Director Chan-wook Park (left) and Byung-hun Leek pose for photographers upon arrival at the premiere of the film "No Other Choice" during the London film festival in London, Wednesday, Oct. 15, 2025. (Photo by Scott A Garfitt/Invision/AP)

Director Chan-wook Park (left) and Byung-hun Leek pose for photographers upon arrival at the premiere of the film “No Other Choice” during the London film festival on Oct. 15. (Photo by Scott A Garfitt/Invision/AP)

South Korean filmmaker Park Chan-wook’s new film, “No Other Choice,” is brilliantly made, but the exquisite visuals and superb direction are at the service of a meandering, obvious screenplay.

Despite being partly based on Donald A. Westlake’s novel “The Ax” from 1997 and some outrageous moments, I actually hoped the film would go even further in embracing its pulpiness. The overall result is distinctive and entertaining but, considering the director, kind of lite.

Lee Byung-hun stars as Yoo Man-su, a hardworking employee at a papermaking factory who enjoys his home life with his wife and family. When Man-su’s position is downsized and the company is bought out, he struggles to find a replacement job. With his family displeased with humbler accommodations — even the family dog is unhappy — Man-su finds that he’s willing to do whatever it takes to get his old life back, even going as far as contemplating and possibly carrying out a murder.

A key image from Chan-wook’s satire-thriller is of Man-su holding a large flowerpot over his head, moments away from potentially committing a homicide. It’s a crucial moment, as whatever happens after that represents Man-su’s willingness to compromise his ethics to get ahead.

“No Other Choice” is a morality tale, the kind of thriller that invites the audience to ask, “Would I resort to this if I were in this position?” While it’s not exactly a film noir, it has a real edge that isn’t fully defined until the film is nearly over. While I liked much of it, Chan-wook’s film is far less outrageous and, therefore, much less impactful than his prior works.

A terrific start gives way to a story that rarely goes into high gear. I always loved how the film looked, and Chan-wook’s overlapping visual textures are striking. As much care went into the lush, richly detailed look of the film as was put into the intricately woven story.

Sometimes the comedy and thriller genres work together, but it feels imbalanced here. As a satire of contemporary business practices versus traditional values and old-school workers, some of these satirical targets hit hard, especially early on.

No spoilers here but the conclusion is satisfying and the final scene is ironic, if hardly surprising. However, the journey is full of highs and lows.

This isn’t the first time the director has demonstrated his filmmaking gifts on unworthy material — the repulsive but striking English-language “Stoker” (2013) starring Nicole Kidman comes to mind. Chan-wook’s last great film, “The Handmaiden,” (2016) was, like his latest, a thriller that explores social etiquette and monetary hierarchy, although that film leaves a greater impression and is far more perverse. If it sounds like I’m disappointed that Chan-wook doesn’t push the envelope further with his new film, it’s because I am.

“No Other Choice” is a pleasure to watch but still a mild letdown, not just because we’ve seen variations on this story before but because Chan-wook is the man who directed the groundbreaking classic “Oldboy” (2003). None of Chan-wook’s subsequent films have matched the jolts and thrills of “Oldboy,” a crime and punishment tale with shocks both visceral (a live squid is devoured on camera) and intellectual (the final reveal is devastating).

The observations Chan-wook makes regarding the contemporary workforce in “No Other Choice” aren’t surprising. I liked the film and have thought about it since seeing it last year, but it’s a massive contrast from “Oldboy,” a film so ferocious and punishing, I’d lay awake at night thinking about it. Even Spike Lee’s unloved but better-than-remembered remake of “Oldboy” (2013) hits much harder.

A filmmaker as good as Chan-wook deserves attention from audiences as much as film critics, and I’m glad “No Other Choice” has found appreciative filmgoers and is now a potential Oscar contender. Nevertheless, here’s my suggestion — for the uninitiated, see “No Other Choice” and, if you want to see how far this great director can push your buttons, make it a triple feature with “Oldboy” and “The Handmaiden.” The only thing I really missed in Chan-wook’s latest is a fuller view of his wild side.

(2.5 out of 4 stars)

Barry Wurst II is the founder of the Hawaii Film Critics Society and teaches film classes at University of Hawai’i Maui College.