{"id":10042343,"date":"2025-09-15T04:37:16","date_gmt":"2025-09-15T08:37:16","guid":{"rendered":"https:\/\/vanyaland.com\/?p=10042343"},"modified":"2025-09-15T04:37:17","modified_gmt":"2025-09-15T08:37:17","slug":"tiff50-review-no-other-choice-is-probably-the-best-movie-of-2025","status":"publish","type":"post","link":"https:\/\/vanyaland.com\/2025\/09\/15\/tiff50-review-no-other-choice-is-probably-the-best-movie-of-2025\/","title":{"rendered":"TIFF50 Review: \u2018No Other Choice\u2019 is probably the best movie of 2025"},"content":{"rendered":"\n<p><strong><em>Editor\u2019s Note<\/em><\/strong><em>: Vanyaland film editor Nick Johnston is back in Canada this week covering the 50th\u00a0<a href=\"https:\/\/www.tiff.net\/\" target=\"_blank\" rel=\"noreferrer noopener\">Toronto International Film Festival<\/a>. And as usual, we wish we were up there with him! Check out\u00a0<a href=\"https:\/\/vanyaland.com\/tag\/tiff50\/\" target=\"_blank\" rel=\"noreferrer noopener\">our continuing 2025 coverage<\/a>, get rolling\u00a0with\u00a0<a href=\"https:\/\/vanyaland.com\/2025\/09\/04\/tiff50-preview-five-films-were-hyped-about-at-this-years-festival\/\" target=\"_blank\" rel=\"noreferrer noopener\">our official curtain-raiser<\/a>, and revisit\u00a0<a href=\"https:\/\/vanyaland.com\/tag\/tiff\/\" target=\"_blank\" rel=\"noreferrer noopener\">the complete Vanyaland coverage archives<\/a>\u00a0from past TIFF editions.<\/em><\/p>\n\n\n\n<p>I don\u2019t know if there\u2019ll be a better example of capital-B Bravura filmmaking on display this year than what Park Chan-wook has done in&nbsp;<strong><em>No Other Choice<\/em><\/strong>, his adaptation of Donald E. Westlake\u2019s 1997 novel&nbsp;<em>The Ax<\/em>, a feature he\u2019s been hoping to make for a few decades at this point. You can tell the wait paid off in how utterly polished the final film is \u2014 this isn\u2019t a dog-catching-the-car scenario like del Toro\u2019s&nbsp;<em>Frankenstein \u2014&nbsp;<\/em>and it is, for my money, likely to be the Best Movie released in this calendar year (though it may not necessarily be my favorite). I wish I could just prattle off a list of shots or specific moments strewn throughout instead of writing about it as a whole, describing, say, his unconventional ways of superimposing a character\u2019s face on a conversation they\u2019re listening to or the fact that he uses split-diopter shots in such a non-obvious way it\u2019d make the guy working the \u201ccinematic\u201d Mets broadcasts blush for presenting them in such a noticeable way, or how his cross-fades make a dramatic impact, lingering on the juxtaposition between, say, a fire and a specific tree.<\/p>\n\n\n\n<p>To do this would reduce it merely to a shot list or another flattening form of how we go about understanding great art without placing the proper emphasis on how simple its pleasures are, even to audiences who don\u2019t give a good god damn about the technical attributes that make it work so well. To Western eyes, Park has always had the taint of the&nbsp;<em>Vengeance&nbsp;<\/em>trilogy coloring his work \u2014 one doesn\u2019t make a film as transgressive as&nbsp;<em>Oldboy<\/em>&nbsp;without becoming wrongfully identified as a provocateur \u2014 and I\u2019d argue that the label hasn\u2019t been accurate since 2013 at the very least, when&nbsp;<em>Stoker<\/em>&nbsp;hit theaters. He is a&nbsp;<em>master<\/em>&nbsp;of comedy, and when paired with a brilliant and wholly committed leading man like Lee Byung-hun, who turns in one of the best performances of the year, if not the decade. There\u2019s no sense of shame or embarrassment on Lee\u2019s part, and he sinks so totally into the role of out-of-work paper industry manager You Man-soo that the words \u201cSquid\u201d and \u201cGame\u201d will quickly fade from memory. Good lord, how funny he is here, playing a buffoonish dad-type who \u201cbreaks bad\u201d after getting dealt a bad hand.<\/p>\n\n\n\n<p>No, he doesn\u2019t head out to the desert and start cooking glassy candy for the camera \u2014 Man-soo is a little less imaginative and a lot more worried about maintaining his family\u2019s lifestyle. See, he was nurtured by his company, rising through the ranks, making good money with every promotion, giving them nearly a quarter of his life, all the way until they sent him some fancy eel for him to cook on the grill on a beautiful summer afternoon. He jokingly prays for Fall, sweating it out over some roasting skewers in the afternoon heat, and his wish is granted. The next day, he falls, getting the axe from his company\u2019s new American owners. He thinks he\u2019ll be able to pick up a job within three months, and his wife (Son Ye-jin) encourages him to get back to work, although she doesn\u2019t understand why it has to be&nbsp;<em>paper<\/em>. Anything would be good \u2014 they\u2019ve got a teenage son and a daughter with special needs and special talent, being a cello virtuoso even before she\u2019s hit a double-digit age.<\/p>\n\n\n\n<p>Those three months pass without a bite, and it\u2019s looking like he might lose the family home to a boorish moron when something in him finally snaps. Sitting alone in his greenhouse, he gets an idea \u2014 make a fake paper company, solicit resumes, identify any of the candidates that would stand in his way and\u00a0<em>eliminate\u00a0<\/em>them. He sees three competitors: A drunken audiophile with an actress wife, a former executive turned shoe salesman who can\u2019t seem to make even the smallest sale, and a brassy rich asshole who embarrassed him when he was begging for a job. All he has to do is infiltrate their lives just a little bit and then \u2014 BANG! \u2014 the problem\u2019s solved. <\/p>\n\n\n\n<p>One aspect he hasn\u2019t quite considered, though, is that it is much, much harder to kill someone when you emphasize with them, and Man-soo notices something of himself in each one. He\u2019s also just a bumbling fool as well, which makes things particularly difficult when you\u2019re trying to get away with murder. Yet, as his family starts to suspect he\u2019s not going out for interviews all day like he said \u2014 how, after all, do you get a snakebite at a job interview without admitting you weren\u2019t there and were spying on the drunk and his wife picnicking in the woods the behind their home \u2014 the walls start to close in. Then again, he had \u201cno other choice\u201d but to do it, because he had \u201cno other choice\u201d beyond a life in paper.<\/p>\n\n\n\n<p>Park\u2019s direction is so seamless and smooth, and his style never draws an absurd amount of attention to its flourishes, as there aren\u2019t any signposts telling us to Pay Attention To The Cool Thing He\u2019s Doing On Screen. It\u2019s all about flow, and this makes him a natural fit for the kind of comedy he\u2019s made ever since&nbsp;<em>The Handmaiden<\/em>. His Hitchcockian riffs are almost effortlessly funny (see&nbsp;<em>Decision to Leave<\/em>, which wasn\u2019t even billed as one and was still perhaps the funniest movie of the year it released in) and&nbsp;<em>No Other Choice&nbsp;<\/em>has an asset the others don\u2019t in Lee, a brilliant comedian who refuses to save face and plunges himself face-first into each and every pratfall and absurd conflict. There\u2019s an incredible scene featuring the most bizarre Mexican standoff put to film in which the participants are trying and failing to shout their disagreements over a cacophonous stereo system, and Lee\u2019s baffled reactions, frayed nerves, and jittery movements go a long way towards making it as instantly iconic as it is.<\/p>\n\n\n\n<p>Yet Park never lets go of the tiny bit of empathy that he still has for this guy, even by the end of the film, in which he\u2019s fully sold his soul to the Paper Gods at the cost of each and every one of his personal ideals. It\u2019s a brilliant denouncement \u2014featuring a moment in which Park tips his hand a little bit and outlines for us the visual through-line between a modern logging operation and a cellist\u2019s bowing \u2014 that\u2019s as bitter about the nature of modern-day capitalist struggle and our lead\u2019s role in perpetuating it as it is bleakly funny about the character\u2019s new normal. Even wilder, the entire goddamned film sustains that brilliance. <\/p>\n\n\n\n<p>Once the pieces come together, it\u2019s hard to see how\u00a0<em>No Other Choice<\/em>\u00a0doesn\u2019t just punch in\u00a0<em>Parasite<\/em>\u2019s weight class but may very well knock it the fuck out when put face-to-face in the ring. Yeah. I went\u00a0<em>there<\/em>. Park\u2019s just that good. Even NEON thinks so. I doubt it\u2019ll replicate that film\u2019s success (few things will ever top that one), but boy howdy am I gonna do my best with what I have to try and get it over the line. So, go see\u00a0<em>No Other Choice<\/em>. Seriously, just fucking go to it when it comes out on Christmas Day. You won\u2019t be sorry.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Editor\u2019s Note: Vanyaland film editor Nick Johnston is back in Canada this week covering the 50th\u00a0Toronto International Film Festival. And as usual, we wish we were up there with him! Check out\u00a0our continuing 2025 coverage, get rolling\u00a0with\u00a0our official curtain-raiser, and revisit\u00a0the complete Vanyaland coverage archives\u00a0from past TIFF editions. I don\u2019t know if there\u2019ll be a better example of capital-B Bravura filmmaking on display this year than what Park Chan-wook has done in&nbsp;No Other Choice, his adaptation of Donald E. Westlake\u2019s [&hellip;]<\/p>\n","protected":false},"author":48,"featured_media":10042344,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[19452],"tags":[26409,35885,30361,21709,35815,35855],"class_list":["post-10042343","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-filmtv","tag-header","tag-no-other-choice","tag-park-chan-wook","tag-tiff","tag-tiff-2025","tag-tiff50"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>TIFF50 Review: \u2018No Other Choice\u2019 is probably the best movie of 2025<\/title>\n<meta name=\"description\" content=\"Go see\u00a0&#039;No Other Choice&#039;. 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