Visually this is so rich that it’s a shame I didn’t care much about the characters, especially once the obligatory revelatory flashbacks started unspooling. Park’s oddly cropped compositions and strangely timed edits have a discomfiting elegance that goes a long way, but he’s less in control of story — which is not as important in an exercise buoyed by flamboyance (cf. Oldboy) than it is in the kind of Hitchcockian suspense thriller Stoker occasionally emulates. Still, as female coming-of-age yarns go, this one is suitably creepy and appropriately nails a sensation of being turned on by the bad boys, though you know they’ll bite you once they get under your skirt.