 In 1988. Oh Dae-soo, a married father, is kidnapped for no apparent reason, outside his home. It is found shortly after in a private cell, in which he was imprisoned for an indefinite period. His only link with the outside is a television which he learns the brutal murder of his wife's murder ... he is suspect number one. Seeking in the depths of his memory the reasons for his imprisonment, the despair of Oh Dae-soo quickly leaves room for an inner rage that allowed him to survive, vowing revenge one day that inflicting such punishment. 15 years later, he was released so as unexpected as during his imprisonment. He receives a phone call from one who appears to be responsible for his misfortune, he who has stolen 15 years of his life. This mysterious correspondent offers him a very simple game: find out who kidnapped him and why. For Oh Dae-soo, the nightmare is far from over ...
Laugh and the whole world laughs with you. Weep, and you will be alone to cry ... upsetting, SCARY, INCREDIBLE: A UNIQUE EXPERIENCE FINALLY AVAILABLE IN BLU-RAY!
Buoyed by the realization virtuoso PARK Chan-wook (THIRST this is my blood, Sympathy For Mr Vengeance, JSA) and actors out of the ordinary, Choi Min-sik in the head, OLD BOY offer a cinema experience as rare as it was intense. Grand Jury Prize - Cannes 2004 PRESS REVIEW | Positive - Adrien Gombeaud |  |
|
| Heavy talent of a filmmaker who knows now channeling his delirium, structuring his madness, creator of the shadow spreads even stronger on Old Boy. Park Chan-wook plays on all codes of film genres: spy comedy, horror, thriller ... (...) It is not only to defuse an almost unbearable violence, it is showing us that this world is built , wanted, controlled. | | TéléCinéObs - Bijan Anquetil |  |
| | "Old Boy" is a film noir that takes hallucinated furiously inventive staging, ironic violence, and intrigue that great too confusing. (...) In addition to a very strong visual imagination sometimes borrowing the lyrical and dark atmosphere of Sergio Leone is the virtuosity with which Park Chan-wook revealed the complexity of his characters which commands admiration. | | Aden - The editors |  |
| | Humor, violence, stunning technical brilliance: one is in line with Tarantino, De Palma, Fincher. With a trio of hot actors, including the incredible Choi Min-sik (the prisoner shaggy), the main hero of Drunk on Women and Poetry. Its kind, serialized, Old Boy is a bomb. | | MCinéma.com - Hugo de Saint Phalle | 
|
| | Blowing, cheeky virtuoso. We had very high expectations of the new feature from Korean director Park Chan-wook and we are not disappointed. (...) Visually, Oldboy is a dark force and mesmerizing, with its wonderfully composed shots, editing and nervous sometimes surreal scenery. The story is modeled on the same requirements: a frame exploded, pieces of a puzzle demonic that are assembled at the mercy of the filmmaker. | | | Humanity - Michael Melinard |  |
| | The fifth film in Park Chan-wook won through to virtuosity of breathtaking staging, to the graphic depiction of voyeurism but devoid of violence and frenzy of the soundtrack. | | The Parisian - The editors |  |
| | This incredible tale of revenge, a kind of tragic for "Kill Bill", has a masterful interpretation and staging impressive. 
| | Télérama - Jean-Claude Loiseau |
 |
| | Park Chan-wook is constantly solutions for cinema unpublished recreate the world of its unstable character (...) The director has the talent to blow hot and cold. (...) There is in Park Chan-wook a real talent smuggler under the auspices of a popular art, marked, dramatic, he distills the evidence of a subtle and profound existential crisis. This is exactly what is expected of an author, truth. |
Video:  |
Impossible not to be disappointed with the work proposed here. To qualify, however, because of some exceptions (in the plans outside the brightest, some very specific sequences ...), the film still benefit from increased precision if it compares to the DVD edition, which, already, was fishing from a lack of precision, and this, as it were the editions of the world. This edition Blu-Ray, however, very successful in terms of content, primarily suffers from some problems of stability and impropreté master, who obviously has not received an Advanced restore (and any way, did he need?), or even a conservation worthy of the name. The publisher still offers a VC-1 encoding before any fluid and detailed enough depth of field to flourish rather than on an SD source. However, blacks were not any consistency ... and milky gray, they are particularly unwelcome and can not absorb the blackness of the film carbonaceous film. In this sense, there is little to expect miracles of contrasts: they do not shine any way by their wealth or their consistency. They struggle to define the overall dark areas of images, and do not cut enough characters, especially in the dark. Some sequences are lagging somewhat moderate noise level (low light or differences of "film stock"), where others show a granulation not necessarily very natural. The color grading very neat film suffers by contrast just under these disappointments, but the feature seems sometimes forced, sometimes attenuated. The pictorial richness of the film does not enjoy any of the freshness usually proposed pressings HD, for many reasons not attributable to the editor. A lack of depth and finesse notable, but the grand finale, won this year our membership despite all these reservations, for further consistency film on DVD editions, as well as a natural silver sometimes of good quality ( final sequences, superb). Audio: Analysis of technical and artistic soundtrack With this edition Ultimate proposed by a hex editor reference, 'Old Boy' accomplishes its ruthless revenge and existential exorcism in DTS-HD Master Audio 7.1. The eight channels sometimes show buds, crispants sometimes, but always just on the tonal plan, in spite of a fairly mixed record, the artistic and technical. Note that the rear center channel, even if not provided in the state during the mixing of the film made in 2004, enjoys a very nice overall dynamic and, for once, does not hesitate to yell sometimes tactfully and amplitude, which is no stranger to the singular pleasure that comes from this soundtrack details and sharpness, iconoclastic and richly populated auras often sound aggressive. The rear center channel, you can multiply by two if you are in a 7.1, will tend to engulf even the acoustic energy of the other two surround channels, to the point where we ask questions about the appropriateness the operation of remixing performed on the occasion of this event emerged. As a whole, the mix has a very strong momentum, and is anchored in structural realism pushed, but sometimes tends to forget the clarity and sharpness of the placement of dialogues. Some fluctuations in terms of rendering sound somewhat blurred the pleasure felt: they are nonetheless part of the process-staging, which gives a large part in its synchronous (sound real on the set) and synchronous dialogues. In this sense, the narrationen voice will be more clearly established in the register of quality as the countless dialogues, sometimes placed a little low (at least on the Korean VO we chroniquons). The front stereo proves responsive and expansive in most cases, even if large parts of the film does have recourse only to the central canal. Music, more inspired, increases in thickness and tonal accuracy over the audio codec 'lossless' DTS-HD. Firm on the front, she does not hesitate to invade the bow back and capture a significant part of the expressiveness of the film. The frequency response seemed a bit limited on the high end, and little scope to flourish in the records and serious under-serious. Sometimes startling, the rear stage show pretty shy in its report, but will extend the sonic space so convincing and realistic three-dimensional volumetric and on rare occasions targeted and timely. Rendering sound harsh and somewhat dry we proposed here, but everything is bathed in a warm acoustic sound and built in line with character progression. Some shock effects surprising burst leave a beautiful presence and spatial refinement, the codec DTS-HD Master Audio emphasizes efficiency, and with a great sense of fit. Without constituting an absolute demonstration, or even offer a fully rendered HiFi, this soundtrack is known to show its potential, at least more widely than its DVD incarnations, and we especially like the acoustic density and thickness that provides the codec DTS-HD Master Audio, quietly at work here, but enough to clip the atmosphere and amplify the very heart of the mix, even in his moments of madness (the attack of ants) where he lays bare the consistency , the size and density of the work, Meem if we would have liked to end up with a further volume naturally and more dynamic range to support the development of character. Supplements Also a great press kit 28-page accompanying the kit, this edition shows a beautiful richness in terms of supplements, and the appelation "ultimate" does not lie in any of the content offered by the publisher. Judge for yourself: - Making of (1:13) - About the film: the special effects / decorations / music / Cannes 2004 (46 ') - Interviews with the cast and crew (41 ') - Deleted scenes and alternative commentary by the real. PARK Chan-wook (25 ') - The full soundtrack (24 songs in 2-channel DTS Full-Flow) - 'DTS Sound Check' (set your audio multichannel) > Disk 2 (DVD): SUPPLEMENTS - Birth of a myth: the logbook of the shooting (3:30) - Trailer Imagçiner could not be more complete, since in the end it is about seven hours of supplements that are included. Exceptionally rich, resume and condenses the contents of the DVD collector of a few years ago. All supplements are available in SD, 4/3 and Dolby Digital 2.0, and are present in addition to the 'Journal of the shoot' (DVD) on Blu-Ray film, which is not without causing a loss of stature regarding the encoding of the film itself ... Our Disc Notes
| 
Thanks to our friend Michael, who has acquired the UK version (UK) of the excellent "Angels and Demons" director Ron Howard, we made a double discovery, completely unexpected: the first manifested itself during Inspection of the back cover, which sported proudly e logo DTS-HD Master Audio. Sony does not tell us was, and nobody knew. This unique soundtrack, encoded at 24 bit, indeed offers the film in DTS-HD Master Audio 5.1, without any offset. One detail: we were not able to measure Bitrate audio content to observe, for lack of proper equipment ... For the record, the publisher had the unfortunate habit of offering his soundtracks in Dolby True HD as a surprisingly low bitrate, closer to a DTS DVD Full Rate (albeit lower), around the 1400 Kbps ... Tough, nonetheless, to see an interest in digital audio, where the tracks of DTS-HD adjoining other publishers regularly 3.5-5 Mbps. 
Most commented articles