this script isn’t terrible by any means nor is it insulting in any way to its purported inspiration (Alfred Hitchcock’s Shadow of a Doubt from 1943). It’s just that it seems to be a script that is suffering from a bit of an unbalancing act due to being terrific in terms of conjuring up this film’s neo-Gothic style atmosphere and a fairly intriguing cast of characters, but then falling a little bit flat in the dialogue department. Even with that misstep in place however, there is no denying that by and large the work done behind the camera on this slice of cinema is work that will not only bewitch the eyes, but captivate the senses in the finest way possible.

Of course, the other big ingredient that helps this distinct cinematic concoction work on the level that it is ultimately able to would have to come in the form of the work done by the undeniably talented cast of players in front of the camera as well. This starts with Mia Wasikowska in the lead role of India and she is really good here. To be sure, there are elements of this character that will remind you of Wednesday Addams, but even so there is no denying that Wasikowska definitely makes the part her own and manages to bring an intriguing yet fantastic blend of indifference, resentment, intellect, and quiet solemnity to the proceedings.  Far and away though the best performance in the film has to come from Matthew Goode in the role of Uncle Charlie Stroker. I mean not only does this guy look like he could be a doppelgänger for Anthony Perkins (paging Hollywood in case they still haven’t cast for THAT biopic yet), but he manages to instill the character a degree of boyish charm that he is very much aware of how to utilize to the fullest. Yet even while rocking a sly smile complimented perfectly by a pair of aviator shades, a piercing stare, and a astonishingly tactfully deployed toughness we are still able to see that there is something just plain off about this guy that makes us, much in the same way as our heroine, not entirely sure if we should be enamored with the guy or running for the hills as fast as we possibly can. Suffice it to say it is a riveting performance from one of the more vastly underrated talents working today. Now in terms of the character of India’s more than slightly vain mom Evelyn, it definitely feels like this part is one that, in terms of how she must have been written, is one that is more than just a bit on the one-dimensional side. Fortunately, this slice of cinema brought Nicole Kidman onboard to portray her and, in that way that an actress of Kidman’s vast degrees of skill and talent does so remarkably well with virtually every part that she plays, she really does an incredible job at bringing this part roaring to life. Indeed not only does Kidman bring that aforementioned vanity that is very much a key component to the character, but she also brings a volatile mix of resentment, neglect, and disinterest to the table in such a vivid way that you soon realize that between her and the other two there really isn’t what you might consider a typically “normal” person in this household. Finally, I would definitely be amiss if I didn’t take into account the wonderful work done here by the always enjoyable Dermot Mulroney in the vital role of Richard Stoker. No he might not have that much dialogue and his screentime is limited to flashbacks that equate to about 30-35 minutes of screentime tops. Even with that in mind though, trust me when I say that Mulroney definitely does do a good job at playing this deceptively complex character and making his presence felt even when he’s not on screen. Suffice it to say that when you also factor in brief yet well-done efforts from such screen talents as the always engaging Jacki Weaver, Ralph Brown, Alden Ehrenreich, and Lucas Till (21st century MacGyver and Havoc in several of Fox’s X-Men movies) among others it’s clear that the script for this slice of cinema might have some issues, but the work done by this cast definitely does quite aways toward making up for them.

All in all and at the end of the day, is Stoker “2013” a perfect slice of cinema in general to say nothing of the particular genre of movie magic that it is a part of? Sadly, as much as I often have wished would be the case with many of the films I have had the immense pleasure of reviewing, I must say that is definitely not the case here. With that in mind however, does that make this the worst effort since Nicole Kidman was in 2007’s The Invasion, Mia Wasikowska did 2016’s Alice Through the Looking Glass, or (worst of all) Matthew Goode did Downton Abbey? Sarcasm about the last entry aside dear reader, I can thankfully say that is definitely not the case for any of that trio of distinct talents. To be sure, the script isn’t exactly the most airtight and cohesive in the world. Along with that, it should be said that the final minutes in this slice of cinema will most assuredly leave you wondering what exactly is going on or if there is any deeper nuances present. With that in mind though, there is no denying that the work done at the helm of this slice of cinema by Park Chan-wook is a wonderful blend of beautifully and skillfully done, the rest of the work done behind the camera is certainly more than capable, and the work done by the well-chosen cast of performers all do really solid work with their respective roles no matter how big or small their role in the grand scheme of things may be. Suffice it to say then that if you aren’t the kind of person who is one to take a rather perverse delight in seeing a fairly, to put it politely, twisted family unit engaging in some truly twisted things against others as well as themselves then I think you might be better off watching something a bit more on the benevolent side. However, for those of you who like your cinematic fare to be in the valleys of twisted and/or more than slightly perverse then I can definitely promise you that this slice of cinema will be one that will sink its malevolent hooks into you from the word go and then stay with you long after the screen cuts to black and the credits begin to roll. Make of that what thou will dear reader. On a scale of 1-5 I give Stoker “2013” a solid 3.5 out of 5.

*Now normally this would be where the trailer is located, but having viewed it and seen the movie, I have determined that it does spoiler a fair bit to the overall plot. I have therefore elected not to place it here so you can go into this movie and enjoy it as intended by the filmmaking team. Thanks for reading and I’ll see you guys at the movies! Ag*