It’s certainly no coincidence that Uncle Charlie (Matthew Goode), the enigma at the center of Park Chan-wook’s Stoker, shares the name of the murderous uncle in Hitchcock’s classic Shadow of a Doubt. That’s not all the films have in common; both take place in seemingly idyllic, isolated communities (the family’s house is less a home than an island), and leave us with the impression that quiet evil can lurk behind every door and around every corner. But from an emotional standpoint, Stoker is like an inversed Shadow. In that film, a young woman who loves her uncle unlocks his past and is repulsed. In this one, a young woman who loathes her uncle unlocks his past, and responds with a bit more moral ambiguity.
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