Welcome to Marwen


A bunch of living dolls.

(2018) Drama (DreamWorks/Universal) Steve Carrell, Leslie Mann, Diane Kruger, Merritt Weaver, Janelle Monáe, Elza Gonzalez, Gwendoline Christie, Leslie Zemeckis, Falk Hentschel, Matt O’Leary, Nikolai Witschl, Patrick Roccas, Alexander Lowe, Stefanie von Pfetten, Neil Jackson, Samantha Hum, Siobhan Williams, Eric Keenlyside, Clay St. Thomas, Kate Gajdosik, Veena Sood. Directed by Robert Zemeckis

 

Welcome to Marwen is a dramatic version of the acclaimed 2010 documentary Marwencol (which if you haven’t seen, stop right now and see it) which is the story of artist Mark Hogancamp, who was viciously beaten outside of a bar in 2005 by a bunch of guys who objected to the fact that he likes to wear women’s shoes. The men got off lightly; all of them had been released by the time the documentary came out.

Here, Hogancamp (Carrell) has no memory of his life before the attack (as was the case for the real Hogancamp) and used a fictional Belgian village populated by action figures, mostly modeled after women that Hogancamp knows – from his physical therapist (Monáe) to the clerk at the hobby shop where he buys his supplies (Weaver) – and Hogancamp himself (an idealized heroic version of himself he calls Captain Hogie) set during World War II. Mark’s lawyer is trying to get the reclusive artist to appear at the sentencing hearing of his attackers but Mark is very reluctant; anything that reminds him of that night sends him into severe panic attacks.

Helping matters is the appearance of a new neighbor, Nicol (Mann) who is compassionate and kind, and whom Mark develops an instant crush on. She could be his way out to normalcy or a reminder of past traumas that will send him spiraling hopelessly back into near-catatonia.

Critics tended to hate the film (see below) which I can understand; it’s not an easy story to get across and quite frankly, Zemeckis was not an awe-inspiring choice to make it. His sentimentality tends to rub critics the wrong way, but I found it affecting here, and there are some scenes when Carrell, who is absolutely wonderful at times, just breaks your heart. The romance between Marc and Nicol is absolutely realistic as well.

The movie ends on a bit of a predictable note and might turn people off – the dolls can look a little bit creepy. Some find men playing with primarily female dolls to be un-woke, but in the context of a man badly traumatized trying to deal the best way he can, I think it’s forgivable. Not the greatest movie Zemeckis has done, but it is entertaining and heartwarming enough to be enjoyable.

REASONS TO SEE: Carrell does a good job. Nice special effects.
REASONS TO AVOID: The ending is predictable. A bit creepy in places.
FAMILY VALUES: There is a fair amount of violence, some of it bloody. There are also disturbing images, some brief sexual references and some profanity.
TRIVIAL PURSUIT: The real life doll village Marwen is based on is called Marwencol, which is a combination of Mark, Wendy and Colleen. The Nicol character is based on Colleen, but her name was dropped from the town’s name.
BEYOND THE THEATER: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, HBO Now, Microsoft, Movies Anywhere, Redbox, Vudu, YouTube
CRITICAL MASS: As of 4/30//20: Rotten Tomatoes: 35% positive reviews. Metacritic:  40/100
COMPARISON SHOPPING: Marwencol
FINAL RATING: 6,5/10
NEXT:
The Wretched

Parasite (Gisaengchung)


Who is the exploited and who is the exploiter?

(2019) Dramedy (NEON) Kang-ho Song, Yeo-jeong Jo, So-dam Park, Woo-sik Choi, Sun-kyun Lee, Seo-joon Park, Jung Ziso, Jeong-eun Lee, Andreas Fronk, Hyae Jin Chang, Myeong-hoon Park, Hyun-jun Jung, Ji-hye Lee, Keun-rok Park, Joo-hyung Lee, Ik-han Jung, Jeong Esuz, Dong-yong Lee, Seong-Bong Ahn, Hyo-shin Pak, Kang Echae. Directed by Bong Joon Ho

 

As the gap between the rich and the poor grows wider worldwide, the desperation of those on the lower end of the economic spectrum also grows. As capitalism turns into a modern-day Wild West, it doesn’t stretch the imagination much to figure out that some will do whatever is necessary to survive.

The Kim family is the kind of family that often takes the brunt of those pointing the finger at the poor and blaming them for their own poverty. Patriarch Ki-woo (Choi) is chronically unemployed and a bit of an idiot. His shrill wife Chung-sook (Chang) has the family bringing in income by folding pizza boxes but they can’t even get that right. They live in a basement flat with a toilet on a ledge looking out onto the street where drunks often urinate. Ki-woo, despite the haranguing of his wife, can’t be bothered to shoo the offenders away. Their phone service has long been switched off and they steal Wi-Fi from a neighbor who has inconveniently put password protection on his router.

Clever son Ki-taek (Song) gets a tip from his buddy Min (S-j Park) who is about to depart to study abroad that a rich high school girl he is tutoring in English will need a new tutor while he is gone. Min offers to recommend Ki-taek for the job but Ki-taek, who was unable to afford college, doesn’t have the credentials for the job. Not to worry: his sister Ki-jung (S-d Park) has no problem forging the documents he needs.

When Ki-taek goes to the beautiful modernist house the family lives in for an interview, he realizes the materialistic mom Yeon-kyo Park (Jo) is somewhat simple and easily swayed. He realizes that there could be a bonanza here for his family. He finagles his sister an interview as a teacher for the ADHD younger son Da-song (H-j Jung) specializing in “art therapy.” In the meantime his own student daughter Da-hye (Ziso) has taken a shine to him.

Cold-blooded Ki-jung realizes there’s room for the whole family, but it will take some finagling to get the established servants out, including their beloved housekeeper Moon-gwang (J-e Lee). Through clever manipulation, brazen gall and a thorough lack of mercy, Dad is moved into the driver’s position and Mom into the housekeeper’s job. Now the Kim family is living the high life and can think about maybe moving on up, as George Jefferson might say. However, the Park home holds an unexpected secret that throws all of their machinations into disarray.

Bong Joon Ho is already one of South Korea’s most masterful directors, with films like The Host, Snowpiercer and Okja to his credit. Here, he comes into his own with the kind of movie that is going to elevate him into an elite class of directors, guys like Del Toro, Cuarón and Wong Kar-Wei. This is one of the best-written movies I’ve seen this year, with clever dialogue and a plot that while it has some zany elements to it never falls out of believability.

The cast performs solidly, particularly Ho’s go-to guy Choi who takes a character who could have easily have become a caricature and gave him depth and even a bit of gravitas. Jo is also memorable as the somewhat dense mom of the Park family.

The movie changes tone in the second half and there’s some fairly intense violence that occurs, some of it quite disturbing. It isn’t a movie for the weak of heart but neither is it a movie for the weak of mind; there is an awful lot of subtext going on about class distinctions, and exploitation. Just who is exploiting who in this movie may not be terribly clear by the end of the credits. However, I must say that the only thing that is keeping this from a perfect score is a somewhat convoluted ending involving a coded message that overstays its welcome a bit.

Frankly, this is one of the best movies of the year and it certainly should be on the radar of anyone who really likes movies. There’s a scene on how a bad thunderstorm affects the wealthy Parks and the not-so-wealthy Kims that is a gut-punch that comes almost out of nowhere but Ho is such a deft director that it doesn’t feel out of place. Do yourself a favor and catch this one because it’s sure to get some love come awards season.

REASONS TO SEE: Very cleverly written. Well-acted. Some very dark humor but funny throughout. An intriguing look at class warfare from a different angle.
REASONS TO AVOID: The ending is a little bit convoluted.
FAMILY VALUES: There is some profanity, some bloody violence and some sexuality.
TRIVIAL PURSUIT: The film was the winner of the prestigious Palme d’Or award at this year’s Cannes Film Festival; it is also South Korea’s official submission for the Best International Film award at the 2020 Oscars and is an early favorite to make the short list.
CRITICAL MASS: As of 10/28/19: Rotten Tomatoes: 99% positive reviews: Metacritic: 95/100.
COMPARISON SHOPPING: Shoplifters
FINAL RATING: 9.5/10
NEXT:
Day 3 of Six Days of Darkness