Bong Joon-ho's "Parasite" is not a film we see; it's one that we feel crawling beneath our skin well past the final credits. In theory, it's a tale of two families from opposite sides of Seoul's social rungs: the affluent Parks, dwelling in their glassmbox architectural fantasy, and the Kims, living in a semi basement flat where sunlight itself is a luxury. But what's remarkable about Parasite is how it dissolves genres and moods moving seamlessly from comedy to thriller to

The opening of "Pulp Fiction" doesn't even really feel like an opening, and that's precisely why it succeeds. Rather than the traditional cinematic warm up; slow pans, setting shots, some glimpse of plot. We are thrust in the midst of a dirty, nearly banal conversation. Two individuals, Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer) , sit in a booth of a diner discussing robberies as though they are discussing where to eat. The informality is engaging. It draws us in,

The opening sequence of "Smile 2" sets the film from the very beginning by following up on the unsettling tradition of its predecessor, but going further into the psychological horror genre. Right from the first frame, we are immersed in an atmosphere of tension. The camera lingers in vacant domestic interiors before finally bringing into view the protagonist, a pop star whose image of glamorous perfection is only slowly pecked at by the menacing shadow of the "smile." This