#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – India Stoker (Mia Wasikowska) was not prepared to lose her father and best friend Richard (Dermot Mulroney) in a tragic auto accident. The solitude of her woodsy family estate, the peace of her tranquil town, and the unspoken somberness of her home life are suddenly upended by not only this mysterious accident, but by the sudden arrival of her Uncle Charlie (Matthew Goode), whom she never knew existed. When Charlie moves in with her and her emotionally unstable mother Evie (Nicole Kidman), India thinks the void left by her father’s death is finally being filled by his closest bloodline. Soon after his arrival, India comes to suspect that this mysterious, charming man has ulterior motives. Yet instead of feeling outrage or horror, this friendless young woman becomes increasingly infatuated with him.
Plot: After India’s father dies, her Uncle Charlie, who she never knew existed, comes to live with her and her unstable mother. She comes to suspect this mysterious, charming man has ulterior motives and becomes increasingly infatuated with him.
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A morose teen forms an uneasy alliance with her enigmatically sinister uncle, who is at once adversarial, controlling, and incestuously supportive.
A thriller about psychopaths and sick agendas, Stoker’s title summons connotations of the Dracula author. With its Gothic romance novel visual design, a moody anti-heroine right out of the Twilight craze, and a shower masturbation montage borrowing visual cues from Psycho, Stoker presumes to deliver a power-punch of stormy atmosphere and unsettling, offbeat storytelling. Provocative and lurid, artfully photographed, that atmosphere is indeed present in Stoker, as is its departure from the beaten path of mainstream studio fare.
The picture pulls its knock-out upper-cut however, by betraying a derivative (though not over-worn) story and a not-so-novel revelation of its mystery. The plot is essentially Hitchcock’s Shadow Of A Doubt (1943), but this is a good one, full of potential for delightful and interesting variations, such as the wickedly disturbing 1966 Let’s Kill Uncle with Mary Badham of To Kill A Mockingbird fame.
In Stoker, troubled India (Mia Wasikowska) reminds us of Wednesday from The Addam’s Family. Wealthy, privileged, doted on, but misfit, morbid, and sporting a damningly annoying overbearing of sophisticated, anti-social charm, India is grudgingly and minimally cooperative. She’s resentful, and seething with some inner grievances, but we’re never made privy to what they are. There’s a good and evil struggle within her, offset by a chronic, clear desire to be elsewhere. But rather than take action to affect change, she grumpily goes through the motions, while internally swimming against the current.
In East Of Eden, Cal Trask (James Dean) beguiles us by revealing an inner turmoil and a jagged chasm of obviously anguished, and likely twisted emotions. The feelings never have to be explained. It’s sufficient that Cal’s facial expressions betray them. Our imaginations run wild to fill in the rest. Similarly in Stoker, with her obviously charred soul, India is virtually a plot element unto herself, and the most intriguing one in the film. As with the old inmates’ adage, family expectations and social constraints may imprison her, but in her mind she’s free, and “they” can’t take that away from her.
Or can they? India is stewing in repressed passions but we don’t know what they are. Nor will we, for while we eventually receive simple explanation for the root cause of her condition, Stoker never explores the deep, murky waters of that bottomless pool personality behind India’s ink-well black eyes.
There’s a lot of masquerade in Stoker. While there’s obviously more to India than we can fathom, and we want to know all about her, there’s also more to her uncanny, disingenuous paternal Uncle Charles (Matthew Goode), and upon meeting him, neither we, nor India, are so sure we want to take a sounding. Charles makes the scene following the funeral for India’s father whose very untimely death occurred in an equally unlikely accident.
Despite being extroverted and ingratiating, there’s something just not right about Uncle Charley. He exudes a facade of Mormon-esque, overly enthused, positive cheer which nearly overshadows a subtle undercurrent of ruthless self-service. But maybe that’s just India’s cynical outlook rubbing off on us. Either way, Uncle Charley’s here to stay, and after inviting himself as permanent house guest, he begins brazenly courting India’s bereaved, yet bored and impulsive, emotionally vulnerable mother (Nicole Kidman). Vanquishing from the household all who might oppose him, such as the loyal housekeeper (Peg Allen) and India’s suspicious great aunt (Jacki Weaver), we can only assume he’s after the family fortune, but disturbingly, he seems to have deeper designs. These include India’s very corpus corporis and mens mentis, as she openly defies Uncle Charley’s attempts at domination until he discovers a way to manipulate India’s, um, unusual susceptibilities.
At first resentful of Charles’s intrusion. and put in an adversarial relationship with her mother who seems to be completely malleable to his will, India becomes jealous, but soon begins to bond with Charles. India’s a gloomy, stifled little sexpot and she secretly craves the attention. The trio form a dangerous triangle, which sweeps them in a churning cat-and-mouse-play set of rapids toward the tumultuous falls of total bedlam. This is where Stoker shows its potential to become something original, to reveal fascinating, horrible things, to surprise us, and make us wonder, to keep us guessing on the edges of our seats.
What could be a captivating web of competing, ulterior motives and petulant scheming never materializes. What could be an engrossing character portrait of India slams flat. We never get that coveted insight into India’s motivations, how she sees the world or why she sees it that way. India is simply toxic and contrary with little explanation until the end, at which point she defies her own cunning nature and selects, in lieu of more interesting, profitable, and clever options, an irrational, self-destructive course of action.
Even so, Stoker is still pretty good. It’s a satisfying change of pace from the patronizingly conventional and downright silly horror releases lately issuing from Tinseltown like effluent from a landfill, and most Gothic thriller fans will want to see it.
South Korean director Chan-wook Park is best known to fans of the weird for his bizarre, gory cult movies such as Oldboy from The Vengeance Trilogy. With Stoker, he makes his mainstream, US debut. To do so requires that he “sell-out” a little to the conventions of Hollywood marketing, and I suspect this is why he didn’t tamper with co-producer, Wentworth Miller’s script, even though its deficiencies beg to be tweaked. Stoker more or less works for non-discriminating audiences who can be dazzled by a bit of flash without being driven to look deeper. Park’s penchant for the absurd and the gory is still subtly evident. Importantly, Stoker demonstrates Park’s trustworthiness to competently direct conventional cinema. With Nicole Kidman on board, and an appeal to the current Twilight-style popular trend, Stoker will, we hope, allow the director to establish himself on the big-budget launching pad from which we anticipate more intriguing work to soar off in the future.
Eerie, Creepy, but Not Quite Everything it Tries to Be
–WARNING: There may be some spoilers ahead for those who haven’t seen the film, so just a heads up. In order to accurately review this film, it may be necessary to talk about some key moments.–
Sometimes a movie tries to do a little too much, and Stoker is a great example of such a film. I feel as if I am one of the few who while watching this movie wasn’t very impressed by anything it tries to do. It’s a story about a girl who grows up shying away from society and all it’s norms, and begins to become inspired more or less by her charismatic, yet outwardly creepy uncle, who shows up to comfort her mother after a tragic car accident takes her husbands life, who also happens to be said uncle’s brother. He in turn is infatuated with her.
The obvious things about this film that should be creepy are as eerie as can be without gore and disturbing imagery, but what keeps this from being a good watch is more due to the ever widening gap between blockbusters and indie films. These middle of the road films that try to look big budget with modest financing all to often grant themselves a campy and dated vibe, almost having a made for TV type gloss to their finished product, and when this movie in particular chooses to be stylized from time to time it often ends up looking amateur and even cliché. The flow of these stylized moments also lack good pacing as they occur either in quick succession or disappears all together for extended periods only to start showing up in troves again at a later time. It’s far more distracting than it could ever been seen as a means to accentuate the film; and it makes things feel less serious and organic.
It’s other weakness is in it’s decision to favor the less than plausible over sensibility and logic. One would assume for entertainment reasons, yet it’s a mystery to me how any entertainment could be found most of the time during this film. Mia’s character gives a good hour run just buying into this mans insanity, only to pull a complete 180 in the last fifteen minutes. It’s also beyond hard to believe that no one single authoritative figure could pieces together how suspicious it is that her father just happens to die the exact same day that he picks up this mentally ill uncle from an institution he was committed to for something very similar in nature when he was growing up. Don’t people have to sign release forms and stuff at those places?
It’s almost as if is movie was written without a clear intent or a consistent motive planned throughout, and in the end a jumbled up puzzle of confusion and creepiness prevailed without any solid message. It’s clear why everyone’s the way they are, yet their resolves, their choices, and even their actions throughout the film feel forced from an illogical world of ridiculousness, as if the only reality that exists is within the perimeters of their house, a highway, and a restaurant type place. When Nicole Kidman, who plays Mia’s mother, begins to piece everything together, why would she call the uncle she suspects of foul play into the bedroom upstairs of all places? Again, in terms of logic, it couldn’t feel more like a sandbox film.
Maybe if this film was deliberately shot low budget as a showcase of a friendship between the uncle and niece that budded into a unique understanding of one another through not accepting society and people, it would’ve been a much more interesting movie, or even more so as a period piece during the 1800s or something. But instead, it’s a messy blend of style and eerie atmosphere that lacks proper pacing and feels very haphazardly put together. It tries to empathize with it’s leads and give reason for their madness, but instead it comes off as relentlessly grim and faithless all too often, as it doesn’t give much of a chance to things like hope or even common sense as plausible tools to pull a character through a situation. It paints a picture of the introverted and angst-ridden individual as a kind of ‘different’ that automatically rejects all basic human reactions to norms and situations, like no one trait could exist without all the rest of an assumed identity or label to be present, inevitably leading to the worst.
Case and point: **Biggest Spoiler** Mia’s character ultimately becomes her uncle in the end by taking his life and begins her pursuit of freedom by following in his footsteps, which is all the more evident that he understands this by smiling at her before she offs him. This could’ve been a unique and creative film moment even if disturbing, but instead the film’s aforementioned grim and faithless interpretation of introverts makes this an eye roller rather than an “Oh My God!” moment. Fortunately, you will find some moments of resolve if you stick this one out till the end; where you may go “yes! thank you!”, but those moments are short lived, as it’s clear they only exist as a way make sure in the end that more people enjoyed their experience watching this than hated it. Color me jaded; I did’t buy most of Stoker.
Anyways, just to clarify, the subject matter and the story on a whole had potential to tell decently disturbing tale, and the ideas on display where not the worst, nor where they the ultimate problem. It’s depth just suffers serious sense and direction, and it’s surface seems like it would’ve been much more suited for a gritty horror film, or even a lower budgeted blatant indie type art thriller more so than this unfortunate throwback made-for-TV-meets-straight-to-DVD fare it tries to pass off as something much more grandiose in the end.
Original Language en
Runtime 1 hr 39 min (99 min)
Genre Drama, Mystery, Thriller
Director Chan-wook Park
Writer Wentworth Miller
Actors Mia Wasikowska, Nicole Kidman, David Alford, Matthew Goode
Country UK, USA
Awards 4 wins & 45 nominations.
Production Company Indian Paintbrush, Scott Free Productions
Sound Mix Dolby, Datasat, SDDS, Dolby Atmos, Dolby Surround 7.1
Aspect Ratio 2.35 : 1
Camera Arricam ST, Zeiss Master Prime and Angenieux Optimo Lenses, Arriflex 435, Zeiss Master Prime and Angenieux Optimo Lenses
Laboratory DeLuxe (prints), Technicolor (color), Technicolor, Hollywood (CA), USA (dailies) (digital intermediate), Technicolor, New York (NY), USA (dailies) (digital intermediate)
Film Length N/A
Negative Format 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (anamorphic) (Fuji Eterna-CP 3514DI), D-Cinema