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Richard Corliss, TIME Magazine: It's not pure Park or pure Hitchcock but a muted, mildly mesmerizing blend of the two. You might want to take a careful stroll in this Hitchpark. Read more
A.O. Scott, New York Times: It may be Mr. Park's reputation that induces a state of queasy anticipation in the early scenes of "Stoker." But it is also, unquestionably, his craft. Read more
David Edelstein, New York Magazine/Vulture: The problem with Park Chan-Wook is that there's no real drama in his worldview. The drive toward cruelty is absolute -- and in this case, absolutely boring. Read more
Rex Reed, New York Observer: Clearer heads will find it absurdly pointless. Read more
Joe Morgenstern, Wall Street Journal: Spontaneity has been banished by rigid stylization, and the net effect is as lifeless as a severed head that turns up in a basement freezer. Read more
Jake Coyle, Associated Press: "Stoker" certainly relies too much on its heavy Gothic atmosphere, but it does add up to something - particularly because of Wasikowska's deft performance. Read more
Moira MacDonald, Seattle Times: [It] seems to be unfolding somewhere else; somewhere where it makes sense that everyone seems to be sleepwalking. Read more
Tasha Robinson, AV Club: It's best taken one tense, exhilarating moment at a time, without anticipation or expectation. Read more
Bill Goodykoontz, Arizona Republic: If the destination isn't what it might have been, the journey is a heck of a ride. Read more
Ty Burr, Boston Globe: The performances are excellent, but it's the direction that lifts the movie up and spins it around. Read more
J. R. Jones, Chicago Reader: This erotic psychodrama rivals his Oldboy and Lady Vengeance in its bold color and delirious compositions but avoids the ritualized sadism that made those films such dubious pleasures. Read more
Michael Phillips, Chicago Tribune: As it becomes more and more delirious in its explanations of Charlie's past, "Stoker" at least gives you a few images to remember ... Read more
Peter Rainer, Christian Science Monitor: Park employs all manner of cinematic derring-do -- shock cuts, off-kilter compositions, discontinuous storytelling -- all to no great purpose other than to make us go "Wow." A more appropriate response might be, "Huh?" Read more
Chris Vognar, Dallas Morning News: Aesthetics are steering this ghostly ship, leaving narrative in the background to fend for itself. Fortunately, Park is in full command of his repertoire. Read more
Tom Long, Detroit News: None of it is life-changing, but it is effectively eerie. Stylishly spooky, even. Read more
Owen Gleiberman, Entertainment Weekly: There is no mystery in Stoker, only ''style,'' and a stultifying sense that the world's been rigged with evil. Read more
John DeFore, Hollywood Reporter: Park's unsettling visuals and his handling of the cast make the occasional holes in Wentworth Miller's script practically irrelevant. Read more
Betsy Sharkey, Los Angeles Times: A bizarrely perverse, beautifully rendered mystery that you may or may not care to solve. Read more
Connie Ogle, Miami Herald: Stoker is a movie about tension and inaction, about people trying to figure out what's going on in someone else's head. Read more
David Thomson, The New Republic: Stoker trembles between the portentous and the ridiculous, and I think you know which one is going to win. The audience does make its decision: They've been had yet again. Read more
John Anderson, Newsday: Even though Park creates and sustains a mood, and shows what an athlete he is with the camera, the actors are struggling valiantly to give some emotional texture to a story that, ultimately, defeats itself. Read more
Stephen Whitty, Newark Star-Ledger: Park isn't interested in simply trendy material and edgy effects; a former philosophy student, he wants to weave it all into a genuinely disturbing drama. Read more
Scott Tobias, NPR: Stoker's ultimate wispiness makes Park's achievement all the more impressive: He's the magician pulling a deft sleight of hand, waiting until the very last moment to reveal that all is illusion. Read more
Joe Neumaier, New York Daily News: Full of heavingly gorgeous images that envelop a viewer before smothering them, its maddening elements eventually become too much to bear. Read more
Sara Stewart, New York Post: Sure, it's got its horror aspects. But for my money, this movie belongs alongside "Secretary," "Ginger Snaps" and "Thirteen" in the family of deliciously dark female coming-of-age stories. Read more
Steven Rea, Philadelphia Inquirer: A beautifully twisted, slow-burning psychothriller that may or may not all be taking place inside India's head, Stoker marks South Korean cult director Chan-wook Park's inaugural English language venture. Read more
Richard Roeper, Chicago Sun-Times: What sets "Stoker" apart are the exquisitely grotesque bursts of death, which usually occur only after an effectively maddening series of tension-building scenes. Read more
Peter Travers, Rolling Stone: Park has built a hothouse of erotic tension that's primed to explode. Some will find it too much. Screw them. Park's goal is to bust form, not conform to it. Take Stoker for what it is: a thriller of savage beauty. Read more
Andrew O'Hehir, Salon.com: "Oldboy" director Park Chan-wook's first American movie is so bad I wonder whether his other movies were ever good. Read more
Mick LaSalle, San Francisco Chronicle: "Stoker" is a thriller in which the big question is not "What will happen next?" but rather "What is going on?" Read more
Colin Covert, Minneapolis Star Tribune: Refracted through Park's graceful filmmaking style, "Stoker" is mysterious, demanding, sometimes baffling and richly rewarding. Read more
Joe Williams, St. Louis Post-Dispatch: Like a taxidermied owl, "Stoker" is lovely to look at, but in the end it's hard to give a hoot. Read more
Ethan Alter, Hollywood Reporter: Thanks to Park's endless creativity behind the camera, it's impossible to look away from Stoker, even when what's happening on the screen is truly risible. Read more
Christopher Orr, The Atlantic: Stoker is a cunning exercise in transgression. But one can't help but wonder what kind of film Park might have made if he'd had the full creative control to which he's accustomed in Korea. Read more
Rick Groen, Globe and Mail: Talent behind the camera, talent in front, and yet nothing worth watching. What happened? Read more
Peter Howell, Toronto Star: The film plays like a Brian De Palma homage to Hitchcock - albeit one loaded with Park's symbol-laden visuals. Read more
Alonso Duralde, TheWrap: The film has visual style to spare, but even that becomes overwhelming, turning Stoker into self-parody. Read more
Trevor Johnston, Time Out: A drab, mannered horror-melodrama, potentially interesting in execution but relentlessly tedious in outcome. Read more
Guy Lodge, Variety: A splendidly demented gumbo of Hitchcock thriller, American Gothic fairy tale and a contemporary kink all Park's own. Read more
Nick Schager, Village Voice: A Hitchcockian stew of hothouse familial jealousy, sadism, and psychosis all tied together by one teenage girl's homicidal coming of age. Read more
Michael O'Sullivan, Washington Post: "Stoker" plays out like a Kabuki "Macbeth": gallons of style slathered on a story you already know by heart. Read more