The 93% RT Creature Feature Quentin Tarantino Called a 10/10 Masterpiece

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Quentin Tarantino is known for highlighting fantastic films that many people miss. After seeing Bong Joon Ho’s The Host, he said he was incredibly impressed. Despite being a strong film, The Host doesn’t receive the recognition it deserves, especially when compared to Bong’s other work like Parasite. It features a more complex story and equally sharp political themes, yet it remains largely overlooked. The film is innovative, playfully subverting genre expectations without sacrificing the emotional core of the family’s story.

While The Host initially focuses on Park Gang-du, a seemingly simple man and his struggles as a father, the story quickly shifts to encompass his entire family. The film tackles important issues like environmental damage and the legacy of colonialism, using the monster – and the fabricated virus it supposedly carries – as a pointed commentary on the US invasion of Iraq and the ultimately false claims about weapons of mass destruction. However, The Host is more than just a symbolic story; it’s a truly exceptional film and widely considered one of director Bong Joon-ho’s best.

The Host Was a Family Story Disguised as a Monster Movie

The movie’s title is misleading, because the real danger isn’t the monster itself, but the virus it’s believed to carry. However, the truth is unsettlingly plausible: the virus was a fabrication, used to cover up the monster’s true origin – chemical pollution in the Han River. The scenes of quarantine and illness feel particularly impactful, especially considering the real-world Covid-19 pandemic. It seems authorities, much like in the film, are more concerned with avoiding blame for environmental failures than addressing the actual problem. Ultimately, the monster’s meaning is strongest when experienced through the eyes of the family at the heart of the story.

The Parks are focused on a much more urgent crisis: saving their youngest daughter, Hyun-seo, who has been taken by the creature. Before this, Gang-du lived with Hyun-seo and their father, while his siblings were only talked about. The presumed loss of Hyun-seo unexpectedly reunites the family, and their grief becomes the emotional heart of the film, highlighting their deep love for one another. The scene of the family mourning – Gang-du, his father Hee-bong, brother Nam-il, and sister Nam-joo – is particularly powerful, challenging how the audience previously viewed their relationships. Despite appearing distant earlier in the movie, The Host reveals that the Park family shares a strong and profound bond.

Quentin Tarantino, discussing the film, pointed out something crucial: the idea of a dysfunctional family – like the Parks in The Host – being the heroes is unusual for American audiences. He felt Bong Joon-ho was cleverly reimagining the genre. This is important because The Host challenges traditional ideas of heroism. In the film, the Park family – four adults with distinct and often flawed personalities – are actually the heroes. Despite their personal problems and conflicts, they unite on a classic heroic journey to save their daughter. This shared mission forces them to connect with each other in a way they never have before, essentially becoming a single, unified force dedicated to one goal for the first time as a family.

Bong Joon-ho masterfully subverts expectations in The Host by repeatedly thwarting his characters’ efforts, culminating in the tragic death of young Hyun-seo. Despite the family’s renewed love and trust, and their courageous fight, they couldn’t achieve a happy ending. However, the film suggests that rewards aren’t always what we expect. While Hyun-seo’s death is heartbreaking, it ultimately brings her family closer and she even manages to save another child, Se-joo. Gang-du adopts Se-joo in memory of his daughter, creating a new family unit. The fates of Nam-il and Nam-joo remain uncertain, but the Parks clearly forge an unbreakable connection. It’s this constant interplay of good and bad luck, triumph and failure, and fear and hope that makes The Host such a powerful and realistic reflection of society, solidifying Bong Joon-ho’s status as a visionary filmmaker – a true cinematic Picasso.

The Host Became a Satirical Symphony of Multiple Genres

It’s unusual for a filmmaker to be highly respected by their peers, but Bong Joon-ho has consistently earned that praise. From films like Memories of Murder to his Oscar-winning Parasite, he’s significantly impacted how movies are made and enjoyed. Yet, it remains a mystery why The Host didn’t achieve the same popularity as Okja. In many ways, The Host perfectly showcases Bong’s creative genius, a result of his deep understanding of cinema that goes beyond traditional filmmaking. The film starts with a disturbing flashback explaining the monster’s origins, then unexpectedly shifts to a peaceful, everyday scene. We see glimpses of normal life in Seoul, and Park Gang-du is the first character who feels slightly out of place, a little odd but grounded by his family. This seemingly gentle story quickly turns into a thrilling action movie when a terrifying monster rises from the Han River.

The film The Host masterfully blends dark humor with genuine emotion, making audiences both laugh and cry. The Parks family reacts to tragedy with unrestrained grief – they wail and fall apart – but it feels authentic, not embarrassing, showing how loss can strip away shame. Their chaotic mix of fighting, crying, and blaming, all while clinging to each other, ultimately unites them against the creature that took their daughter, forming a tight, focused unit. The monster itself is uniquely terrifying thanks to its science fiction origins, contributing to the film’s reputation as a monster movie masterpiece. Throughout the film, satire subtly undermines each genre it touches – action sequences are filled with comedic mistakes, the family drama ends in devastating loss, and the horror elements are laced with humor. As Variety noted, The Host keeps viewers constantly surprised by its unpredictable and often absurd nature, mirroring the fact that real life is often stranger than fiction.

Tarantino Wasn’t the Only Notable Figure to Praise The Host

Quentin Tarantino is known for complimenting other filmmakers, and he’s openly admired the work of Bong Joon-ho. He specifically praised Bong’s ability to create a monster movie like The Host that is both frightening and endearing, pointing out its unique blend of tones. Tilda Swinton became a fan after seeing The Host and quickly sought out all of Bong’s films, appearing in both Snowpiercer and Okja. She described becoming completely immersed in his work. Tarantino also appreciated the insightful social commentary woven into The Host.

After Bong Joon-ho’s Parasite became a global success and won numerous Academy Awards, many viewers rediscovered his earlier films, including Memories of Murder and Mother. However, The Host seemed to be overlooked, as if it wasn’t as strong as his other work. In reality, The Host was just as deserving of accolades as Parasite, and arguably even more so. It’s a truly unique film – a clever blend of genres that manages to be both satirical and deeply moving. The Host proves that Bong Joon-ho was skillfully combining thrilling visuals with insightful social commentary well before Parasite brought him international fame.

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2025-11-17 07:19