Fans of Korean cinema had very high hopes for Stoker, Park Chan-Wook’s English language debut. Thanks to his reputation on the international film festival circuit, in particular with his cult Vengeance Trilogy (Sympathy for Mr. Vengeance, Oldboy and Sympathy for Lady Vengeance), Park had seeming first choice of talent and assembled a stellar cast in Mia Wasikowska, Matthew Goode and Nicole Kidman. (Interestingly, none of the three principals is an American.)

True to form for Park, Stoker is both visually stunning and psychologically and physically brutal. The cinematography is painterly and the framing sculptural. Every frame merits notice and every still a work of art. In fact it’s safe to say that Stoker is Park’s most strictly art-produced film. Every color and detail bears evidence of obsessive attention, from the color of characters’ hair to the color of the walls, from the stitching on a collar to the scuffing on a shoe.

In large part this magnification of detail effectively reflects the psychological and somatic experience of India Stoker (Wasikowska), whose hypersensitive observations of the world make ordinary life an ordeal for her. On the day India turns eighteen her father Richard dies in a horrific accident. We see her first at his funeral. Relations between her parents have evidently been strained for some time. Her mother, Evelyn Stoker, seems hardly bereaved, nor does she attempt to comfort her shattered daughter.

Stoker is a film at odds with itself. On paper, it’s a slick piece of neo-gothic thrills, parading its Jane-Eyre/Mysteries of Udolpho (and more) influences, with red rooms, sinister-seeming relatives, fogged-out basements, and driblets of blood.

More plot-fully speaking, you have the mysterious death of a loved one, in this case the father Richard Stoker (Dermot Mulroney), who leaves his immense estate to his wife Evelyn (Nicole Kidman) and daughter India (Mia Wasikowska). Soon after, Richard’s estranged brother Charlie (Matthew Goode) shows up, taking a break from one of his frequent trips around the world. Charlie tries to reconnect with his brother’s family, seeming to seduce Evelyn but eliciting only hesitation and curious dread from India.

All three play their roles well, with Kidman wandering through her lines as in a daze, transfixed by the appearance of a younger, sleeker version of her husband. Mia is exactly the opposite, dissociated from everything and body. But the clear standout is Goode, who finally has found a role that utterly suits him — however specialized it may be. Kind and pleasant with a chilling, menacing undertone, you’re just waiting for him to explode.

If director Park Chan-Wook never did another movie besides Oldboy, he would still be regarded as a masterful filmmaker. Oldboy is just that good.

Fortunately, he isn’t resting on the laurels of that excellent movie. He’s doing more. In fact, he’s about to make his English language debut.

For this, a film called Stoker, he’s got Mia Wasikowska, Dermot Mulroney and Nicole Kidman to work with. The story, as we know it so far, is as follows:

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.

Sounds cool. Let’s just hope nothing happens to anyone’s tounge in this one. We’re not sure we could go through that again.

Check out the trailer for Stoker after the break.

The casting has not come particularly quick or easy for the Spike Lee directed remake of the Korean thriller Oldboy.

Josh Brolin (No Country For Old Men, Men In Black III) locked in as the lead character quite early in the process but the quest for a villain so far has involved names ranging from Christian Bale to  Clive Owen, with even Colin Firth being in the mix. All have passed for various reasons and the search continues.

Filling the role of Brolin’s love interest, Marie, has been an equally difficult task. Both Rooney Mara and Mia Wasikowska have been offered and rejected the part of the female lead role. It is now being reported that the role of Marie has been offered to Elizabeth Olsen.

The film follows an average man who is kidnapped and imprisoned in a shabby cell for 15 years without explanation. He then is released, equipped with money, a cellphone and expensive clothes. As he strives to explain his imprisonment and get his revenge, he soon finds out that his kidnapper has a greater plan for him and is set onto a path of pain and suffering in an attempt to uncover the motive of his mysterious tormentor.

The lesser known Olsen sister, Elizabeth seemingly sprang out of nowhere at Sundance 2011 to become one of America’s most sought after young actresses thanks to parts in the soon to be released Silent House and the under the radar film Martha Marcy May Marlene. With three other projects listed to start in 2013, she’s not going away anytime soon. She’s also got a sizable gap in her schedule before those projects are due to start, which makes this a very plausible option.

The Kids Are All Right opens with shots of 18-year-old Joni (a wonderful Mia Wasikowska) playing scrabble with friends and 15-year-old Laser (Josh Hutcherson) sniffing a crushed Sudafed with his skateboarding buddy Clay, all to Vampire Weekend’s “Cousins.” Joni and Laser are gorgeous, smart and nice. Despite the minor drug use and usual teenager angsts, they are, for the most part, very much all right.

But this movie is really about their parents—their mother Nic, a perfectionist, workaholic OB-Gyn (played by Annette Bening, who has made a career specialty out of wound-tight women), and their other mother, easy-going, nurturing earth girl Jules (a very fine Julianne Moore), who has maybe let her life slide past her. A long-married couple, Nic and Jules have, as parents do, put their kids first for so long that they have lost touch with themselves and each other.

And yet they remain very self-aware and caring people. When they question Clay’s rightness as a friend, it comes couched in a language of earnest self-actualization and higher consciousness that is both insightful and ridiculous: “It’s just that he seems… untended.” And “Is he the kind of friend who will help you grow?”

Untended Joni and Laser certainly are not. Nic and Jules are extremely conscientious parents, and a great deal of the humor in the early part of this film comes from the overmothering Joni and Laser endure. Nevertheless, Laser feels the lack of a male role model and it is at his urging that Joni, having recently turned eighteen, the age at which she can legally request contact, learns the identity of their sperm donor and gets in touch with him.

The sperm donor is Paul, played by the miraculous Mark Ruffalo, who can shade a dozen layers of feeling and thought into a single moment. I’ve sometimes found that his extraordinary openness can come off as ambivalence, but his characterization of Paul is founded on a bedrock of emotion. Paul is not only open to contact with Joni and Laser, he welcomes it.