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In the realm of revenge thrillers, you'd be hard pressed to find more ultra-violent vengeance and psycho thrills than in the creepy story of Oldboy. This Korean import made a pop splash at the Cannes Film Festival and during its limited theatrical run thanks to the imprimatur of Quentin Tarantino, who raved about it and its visionary director, Chan-wook Park, to anyone who would listen. It's easy to see why QT fell in love with the grindhouse attitude, fast-paced action, violent imagery, and icy-black humor, but it's a disservice to think of Oldboy as another Tarantino homage or knockoff. The darkly existential undercurrent in the themes that Oldboy traces over its life-long narrative arc is much more complex and deeply disturbing than anything of its kind. The movie's tagline is, "15 years of imprisonment... 5 days of vengeance." The imprisonee is Oh Dae-Su, an ordinary Joe who is snatched off a Seoul street corner and locked away in a dank, windowless fleabag hotel room for the aforementioned 15 years. Just as abruptly he is released, and thus the five days begin. Why did this happen to Oh Dae-Su? Ah, but that would be telling, and in fact we don't know ourselves until the final wrenching scenes.

Oldboy breaks into a classic three-act saga, the first of which details the hallucinatory period of imprisonment in which Oh Dae-Su wades from mild insanity to outright psychosis in the hands of unseen yet attentive captors. Act 2 is the revenge, when an entirely different tone takes over and Oh Dae-Su moves with single-minded purpose and clarity. It's this section that has gained the most notoriety, primarily for the claw-hammer dentistry scene, the one-man-army tracking shot, and the wriggling octopus that Oh Dae-Su consumes in a sushi bar (he's been dead so long he simply needs life back inside him in any way possible). In act 3, answers finally start to emerge and the sinister atmosphere grows even more profound--not without a healthy dose of extra bloodletting, of course. Oldboy is an undeniably poetic masterpiece of tension, fury, and dynamic craft. Ultimately, its epic cycle of tragedy is of the sort that mankind has been inflicting upon itself for all time. Some of the images may be gruesome, but all converge into a kind of beauty. It's in the telling of this lurid tale that these details become one and the memories of pain ultimately heal. --Ted Fry

A slightly better movie than you might think, this variation on The Karate Kid finds three youngsters helping out their grandfather in his fight against evil ninja warriors. The real secret weapon here is director Jon Turtletaub, paying some dues on this 1992 family feature; he's since gone on to direct John Travolta in Phenomenon and Sandra Bullock in While You Were Sleeping. --Tom Keogh

Before he made the notorious cult hit Oldboy, South Korean director Chan-wook Park created Sympathy for Mr. Vengeance, an equally gruesome yet elegant meditation on revenge. Desperate to get a kidney transplant for his dying sister, a deaf and dumb young man named Ryu (Ha-kyun Shin, Save the Green Planet!) kidnaps the daughter of a wealthy industrialist named Park (Kang-ho Song, Shiri). Despite Ryu's best intentions, things go horribly awry, setting in motion a series of escalating revenges--to describe the plot in more detail would undercut the movie, because much of its power comes from the spare and skillful storytelling. Chan-wook Park is careful to ground the audience in the characters' emotional lives; when the violence begins, the bloody events unfold with the hypnotic power of the revenge tragedies of the Shakespearean era, which had over-the-top plots and littered the stage with bodies, yet were full of rich poetry. Park's eye for startling images and careful editing creates a visual poetry, grotesque yet often haunting. Certainly not a film for everyone--squeamish viewers had best beware, while anyone who wants their violence flagrant and guilt-free will be disappointed--but cinephiles looking to have their hearts squeezed along with their stomachs will enjoy Sympathy for Mr. Vengeance. --Bret Fetzer

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