No Other Choice

"A caustic portrait of the rat race as legitimately killer, and another feather in the cap of one of world cinema’s true maestros."

— Nick Schager, The Daily Beast

"The latest exhibit in the mounting body of evidence suggesting Park Chan-wook may be the most elegant filmmaker alive."

— Jessica Kiang, Variety

"It’s a film that could have been tailor-made for 2025 and, even more chillingly, for seemingly every year in the foreseeable future."

— Keith Phipps, The Reveal

"Park Chan-wook’s deceptively simple dark comedy proves anything but and makes for one of the more visually engaging films of the year."

— Meagan Navarro, Bloody Disgusting

"Across the film, 'no other choice' becomes a kind of disingenuous mantra, demonstrating how platitudes and apathy reinforce a violent status quo."

— Taylor Williams, Slant Magazine

"This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer. And in 'No Other Choice,' he remains at the peak of his powers."

— Jake Coyle, Associated Press

"Chan-wook’s dexterity and craft is in great display while marrying the sound and visuals to the off-kilter plot and seamlessly handling the tonal shifts and transitions."

— Namrata Joshi, The New Indian Express

"Son Ye-jin brings emotional ballast as Man-soo’s conflicted wife, grounding the satire in humanity and reminding us of the real lives caught in capitalism’s crushing gears."

— Peter Howell, Toronto Star

"Somehow he makes the casual act of a drinking a boilermaker one of the most intoxicating and thrilling images of 2025. What an extraordinary treasure Park Chan-wook is."

— Randy Myers, San Jose Mercury News

"The rare film that feels sympathetic toward its protagonist without ever rooting for him, and Lee’s elastic performance as Man-su is key to the balancing act of Park’s tragicomic tone."

— David Ehrlich, IndieWire

"The film is extremely amusing, certainly, but it’s simultaneously a poignant study of the desperation of the long-term jobless and the needless cruelty of the corporate world. It’s also a warning."

— Wendy Ide, Screen International

"There’s something so rewarding about going to a movie and giving yourself over to a master like Park Chan-wook, someone whom you trust through all the twists and turns of a film as tonally complex as this."

— Brian Tallerico, RogerEbert.com

"It’s the sort of parting joke that makes the chuckles catch in your throat. Yet it’s also the kind of grace note of a kicker that reminds you how slyly Director Park and his lead actor have been letting this story unfold."

— David Fear, Rolling Stone

"With humour blacker than black bean noodles, the film is a masterful work of cinema which might well be Chan-wook’s masterpiece. And given this is the man who directed The Handmaiden that’s saying a lot."

— John Bleasdale, Time Out

"That the handsome but often pathetic Man-su is such a compelling character is a credit to both Director Park and the wonderful Lee Byung-hun, whose performance is a masterclass in the tension between comedy and tragedy."

— Hannah Strong, Little White Lies

"As ever with Park Chan-wook, there are tasty bits of bright and bleak to noodle on in this stinging satire of AI and capitalism, but with a rigorous fix on the growing dehumanization infecting our world. One of the year’s best."

— Peter Travers, The Travers Take

"The film is a zany, all-out crowd-pleaser from Mr. Park, who exhibits a rare genius with the camera throughout, devising breathtaking shots, zooms and transitions, his cockeyed visual wizardry perfectly matched to the outlandishness of the plot."

— Zachary Barnes, Wall Street Journal