This review may contain spoilers
All Of Us Are Dead; A Brainless Gore Fest, Or A Brutal Survival Story?
The increasing popularity of the zombie genre in South-Korean media since the days of Park Joo Seok’s ‘ Train To Busan’ (2016) has exceeded no bounds. Indeed, Netflix’s latest venture into the world of zombies, ‘ All Of Us Are Dead’, enjoyed making several ironic and passing popular-culture references to the heavily influential zombie flick . Nevertheless director Lee Jae Gyo and screenwriter Chun Sung II’s zombie survival series , ‘ All Of Us Are Dead’ , delivered a grisly and somewhat niche insight into the world of zombies, teen-angst and everything in-between…
Based upon Joo Dong Geun’s popular and original webcomic ‘ Now At Our School’, the twelve-episode Netflix series begins on a rainy rooftop in the fictional South-Korean province named Hyosan. A group of high school bullies ( “ iljins”) are shown to be relentlessly tormenting their fellow classmate, Jin-Su. Yet as their punches and beatings become notably more savage and violent , Jin-Su’s reactions to the conflict gradually change also. The gentle pleas of the meek teen suddenly turn into savage and animalistic snarls as Jin-Su’s gentle attitude soon begins to mimic an untamed and feral beast.
After the aftermath of the violent fight scene, viewers are left shocked but aware of the gradual domino effect as revelations and further mysteries are soon brought to light.
A time-skip forwards to the beginning of a new school day at Hyosan High School, brings forward the viewers’ attention towards Kim Hyeon-ju (Jung Yi-seo), an inquisitive high-school student , who unknowingly becomes patient zero to the mysterious zombie virus. Unsurprisingly, it is only a matter of time before there is a sudden snowball effect of rising infections throughout the school.
Caught up in the maelstrom of pandemonium and hysteria, the remaining survivors, including Chung-san (Yoon Chan-young), On-jo (Park Ji-hoo), Nam-ra (Cho Yi-hyun), Lee Soo-hyuk (Park Solomon), Yoo Gwi-nam (Yoo In-soo) and Lee Na-yeon (Lee Yoo-mi) , are left to grapple with unimaginable horrors, sacrifices and truths along the way…
‘ All Of Us Are Dead’ isn’t a series for the lighthearted. Bloodthirsty and brutal from beginning to end, Chung Sung II’s screenplay was gratuitously gory, disturbing and not afraid to delve into some darker subject areas either. However, whilst gore and bloodshed is to be expected in a storyline revolving around the flesh-eating undead, ‘ All Of Us Are Dead’ often felt somewhat distracted by its own investment into grotesque and shock-value carnage also. As a consequence, this notably presented limited opportunities into enforcing pathos and sentimental value for viewers towards its wide ensemble of main characters.
The acting range of ‘ All Of Us Are Dead’ was a slight mixed-bag. The main cast, specifically Cho Yi-hyeon, Lee Yoo-Mi and Yoon Chan Young, were undeniably dynamic and brilliant onscreen. On the other hand, certain performances from particular costars could feel somewhat inconsistent due to a mixed range of line deliverances and acting abilities also.
Nevertheless despite some arguably questionable moments of implicit violence, ‘ All Of Us Are Dead’ did surprisingly offer some crisper moments of respite also. Heartfelt interactions and teen-angst allowed golden-opportunities to exploit the unspoken realities of teenage shenanigans- bullying, social hierarchies, blackmail, peer pressure and sexual assault were notably addressed and touched upon within the drama’s social commentary. However despite certain commendation being deserved towards Chun Sung II and director Lee Jae Gyo‘s tackled subject areas , the attempt to tackle copious amounts of different topics take on against a dystopian zombie apocalypse backdrop, often led to a somewhat ham-fisted approach towards potentially impactful and prominent messages and critiques. In particular by the finale of the series, the overindulgence of subject areas began to slowly slip through the cracks and gave way to the sheer pandemonium of gritty teen-angst.
As for the delivered pace of narrative, Chung Sung II’s screenplay was notably fast-paced and adrenal-infused during initial episodes. However after the fanatic chaos of initial episodes, screenwriter Chung Sung II began to notably downplay chase scenes and conflict in order to draw further attention towards the setups, dilemmas and scenarios of the plot instead. However, this screenwriting decision did present a double-edged sword for the narrative; insightful moments focusing on the storyline did allow opportunities to explore the scope of characters and subplots, whilst also being heavily burdened by a repetitive pattern of storyline events in later episodes.
In particular this became noticeable the following setup; the ragtag team of teens would become wary of one another and drift apart, an external conflict would force them to band together again as a team, a member of the team would decide to embrace their inner-messiah and self-sacrifice themselves, before a teary and angst-ridden resolution would turn the mood somber as the characters remembered their fallen classmate, and then repeat.
Nevertheless, director Jae Gyu’s eye for detail was admittedly fairly commendable within the chosen filming techniques under his directing reign. Whilst the single-camera setup was admittedly a minimalistic approach to filming, Jae Gyu’s usage of changing gradients, darkening tones, angles and key and unobtrusive focus upon the characters and scenarios will truly immerse viewers into the events of the series. The usage of an OST was notably comprised mainly of instrumentals- hoping to draw attention in particular to a synchronic usage of music and imagery, rather than lyrics alone.
‘ All Of Us Are Dead’ offered viewers with a bloodthirsty and angst-ridden zombie drama which whilst certainly delivering an impactful bite into social themes, brutality, imagery and tension, the series often felt as though it but off more than it could chew at times within a lacking scope of character development, writing opportunities and divergence. The ending of the series was notably an unexpected twist which highly delved into a notably more somber tone. Whilst the finale may differ for viewers dependent on expectations, the conclusion certainly did leave some intriguing food for thought also. Overall ‘ All Of Us Are Dead’ is a pacy binge-watch; notably without its questionable flaws, repetitiveness and tropes, but tense enough to keep viewers hooked upon shock-value and adrenaline also.
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The Sound Of Magic; Be Careful What You Wish For…
While we have seen a lot of music-orientated themes in Korean dramas and productions, it is less frequent to see the genre of musicals being tackled. Therefore, when news was released that the six-part Korean miniseries ‘ The Sound of Magic’ would be marketed a “ musical fantasy drama” based upon the fantasy webcomic "Annarasumanara” (안나라수마나라), there was certainly intrigue and hype around its upcoming release.The series focuses upon main female lead Yoon Ah Yi ( Choi Sung Eun- ‘ Start Up’, ‘ Beyond Evil’). Despite being a top student in her school, Ah Yi has had it rough after her parents walked out on her.
Ah Yi secretly yearns that all of her problems will be solved by magic. However as the saying goes, be careful what you wish for. Ah Yi’s Life is turned upside down when she meets Lee Eul ( Ji Chang Wook- ‘ Healer’, ‘ K2’ and ‘ Backstreet Rookie’).
Lee Eul is practically perfect in every way. Helping to lift Ah Yi’s spirits up despite hard times, Lee Eul finds herself conflicted between fantasy and reality when she develops feelings for classmate and fellow hard-achiever Na Il Deung ( Hwang In Yeop- ‘ Freshman’, ‘18 Again’ and ‘ True Beauty’). However things become more complicated when Ah Yi discovers that Lee Eul is more than he seems.
Adapted to the small screen by Kim Min Jung ( ‘ Love In The Moonlight’, ‘ Imitation’), ‘ The Sound Of Magic’ is able to attain what many would probably define as “ lighthearted melodrama and fantasy ”. While the screenplay would occasionally dip into certain issues such as poverty, inequality and bullying, these topics were rarely discussed or brought forward prominently, instead used background themes to propel certain events of the series.
Admittedly this isn’t always necessarily a bad approach per say in a series. It certainly allowed ‘ The Sound Of Magic’ to maintain an easygoing charm. On the other hand, it is fair to admit that while the premise of the series was certainly engaging and the storyline boasted an intriguing array of characters, the production wasn’t without its more noticeable loose ends either.
Choi Sung Eun is an upcoming actress in the South-Korean film and TV industry. While some viewers may have seen her before in productions such as ‘ Beyond Evil’, it is likely most will be unfamiliar with her name. Nevertheless despite a few awkward line deliverances at times, Sung Eun delivered a fairly decent performance at main female lead Yoon Ah Hi; a downcast and hardworking girl who finds herself encountering a mysterious magician.
As an onscreen character, Ah Yi is admittedly a mixed-bag of writing tropes and strengths. The “ hardworking” female lead is a cliche that has often been overdone in Korean productions and dramas. Admittedly it would be wrong to suggest that Ah Yi was an entirely “ bad character” per say.
Her genuine doting and sincerity for her sister, her disillusioned beliefs surrounding her mother and yearning to get her back, and certain levels of her personal struggles such as being bullied and financial struggles, did add a touch of relatability and engagement for the audience with Ah Yi’s character.
On the other hand despite the unlimited potential for Ah Yi to become a fully likeable character, it was hard to ignore that Ah Yi’s character-arc felt somewhat poorly put together at times, especially with regards to her ineffable muteness as well as delving further into her feelings towards her parents . ( To explain this further, it is important to acknowledge that being reserved and struggling with anxiety or trauma are certainly separate and complicated issues. However rather than connecting this succinctly with her own emotional struggles as well as in reality, Ah Yi’s personal problems could often feel shoehorned rather than explained in detail. In addition to this nuanced issues such as her living or financial situation not being noticed by others such as teachers or at least by social services seemed a little odd also.)
Then of course there’s the subject surrounding Ah Yi’s potential love interest and supporting male lead. Since his popular roles in ‘ True Beauty’ and ‘ 18 Again’, Hwang In Yeop had become a familiar face and name for viewers. However rather than playing his associated “ bad boy” roles, In Yeop took on his onscreen part as hardworking student Na II Deung, adding a fairly consistent performance to his onscreen role.
As a character, II Deung suffered a similar fate to the female lead when it came to screenwriting. The role as the “ potential love interest” for Ah Yi was surprisingly subverted at times when intriguing glimpses were provided into II Deung’s own personal life and struggles.
On the other hand while chemistry certainly was prominent between the leading actors and certainly easygoing , it was difficult at times to really see or allow this onscreen relationship to develop further outside of lighthearted banter or “ necessary plot moments”. Of course, later episodes certainly relished in exchanges between the two main characters but it was difficult to see this relationship having been developed particularly through evident common ground or growth.
However while Hwang In Yeop may certainly have attracted attention for certain viewers, it is likely most viewers will be intrigued by the starring role of Ji Chang Wook as the beguiling magician Lee Eul.
As an A-lister actor, Chang Wook has respectfully had his fair share of good and bad performances over the years. Nevertheless his performance as main lead Lee Eul was certainly decent enough, adding a surprising charm to his onscreen persona which admittedly could’ve been taken further by the writing .
To a certain extent, screenwriter Kim Min Jung captivated this well by Lee Eul offering an air of mystique for most of the series. Despite seemingly being introduced as a seeming “ heroic” figure for Ah Yi, it is soon proven that Lee Eul is certainly not a knight in shining armour as truths come to light.
On the other hand, it often felt as though while viewers did not entirely have to know the precise events of his backstory to work out his character-arc and role in the series, it often felt as though ‘ The Sound Of Magic’ rarely brought forwards Lee Eul’s seemingly “ unpredictable” edge and mystery. It often felt as though this could’ve easily have been done by at least foreshadowing or helping to boast his onscreen presence through different mood lighting or cinematography.
Then of course aside from the main characters, there is also the topic surrounding supporting characters. The majority of the supporting characters were often placed as merely background characters for storylines or events ( such as Ah Yi’s parents, her younger sister and II Deung’s parents). Admittedly the supporting cast’s performances varied somewhat dependent on ability. However it is hard not to talk about side characters without at least acknowledging “ Ah Yi’s bully” Baek Ha Na. Unsurprisingly, Ha Na’s role as Ah Yi’s tormentor is rarely explained or justified aside from Ha Na being “ shallow and mean” and helping to intensify angst and drama during “ necessary moments”.
The execution of ‘ The Sound Of Magic’ is a fair mixture of slow-paced angst and quick-paced storyline. Although this was necessary at times for helping to establish characters and storyline events, it could often lead to parts of the miniseries feeling somewhat slow and dragging in parts and rarely fleshed out at certain points of the narrative. ( Therefore often leading to certain events of the narrative feeling overly predictable or convenient.) In particular, this was evident through the formula of musical compositions being given in episodes. Although they were often lighthearted or melodramatic,certain compositions could sometimes feel arbitrarily placed in the trajectory of the series.
In addition to the main storyline surrounding the female lead, there were a few noticeable side storylines such as Ah Yi’s internal monologues addressing her mother, the male lead’s hone life and his relationship with his parents as well as the mysterious disappearances of students at the school. Although they were certainly intriguing subplots, they were rarely fleshed out. Of course while it is hard to create an entirely flawless adaptation of a work or webcomic, it often felt as though ‘ The Sound Of Magic’ could’ve flourished more by sticking to fewer storylines and developing them well.
The ending of the series will admittedly remain a subject of debate for a lot of viewers. While some viewers may enjoy an uplifting finale, others may feel let down by the sudden rush of plot events and failing to answer a lot of continuous questions and resolutions for the characters.
Naturally there is also the discussion surrounding the OST of the series. ‘ The Sound Of Magic’ was composed of a mixture of angst-ridden musical compositions and lighthearted pop tracks, ‘ The Sound Of Magic’ can be said to have an admittedly odd mix of genuinely memorable and generic songs. Tracks including “ 아저씨. 마술을 믿으세요? “(Annarasumanara), “회전목마” (Merry-Go-Round) and “잘자” Have A Good Night) remained particularly memorable.
Perhaps a certain virtue of ‘ The Sound Of Magic’ came through the cinematography approached by director Kim Seong Yoon ( ‘Who Are You:School 2015’, ‘ Lovers In The Moonlight’ and ‘ Itaewon Class’). High quality and stunning in parts through a blurring between reality and illusion, Seong Yoon’s lighting and mood certainly helped to captivate a lot of the characters’ emotions and struggles. Admittedly it felt as though the series could’ve benefited by delving deeper into a phantasmagoria of dreamlike or magical sequences in later episodes.
Overall ‘ The Sound Of Magic’ offered viewers with slightly “ darker” lighthearted angst and melodrama wrapped into a guise of magic and fantasy. Although the series certainly boasted an intriguing array of characters and skimmed-over issues and topics, the narrative often felt like a patchwork of narrative events and pacing rather than succinct. ( Especially by the ending of the series.) Nevertheless Ah Yi and II Deung’s potential onscreen chemistry remained entertaining and certainly offered viewers with an indulging and certainly magical binge-watch.
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Be My Boyfriend; Sugary Teen Romance Tale, With A Trope-Filled Plot...
As a byproduct from the same makers of the similar sugary-sweet series ‘Secret Mistake’ , the short series ‘Be My Boyfriend’ ‘ is a fairly formulaic high school romance tale where ‘’ popular girl’’ Oh Ji Na ( Lee Shi Woo) forces mundane student Lee Seungmin ( Shin Hyung Seung) into a contractual relationship to drive away old flame Ku Hyung Tak ( Im Sung Kyung). The series certainly wasn’t unwatchable and had an initial sweet romantic setup , however, the series was formulaic with a predictable storyline and cliches throughout.
Naturally, it is important to address that the majority of the cast were either novice actors such as Shi Woo, Im Sung Kyung and Hyung Seung , or have only had a few minor and supporting roles like Jung Bo Min ( who played Joo Min Ji) and Kim Byeong Kwan over the years. (This is not to condemn casting choices or actors merely because they don’t have experience.)
Whilst there were a couple of questionable acting moments ( especially with several line deliverances from Byeong Kwan during “ comical moments”) it certainly wasn’t dire for viewers to watch either. In fact, as rookie actors, Shi Woo, Im Sung Kyung and Hyung Seung were fairly suitable as our main leads. That aside, it is prominent to address the bigger issue of characters and their overall presentation within the series.
Perhaps the most notable character to address is the female lead of the drama; the labelled ‘ goddess’ and ‘ popular girl’ Oh Ji Na. With these notable character archetypes constantly referenced nearly every two seconds in the opening of the show, it is fair to say from Ji Na’s initial introduction, she’s fairly narcissistic in the beginning . Yet as this is a ‘ typical and life-changing romance story’, Ji Na begins to reveal more behind her layers as the series moves on, by her gradual affection towards the male lead.
However, the most notable problem with Ji Na as a character occurred within her lacking sense of imperfection . Whilst admittedly there is the argument Ji Na is easily shot down by her jealousy and inability to accept her feelings( especially with Seungmin), Ji Na rarely seemed to understand or take responsibility for her own mistakes and hurting others in the process. A good example of this scene can be found early on in the web series when Ji Na becomes envious over Seungmin hanging out with her ” best friend” Seong Ha Na ( Choi Yu Ju). Whilst admittedly given the context this was revealed to be a misunderstanding and Seungmin was undeniably at fault to some extent ( as well as Ha Na) , it seemed unfair and hypocritical that Ji Na was openly disparaging about Seungmin ” spending time outside the contract ” with Ha Na in a possessive manner, when she was also spending time with Hyung Tak. Seungmin did initially point this out, however, Ji Na allowed this to become a dominant argument upon ” Seungmin in the wrong” rather than sharing the responsibility of her actions.
It is wrong to deny that Ji Na doesn’t entirely grow outside of her cliche shell either. Ji Na does become notably a more tolerant person over the course of the drama by standing up for Seungmin against Hyung Tak, as well as not relying upon the male lead to entirely fight all of her battles as a strong-willed individual . However , one notable factor which was never truly explored in the series in favour for Ji Na being the ” high school popular girl” was exploring more about her past and reasons for joining the idol agency.
This transitions us onto the main lead of the series Lee Seungmin. Introduced under the ‘ loser’, and ‘ normal’ archetype with a ‘ heart of gold’, Seungmin is naturally head over heels with the ‘’ goddess’’ Oh Ji Na and becomes determined after signing the contract to earn her affections. Seungmin did have a more fleshed-out backstory than Ji Na, with a complicated family scenario of his mother dying prior to the events of the drama and residing with his single-father.
On the other hand, Seungmin’s reactions and growth over the course of the series often felt very minimal . Whilst it was refreshing to see that Seungmin considered his own feelings for Ji Na before signing the contract, he was often overly oblivious and complacent towards the growing affections of Ha Na at times also. The relationship between the two characters took a fairly predictable turn with the established setup and cliches along the way. As Seungmin has harboured feelings for Ji Na for awhile, it was a fun dynamic to see Ji Na also growing to fall in love with Seungmin for his kind soul.
Of course, perhaps the biggest elephant in the room in the beginning of the series appears within the character Hyung Tak. Notably controlling over Ji Na , fractious within his behaviour towards Seungmin and appearing seemingly as an “antagonistic force” of the series, Hyung Tak was immediately established as the ‘ aloof and popular sportsman’ of the school. Hyung Tak admittedly did have some more exposure as not entirely as a ” terrible person” over his guilt for leaving Ji Na when they were dating and forgetting special events, as well as being the first to take the reigns to locate Ji Na when he becomes aware that she is being stalked. On the other hand, Hyung Tak oddly went from being a predominant character in the series to a fairly minor presence. There was nothing entirely wrong with this as the show was attempting to focus more upon Seungmin and Ji Na’s relationship, however, this often led to Hyung Tak feeling poorly fleshed-out as a character.
The ending of the web series was fairly predictable and typical of a teen-romance setup; not bad or terrible per say, but not entirely original either.
‘Be My Boyfriend’ isn’t an initially ” terrible” show. The romantic pairing between the characters was oddly heartwarming against the more notable cliches and a new array of promising actors were introduced through the novice cast lineup. On the other hand, the web series was undeniably predictable and cliche-ridden within its setup , immature dialogue and conservative archetypes upon ‘’ Korean high schoolers’’, often felt poorly-written. Certainly not unwatchable, however, the majority of the web series was foreseeable, making ‘ Be My A Boyfriend’ a web series which can easily be swept under the carpet for the next romantic drama out there.
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A Nostalgia-Ridden Love Story To The 1990s …
When discussing about directors Frankie Chen and Chen Yu Shan’s ‘ Our Times’ , the movie is often directly attributed on a surface level as merely being a stereotypical and cutesy love story between its two main leads Lin and Taiyu . However is arguable that when you are able to delve further beneath the film’s surface ‘ Our Times’ isn’t just a literal romance, but a love story and homage by its creators to the nostalgic days of youth in 1990s Taiwan.
Original or replicated props,popular culture references to 90’s idols such as Aaron Kwok and Andy Lau, outfits and copied hairstyles from the era given to the drama’s cast animated scenes to life with euphoria as bubbly palettes and vivid hues onscreen attempted to perfectly capture the rose-tinted warmth and sweetness of adolescence throughout the movie.
However that isn’t to say that Chen and Shan entirely limit the nostalgia-ride with merely visuals. The reimbursed injection of the “ordinary girl meets her Prince Charming” trope admittedly did have its highs-and-lows throughout the movie.
An evident feminine-perspective to this cliche helped to add a breath of fresh air to an otherwise overused trope. Flashbacks and flash forwards throughout the drama’s non-linear storyline between Lin Zhen Xin’s dilemmas as a young woman in her thirties( Joe Chen) against Lin’s naive teen-self ( Vivian Sung) helped to present Lin Zhen Xin’s journey throughout the movie.
Nevertheless ‘ Our Time’ ‘s pragmatic focus upon Zhen Xin’s embroiled meeting with the seemingly fearsome delinquent Taiyu (Darren Wang) could admittedly sometimes feel shoehorned by cliches in an attempt to keep the drama’s plot-drive afloat throughout the movie’s duration. Considering that this is one of the focal drives of the storyline it wasn’t necessarily bad per say that the film attempted to offer opportunities to bring forward the two unlikely lovers together. On the other hand the movie could often feel as though it was trying to drive the series sometimes through enforced misunderstandings leading to further drama, rather than allowing coherent events to take place and then resolving problems throughout the film.
One of the most pleasant surprises of the film came through the movie’s lineup. Joe Chen played the older-self of the female lead; a woman in her thirties stuck in a deadbeat office non who begins to reminisce about her school days back in the 1990s. Despite Chen not having as many focused scenes as she should’ve done as the main character’s older-self in the film, the actress was able to interplay her character incredibly well with younger actress Vivian Sung.
Sung is arguably one of the main highlights of ‘ Our Time’. Whilst at times the actress could admittedly feel as though she was putting on a slight over-the-top ambience to her onscreen persona in order to sway audiences towards her image as the “ dorky teen and fan girl ”, Sung could also surprisingly captivate a loveable and down-to-earth charm to Zhen Xin’s teen-self for audiences.
Costarring alongside Joe Chen was Jerry Yan as main male lead Hsu Tai Yu’s older-self. The actor’s well-known performance as the main lead in the popular adaptation of the original ‘ Meteor Garden’ did carry through with a slight gruff charm onscreen. Nevertheless Yan’s appearance whilst necessary to wrap-up events was limited and brief to say the least.
The notable star-attraction of the series as the younger Hsu Tai Yu was Darren Wang. As the actor’s breakout role Wang portrayed troublemaker Taiyu with a few awkward line deliverances at times but quickly made up for this through surprising heart and soul in tour de force moments of the momvie, as well as wittiness when screen time called for it also.
On the other hand for a movie filled with easygoing nostalgia and sweet chemistry between the leads ‘ Our Time’ could often fall victim to pacing. For a film exceeding a two hour duration trying to captivate an audience is quintessential and dragged-out scenes and dialogue exchanges could often sometimes weigh heavily upon its paced-narrative. Plot points could sometimes feel slightly cyclical at times without adding anything new to the storyline; something that could’ve easily been fixed if the storyline had arguably kept its structure a little more rigid and succinct .
The ending admittedly on a crisp and sweet note for audiences- expected of the genre but fitting for the characters and events of the movie.
Frankie Chen and Chen Yu Shan is an expected love-story with cliches and shoehorning sometimes worming its way into the events of a laissez-faire paced plot. Nevertheless there’s no doubt that there’s something oddly endorsing about its cast, bright palettes and authentic set pieces as well as Chen and Shan’s homage not just to the 1990s, but an attempt to engage audiences through the universal experience of nostalgia also.
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The Detonation Of The Rom-Com…
Takashi Miike has long been known for his blood-soaked and violent movies through his legacy left upon Japanese cinema. Therefore it should come as no surprise that his directed psychological-horror ‘ Audition’ (1999) has led to an onslaught of confusion, surprise, intrigue and horror amongst anyone who has watched Miike’s surrealist film.
Based on the novel by Japanese writer Ryû Murakami, ‘ Audition’ ‘s seeming basic plot-drive could easily be mistaken by the naked eye as a rom-com. Ryo Ishibashi played Aoyama; the middle-aged father and widower who is raising his teenage son Shigehiko (Tetsu Sawaki). Worried about his father Shigehiko suggests that Aoyama should move on and find someone new.
Aoyama soon urged the help from his filmmaking partner Yoshikawa (Jun Kunimara) to film a fake audition for a melodrama as a way of looking for a young and attractive woman. Soon Aoyama seems to have found exactly who he is looking for in Yamazaki Asami ( Shiina Eihi); an ethereally beautiful young woman who is well-mannered and charismatic . However Asami’s perfection soon begins to slip through the cracks as Aoyama stumbles upon darker truths surrounding his seemingly " perfect woman" and her past.
Takashi Miike’s film is tainted with its equilibrated infliction of violence and gore. However unlike many of the director’s previous works which are often soaked in crimson red long before the rolling credits, ‘ Audition’ is a movie which is poignantly self-conscious about its insidious undertones.The notable emotional emphasis upon Shigehiko and Aoyama’s objectification of women early on in ‘ Audition’ has arguably led to a lot of interpretations and mixed-criticism towards Miike’s great contrast between the first-part and second-half of the movie.
Arguably Miike is purposeful within his initial setup of the first part of Audition in equal rendition to a rom-com with the setup and Kunimara’s awkward and flustered micro-expressions around Asami.
Nevertheless even early early on in Miike’s tedious first-part there are hints towards something not being quite right with Aoyama’s dream girl; sitting alone on the floor in an empty apartment, staring at the phone on the ground and all but disappearing after Asami and Aoyama spend the night together. Miike’s clear emphasis upon the expected subservience of women presented a clear critique upon the expectations of Japanese society twisted and morphed into a monstrous reality as the events progress.
However whilst the first-half of ‘Audition’ can arguably be excused as Miike’s presented innocuous romantic fantasy which takes a darker turn in the second half there is an undeniable problem with Miike’s pacing; it is incredibly slow-burn and in parts tedious . Naturally the events are supposed to be gradual but scenes in the first part could often feel dragged out. Overstretched dialogue exchanges could often disengage audiences in parts which whilst necessary often lacked a great ability to coincide with impactful shock and horror amongst audiences by hooking them in the first-part.
However patience is often said to be a virtue. The second-half of ‘Audition’ acts as an enriched reflection of character study where personal traumas and moral, sexual and social boundaries began to blur and frustrations towards gender limitations became more prominent. Aoyama’s fear against women became a reality through Asami became a reality as a sardonic and satirical tone veiled the movie with a boundary where it was hard to truly root for anyone without having to acknowledge the ugly head of the character’s flaws. Reflected in the gradually illusive cinematography techniques which became gradually more vivid throughout this part Miike’s dark irony was perfectly captured in the final part with a shocking twist to its events.
‘Audition’ is a movie which is not for the faint hearted. It is slow-paced and tedious in its initial exposition and whilst failing to arguably wrap up some key points, it is still a movie which unlike many modern horror films understood the impact of suspense and building fear. The cast were were brilliant within their roles and Miike’s emphasis upon themes of gender and limitations disturbingly explode in clear vision for the delivered conclusion of the movie.
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A Thought-Provoking Adaptation..
With numerous adaptations across television and film ( including a predecessor Japanese version in 2001, as well as a loosely- based South-Korean adaptation called “ Hello, God” in 2006 ), it is only natural to raise the apparent question whether this recent Japanese version of Flowers For Algernon is actually worth watching as a stand-alone production.In this Japanese version of the eponymous novel, our main protagonist Shiratori Sakuto ( Yamashita Tomohisa) is a kind-hearted young man with an intellectual disability. Working for a floral delivery service, a misunderstanding between Sakuto and researcher Mochizuki Haruka ( Chiaki Kuriyama) leads Sakuto to developing a benign crush upon Haruka. Wanting to become “ smarter”, Sakuto with Haruka’s aid enters a top research programme with the hope of improving his IQ, however, as one thing leads to the next, Sakuto begins to realise that the world he’s been in living isn’t as perfect as it seems, as his relationships with his colleagues, friends and Haruka will change irrevocably.
In screenwriters Nojima Shinji ( Love Shuffle, 49) and Ikeda Natsuko ( Zekkyou, Ouran High School Host Club-2011) ‘s contemporary adaptation of Daniel Keyes’ 1959 eponymous novel, there would seem to be two prominent made to this version ( sans the cultural localisation in Tokyo) alone.
The most evident change being that the show places more sympathetic lighting for the characters associated with our main protagonist Shiratori Sakuto ( Yamashita Tomohisa), with an actual didactic focus upon most of these characters as individuals with emotions and their own problems rather than just merely plot devices. Then of course, the greatest change in the show comes through the focal point of the “ casual romance” between our main protagonist Sakuto, and researcher Mochizuki Haruka over the course of the series and a lot more than their predecessor counterparts in the novel.
Whilst their obstacles and later development in their relationship are paramount for Sakuto’s progression as a character, the relationship between Sakuto and Haruka truly ceases to be challenging in terms of the overarching storyline . Haruka for a major part of the series felt a little more objectified to simply the “ love interest” than an actual individual with thoughts and feelings. Arguably, this is the mould in which Sakuto “ sees” Haruka within, however, even in her own scenes, there was little to really draw up about Haruka as a individual , apart from creating more and more “ naive” and unfair misunderstandings for Sakuto without acknowledging how he may feel also.
Arguably Sakuto is fairly similar to Haruka in this department towards sometimes being “ unnecessarily cruel”, particularly towards the unfortunate second female lead Kawaguchi Rio ( Tanimura Mitsuki). Whilst the show did constantly attempt to make us question the boundaries of ethics and principles both in science and our male lead’s “ actions” , it is hard to truly feel pity for Sakuto in some cases after his behaviour with Rio- a kind-hearted girl who fell in love with Sakuto despite his intellectual disability, and soon became a form of “ grief” for Sakuto to inflict his feelings and anger upon. Whilst this did certainly add a touch of realism to complexity of actual relationships, the way that screenwriters Nojima and Ikeda initially dealt with Rio as both an individual and her storyline, felt both lacklustre and anticlimactic in the grand scheme of things.
In all honesty, the acting of Flowers For Algernon could sometimes be a bit of a mixed bag with genuine heartfelt, with some questionable performances. Yet what should certainly be said is that our main leads do not disappoint.
Whilst Sakuto is a complicated and questionable individual, there’s no denying that Tomohisa was brilliant within his dual performance as our main lead between the fine drawn line of innocence and cynicism over the course of the series . En par with Tomohisa, was undeniably costar Chiaki Kuriyama. Despite her character’s flaws, Kuriyama added much needed charisma to Haruka as a character. In addition to this, the show tackled some surprisingly difficult themes from discrimination against those with an intellectual disability, abuse and deeper philosophical and ethical questions including the pursuit of happiness in the face of intelligence.
Overall, it’s fair to say that Flowers For Algernon is a show which is fairly rough around the edges; the romantic factor ( although not predominant ) is a little lacklustre as the focal point , certain characters ( such as Rio) could have been written with more intrinsic purpose to the overall show and the pseudoscientific elements of the show could have been explained in more depth than just “ passed over” for the sake of plot progression. However, Flowers For Algernon is still surprisingly thought-provoking with deep moral questions posed for both viewers and our main protagonist Sakuto, an intriguing premise and a bittersweet , yet appropriate ending for our main lead’s journey from beginning to end. Although not flawless, this is worth a watch if you’re looking for something with thought-provoking questions.
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‘ F4 Thailand: Boys Over Flowers’; The Adaptation That Could’ve Been So Much More…
When ‘ Meteor Garden’ first introduced a mainstream audience to the world of Kamio Yoko’s shoujo Cinderella story back in 2001, very few individuals would’ve been able to have predicted the ongoing legacy and impact of Yoko’s work. Indeed nearly two decades and multiple adaptations later, a new generation has been introduced to the world of ‘ Hana Yori Dango’ through the Thai adaptation of the mangaka’s work ‘ F4 Thailand: Boys Over Flowers’. The sixteen-episode series has gained popular attention by fans and critics alike. However despite its praise, it is important to acknowledge that the series hasn’t escaped the realm of scrutiny and criticism either.Similar to its predecessor adaptations , ‘ F4 Thailand: Boys Over Flowers’ introduces viewers to its main female leader and heroine "Gorya" Thitara Jundee ( Tontawan Tantivejaku). An ordinary girl coming from a humble background, Gorya has entered Kocher High School, a prestigious school for the heirs of Thailand’s wealthiest families, through a varsity scholarship.
Gorya’s parents are over the moon with her attendance at the illustrious institution. Despite not being able to afford new shoes for their daughter, they are determined to ensure Gorya will finish high school with a praiseworthy diploma from Kocher. Yet despite rubbing shoulders with some of Thailand’s wealthiest heirs, Gorya has become weary of drawing attention to herself, especially with regards to her family status.
Aside from befriending classmate Hana (Wanwimol Jaenasavamethee), Gorya is determined to keep her head down until graduation. Indeed instead of partying or enjoying a hedonistic lifestyle like some of her classmates , Gorya spends her time predominantly divided between her studies, home and her part-time job at florist shop ‘Maytee O Garden’ ( a word pun homage to ‘ Meteor Garden’) where she works alongside best friend Kaning ( Yongwaree Anilbol).
However, Gorya’s hopes for a quiet life at school are soon dashed when she ends up on the wrong side of notorious F4 leader "Thyme" Akira Paramaanantra ( Vachirawit Chivaaree). With fellow F4 members “ Ren” Renrawin Aira ( Jirawat Sutivanichsak), "Kavin" Taemiyaklin Kittiyangkul ( Metawin Opas-iamkajorn) and "M.J." Methas Jarustiwa ( Hirunkit Changkham), Thyme’s tyrannical reign of bullying and authority over the school are suddenly challenged by Gorya’s defiance to become a scapegoat.
Despite Thyme’s bombardment of bullying tactics to make her back down, Gorya finds the determination to carry on through her growing unrequited feelings for F4 member Ren. Suave, mysterious and yearning over his childhood friend Mira ( Yongwaree Anilbol), Gorya finds her heart torn between her crush and her convoluted feelings for Thyme.
Of course it is important to to acknowledge that while ‘ F4 Thailand: Boys Over Flowers’ is an adaptation from mangaka Kamio Yoko’s bestselling work, ‘ F4 Thailand: Boys Over Flowers’ is respectfully ( like nearly all of the adaptations) a standalone production in its own right. Therefore, this has allowed certain opportunities and limitations by screenwriters Waneepan Ounphoklang, Jarinee Thanomyat and Suwanun Pohgudsai in order to encapsulate their respectfully young target audience.
One of the most efficient ways of keeping the audience intrigued came through the evident prevalence of technology in the series. From smart phones to social media, ‘ F4 Thailand: Boys Over Flowers’ placed heavy emphasis upon the sphere of modern youth culture. ( Especially through issues such as online harassment and cyber bullying in the early first part of the narrative.)
Nevertheless despite the grandeur shown through the everyday lifestyle of Thyme and the F4 , it is hard to ignore that issues such as abuse and bullying being glossed over by the series have been the subject of mixed-reception also. ( Especially with regards to the divisive relationship shown onscreen between Thyme and Gorya, arguably more lighthearted in comparison to other adaptations though not without its more controversial moments either.)
Tontawan Tantivejaku took on the role as main female lead and heroine "Gorya" Thitara Jundee. Actively involved in the world of modelling, it may surprise some that ‘ F4 Thailand: Boys Over Flowers’ marked the model’s acting debut . Nevertheless despite Tontawan Tantivejaku offering a fresh face to the role of the “tough and defiant” female lead, it became apparent that Tontawan’s inexperience at times often led to several awkward line deliverances over the duration of the series.
Of course this isn’t to entirely blame Tontawan Tantivejaku for her acting. Considering that it was respectfully the model’s first acting role, Tontawan carried herself surprisingly well throughout most of the drama , adding a surprisingly sweet and dynamic edge to her onscreen persona.
As an onscreen character, Gorya is admittedly a mixed-bag of writing strengths and flaws for the female heroine. Where other adaptations have struggled to encapsulate the female lead’s wider interactions with her family as well as their economic struggles, ‘ F4 Thailand: Boys Over Flowers’ added a surprisingly sentimental touch by focusing upon simple and daily interactions with Gorya’s family during most of the series.
However for a female lead who could be surprisingly resilient and laidback in comparison to some of her predecessors, Gorya could often feel as though she had hit a writing rut by the halfway point of the drama. This was mainly due to the fact that despite her initial growth by warming up to the F4 and attempting to navigate her own ambivalent feelings for Ren and Thyme, the second-half of ‘ F4 Thailand: Boys Over Flowers’ attempted to enforce Gorya into the leading role of the “ fickle heroine”; showing open affection, before seemingly changing her opinions out of an inconvenient dilemma and then dragging out major misunderstandings between herself and Thyme.
Although this cannot be entirely faulted as a bad writing decision per say by helping to intensify the tension of the series, ‘ F4 Thailand: Boys Over Flowers’ could sometimes inhibit further opportunities to see Gorya fully explore her mixed feelings in depth, or at least being given opportunities to grow or be explored beyond her specified role. ( This often resulted within Gorya’s later role in the series feeling somewhat stunted and enforced; rarely allowing her actions such as bending to the will of Thyme’s mother, feeling well-matched against her disposition and character.) Nevertheless despite a rocky first performance for the young model, there is certainly potential to see Tontawan Tantivejaku taking on future projects.
Then of course costarring alongside Tontawan Tantivejaku was Vachirawit Chivaaree ( alternatively known as ‘ Bright’) playing main male lead of the series, “Thyme” Akira Paramaanantra. For those familiar with Bright’s acting career, specifically for his role in the ‘2gether; The Series’, then most will probably agree that the actor certainly seemed an unusual choice. Nevertheless, Bright could be surprisingly tactful at times within his performance as Thyme; adding a nuanced touch of uncertainty and mixed-emotions through intonations and even micro-expressions onscreen.
However despite a superfluous amount of effort put into the role by the actor, it is hard to ignore that Bright’s approach to his onscreen character could feel somewhat overacted . This is not entirely the actor’s fault per say. Thyme’s written dialogue could often overblown at times and in addition to an onset of niche setups, Bright’s performance as Thyme was often somewhat inconsistent as a result.
This of course brings us onto one of the biggest elephants of the room within ‘ F4 Thailand: Boys Over Flowers’, main male lead Thyme. There are certainly some positive attributes to comment about Thyme. In comparison to some of his previous incarnations who were defined purely by their haughty exterior and sardonicism, Thyme could often be said to be a “ kinder” version of his predecessors. Indeed, Thyme was often defined by his petulance and fractiousness around the female lead ( such as his demands and desires) , but he certainly often wore his heart upon his sleeve also.
However although it could be said that Thyme offered a more open and empathic version of the main lead in comparison to other incarnations, there is still a divisive issue for critics and fans alike surrounding the relationship between Thyme and Gorya throughout the duration of the series.
Writers Waneepan Ounphoklang, Jarinee Thanomyat and Suwanun Pohgudsai arguably did present the notion that Thyme was hopelessly infatuated by Gorya. However it is hard to excuse that despite his seeming bursting affections for the female lead, his treatment towards Gorya’s could sometimes be unnerving.
To explain this further it is important to point out that Thyme isn’t the first incarnation to come under rapid fire for his treatment of the female lead. Surprisingly this is not to say that these actions and problems should not have existed in the series. (In fact it could be argued that they could’ve allowed an open platform to address these issues, especially with consideration to the target audience.)
On the other hand it is hard to ignore that Thyme’s frenetic actions were often a sticky subject in the series. Respectfully while Thyme was held accountable for some of his actions, it will still provoke debate and discussion surrounding the initial aftermath of his actions also. ( In particular having resorted to often “ blowing up” around Gorya; resorting to yelling, throwing things or becoming openly aggressive with his body language during arguments rarely being addressed with more script .)
Then of course there’s another big issue to discuss with regards to ‘ F4 Thailand: Boys Over Flowers’; Thyme’s “complicated” relationship with his mother and major antagonist of the series, Roselyn Paramaanantra ( Cindy Bishop). In comparison to certain adaptations which rarely ventured into the realm of Thyme’s bond with his mother being on a knife’s edge, the narrative often did present some early indications towards Thyme’s relationship with his mother being a difficult subject.
However instead of offering potential room for growth, Thyme’s estranged relationship with Roselyn was often widely disregarded until it was necessary for specific plot points. This was mainly due to the fact that
Thyme’s mother was often shoehorned ( like many adaptations) into the specific role of the antagonist; expediting the plot and dilemmas as well as giving the necessary introduction for Gorya and viewers to his older sister Tia ( Maria Poonlertlarp) but rarely being explored further. ( This was particularly shown in the latter-half of the series, leading to a dissatisfying conclusion for many.)
Then of course there’s Jirawat Sutivanichsak ( know alternatively by his nickname ‘ Dew’) as second male lead Ren. Similar to his costar and fellow model Tontawan Tantivejaku, ‘ F4 Thailand: Boys Over Flowers’ marked Dew’s first acting debut. Dew’s performance was decent enough by channelling into the mystique charm of his character. However whilst the rookie actor certainly made a decent acting debut, his performance in ‘ F4 Thailand: Boys Over Flowers’ could admittedly feel a little lacklustre with certain line deliverances.
Admittedly Ren served as a good example of writing an intriguing love rival for the main lead and a potential love interest for the main heroine. While he did not arguably quite possess the same joie de vivre as some of his counterparts, it was hard to ignore the fact that Ren possessed an element of enticing mystique and suave charm as an onscreen character . Nevertheless similar to some of the writing issues of the series, Ren’s character arc and development could feel somewhat flat lined by shoehorned plot events. ( In particular his character-arc and ambivalent feelings for his sister-figure Mira suffering from an anticlimactic conclusion.)
Tontawan Tantivejaku’s chemistry with costars Bright and Dew is admittedly variable from scene to scene. Nevertheless there is a certain charm especially from Tantivejaku’s onscreen and potential chemistry with Bright ( despite some arguably more divisive issues surrounding their onscreen characters), that helped to bring scenes to life and keep viewers enticed.
In addition to our main leads it is important to acknowledge the subplot revolving around supporting characters, M.J. and Kavin . Kavin’s potential wavering onscreen relationship with Kaning was placed on the sidelines of the narrative as a filler-in subplot to the main narrative ( though somewhat rushed by later plot events) , while M.J.’s “side story” was forced into a brief sponsorship sketch with KFC at the end of episodes. ( Often resulting in a conspicuous placement of a KFC food or drink product onscreen.)
However this is naturally where a major rut did hit the writing team for ‘ F4 Thailand: Boys Over Flowers’. Instead of having the opportunities to cram in myriads of chapter titles and arcs into a space of twenty, forty or fifty episodes, the series was limited with a short and compact time space of sixteen episodes. Naturally this enforced the writers to be cutthroat at times with certain plot lines and attempting to accommodate itself to fit its restricted format.
As a consequence of this time frame, ‘ F4 Thailand: Boys Over Flowers’ often seemed to fall into the honey trap of heavily relying upon several trope-induced storyline events of its predecessors in order to pad out the narrative. While the drama did make some executive decisions with plot revelations and decisions, it could often enforce certain plot events to feeling somewhat rushed. ( This was shown in particular with the delivered ending. Although helping to deliver a satisfying conclusion for viewers with regards to the delivered verdict of the main leads’ potential onscreen relationship, the heavy reliance upon endings from previous adaptations as well as failing to wrap up some counterplots were apparent.)
The production and filming for ‘ F4 Thailand: Boys Over Flowers’ has admittedly been through a bumpy ride under the leadership of directors Patha Thongpan and Aticha Tanthanawigrai through COVID-19. As a consequence of these issues, it was noticeable that ‘ F4 Thailand: Boys Over Flowers’ could sometimes be somewhat choppy with its editing approaches and style. Admittedly this was not entirely the fault of the production team per say. Yet rather than attempting to work around production problems and missing scenes, it could often lead to these sporadic editing cuts feeling starkly presented against some of the drama’s slicker production edits and glossy gradients. ( This was apparent in particular with episodes around the halfway point where at the ending of an important scene, the episode suddenly cut off into a less than smooth transition with little context or relevancy hinted at for viewers.)
The OST of ‘ F4 Thailand: Boys Over Flowers’ is predominantly composed of an array of gushing love ballads and pop songs, upbeat and lovelorn tempos gradually blending into one another as BGM during various scenes of the series. Nevertheless despite some respectfully less memorable songs throughout the duration of the series, there were still some surprising gems such as emotional solo track “ One Last Cry” by Violette Wautier and “ Who am I” by BRIGHT, WIN, DEW and NANI arguably remained particularly ear-catching throughout the drama.
‘The series offered an ambitious and intriguing direction to mangaka Kamio Yoko’s series with updated subject areas and topics attempting to resonate with a new generation. A young cast with many notable leads being played by acting rookies served as a good launching pad ( similar to many other previous adaptations) towards potential new projects and careers. Nevertheless whilst the series could often feel flawed by its inconsistent acting, storyline direction and production problems , ‘ F4 Thailand: Boys Over Flowers’ has offered a fresh and revamped adaptation for a new generation. Although perhaps ‘ F4 Thailand: Boys Over Flowers’ may not appeal to everyone, it is certainly a satisfactory binge-watch.
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Not A “ Revolutionary” Show, But Certainly Sickly and Sugary Sweet..
Storyline; Love Revolution ( based upon the eponymous webtoon) was surprisingly humorous at times for a “ sugary sweet and all things neat” idol drama. On the other hand, it’s important to note that a lot of the main story setting rides upon the old high school tropes of our “ puppy dog” Male lead Gong Ju Young (Park Ji Hoon) tried to chase after our “ indifferent and Ice Queen” female lead Wang Ja Rim (Lee Ruby) throughout cliche setups. Although there isn’t anything necessarily wrong with this, the story was consequently, unoriginal , the pacing was often disjointed and consequently made it easily forgettable and indistinguishable from other predecessor idol dramas.Is it the same as the webtoon?- The characters and basic premise are taken from the webtoon, however, there are some evidently “ safer” differences in the drama than the source material . Unfortunately , Love Revolution isn’t widely available yet in many languages outside of Korean, however, netizens and fans of the original webtoon have seemed to point out a lot that some of the original material focuses on “grittier” realities and storylines for our characters. Whilst the drama should be respected as a standalone production in its own right, it does raise some questions how different Love Revolution would have been if it focused on some more “ realistic” elements of these storylines, and if it would have made a difference to characterisation as well.
Characters; Love Revolution bases its characters upon main key tropes of high schoolers with Ju Yong as the “ lovelorn” Male lead, Ja Rim as the “ indifferent” love interest, Kyung Woo as the “ laidback” one (Young Hoon) and their associated friends ( respectfully played by Jung Da Eun, Im Da Young, Ko Chan Bin and Ahn Do Kyu ) mostly used for comical relief. As romantic dramas go , Love Revolution isn’t entirely terrible for character progression with more complicated reasons explained behind Ja Rim’s personality than at first glance as well as Kyung Woo. On the other hand, a lot of the characters progressively become used as plot devices as the series progresses rather than actual individuals with emotions.
Relationships; Although it’s important to note cultural differences and attitudes towards “ youth” relationships in Korea being a little more modest than some more countries, let’s also not kid ourselves that a lot of the show avoided evident and more “ realistic” elements of teens ( including showing this one episode is an “ embarrassing” misunderstanding after a sex education lesson) ; in order to avoid controversy ( especially with the careers of the idol actors of the show such as Park Ji Hoon and THE BOYZ’s member Young Hoon).
The evident main couple of the show is centred upon Ja Rim and Ju Yong w. Whilst a lot of their relationship is centred upon their differences, a more apparent and eye raising factor which can appear for viewers is the lack of communication and respect between the two teens. Ju Yong often seems to force Ja Rim into uncomfortable situations, whilst Ja Rim’s attitude and behaviour towards Ju Young did seem to send out some very mixed signals. Although Ja Rim should be blamed no more than Ju Young, their lack of communication and equal respect ( on both ends) did not advocate (even when they began to slowly get to know one another better), a healthy and respectful relationship. Of course the show shouldn’t be disregarded as it did try to show us the difficulties of a first real relationship on both sides , the lack of understand and development at times between the two as a couple was a little concerning.
Acting; There has always been a bit of a natural fallacy amongst drama watchers than idols can’t actually act , however, many idols such as IU and Im Siwan, have obviously proven these labels as being misguided . As Love Revolution is concerned, it’s fair to say that our idol actors aren’t terrible within their performances, however, it is fair to say that both Ji Hoon and Young Hoon’s acting is undeniably “ corny” at times and certainly not the best idol acting out there either,
Overall thoughts- Skip or Watch?- Love Revolution is another classic example of a clever marketing strategy by the respected companies and representatives of the idol actors and the makers of the webtoon to draw in a predominantly young fan base through sweet and sugary romance setups filled with tropes and cliches . It must be stressed that this isn’t a dire drama to watch and certainly something to consider to binge or if you’re a fan of these setups, however, for those who actually want depth to the story and characters, then there are so many older and better idol dramas out there to consider.
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Mystery to Iunakare; The Engaging Japanese Mystery Series…
When news broke out that Yumi Tamura’s mystery-crime manga ‘ Mystery to Iunakare’ ( ‘ ‘ ミステリと言う勿れ’) would be adapted into a twelve -episode Fuji TV drama, there was certainly trepidation and excitement towards the delivered result.Adapting a Josei manga to a television production series can be a complex affair for the production team. The abundance of manga chapters and volumes that often have to be forced into a compact screenplay , racing against time deadlines, as well as budgets and casting choices can truly make or break an adaptation.
Indeed, Fuji TV’s ‘ Mystery to Iunkare’ ( alternatively known as ‘ Do Not Say Mystery’ or ‘ ミステリと言う勿れ’) is no exception. However despite the restricted duration length, ‘ Mystery to Iunkare’ offered viewers with a fairly intriguing mystery-crime plot.
21 year-old Totono Kunou ( Masaki Suda- ‘Kamen Rider W’, ‘ Assassination Classroom’ and ‘ Konto ga Hajimaru’) is a student at Todai University and seemingly preferred pupil of psychology professor Haruo Amatatsu ( Kosuke Suzuki- ‘ Liar Game’, ‘ Doctor X’ and ‘ Konto ga Hajimaru’).
However Kunou has landed himself in hot water when he becomes a key suspect in the murder case of his classmate. Brought into Otonari Police Station, any doubts surrounding Kunou’s involvement in the case are soon diminished when he demonstrates his meticulous observational skills and intelligence to the detectives .
Detectives Seiko Furomitsu ( Sairi Ito- ‘ In This Corner Of The World’, ‘ The Naked Director’ and ‘ Momoume’ ) and Yuto Ikemoto ( Matsuya Onoe- ‘ Onna Joshu Naotora’, ‘ Hanzawa Naoki 2’ and ‘ Kamakura dono no 13 nin’) are shown to be particularly won over by the student’s actions and words, later giving him a helping hand during key moments and dilemmas of the narrative.
To a lesser extent, Kunou also helps to change the ways of Inspector Mariaki Aoto ( Michitaka Tsutsui- ‘ Bataashi Kingyo’, ‘ Iron Grandma’ and ‘ Jashin no Tenbin Koan Bunseki Han’). An enigmatic man carrying a big burden, Aoto is given some surprisingly enlightening advice by Kunou as to where he went wrong in the past.
As Kunou becomes determined to help solve mysteries and cold cases, Kunou finds himself involved in a growing mystery tying together his past along the way…
Nevertheless despite an intriguing setup, it’s important to note that the concept of the “ eccentric genius” and the “ mysterious and dark major case from the past” have been seen and done countless times before. However despite its “seen and done before” setup, ‘ Mystery To Iunakare’ is still able to grip viewers thanks to screenwriter Aizawa Tomoko’s established tone and character building.
Screenwriter Aizawa Tomoko, probably best known for her screenplays such as ‘ Very Sweet’ , ‘ Kagi no Kakatta Heya’ , and ‘ Boku Dake ga 17-sai no Sekai de’, adapted the screenplay for ‘ Mystery to Iunakare’ from Tamura’s manga. Similar to its predecessor, the series offered viewers with an element of dark suspense , tense mystery as well as moments of lighthearted respite in order for viewers to understand more about certain characters through interactions.
It’s hard to deny that the performances by the main cast of ‘ Mystery to Iunakare’ were fairly brilliant. Although there were some overblown moments of dialogue and acting, Masaki Suda playing the main lead of the series, Totono Kuno, and Sairi Ito starring alongside Suda as Seiko Fukomitsu, particularly stood out with their dynamic onscreen performances.
Nevertheless important to note that ‘ Mystery to Iunakare’ did feel somewhat limited at times by its pacing. Admittedly this did not engulf the full series. Tomoko’s narrative was fairly quick-paced at times, allowing several open opportunities in order to downplay key events and grip viewers through an array of intriguing characters also. ( Without definitive spoilers, these characters were gradually tied from counterplots into some events of the main narrative through various causes. )
On the other hand there were certainly several moments in ‘ Mystery to Iunakare’ that could feel somewhat stretched-out or felt unresolved . ( One of the most notable examples of this problem included Kunou’s childhood ; briefly touched upon in order to tie-in major events of the narrative, but often lacking a resolved ending or explanation .)
Under the directing leadership of Aizawa Hideyuki ( ‘ 5-ji Kara 9-ji Made’, ‘ Good Doctor’ and ‘ Radiation House 2’) and Hiroaki Matsuyama ( ‘ Liar Game’, ‘ Nobunaga Concerto’ and ‘ Switched’), ‘ Mystery to Iunakare’ was admittedly satisfactory with its editing and cinematography .
Of course this isn’t to downgrade the series completely. ‘ Mystery to Iunakare’ did boast some stunning tour de force moments through closeups of characters, settings and some pragmatic editing decisions. On the other hand ‘ Mystery to Iunakare’ could often feel slightly underwhelming at times by several sloppy cuts and limited camera angles.
Admittedly this isn’t entirely the drama’s fault per say. Fuji TV’s budgets are not extensive and limitations with filming should be expected. On the other hand it is hard to deny that it often felt as though that ‘ Mystery to Iunakare’ was still somewhat underwhelming at times by its limited camera angles and filming gradients.
Then of course there’s the discussion surrounding the OST. ‘ Mystery to Iunakare’ offered viewers with an eclectic range of comprised tracks; some of which were certainly more memorable than others. ‘ Mystery to Iunakare’’s main theme song and ethereal melody “ Chameleon” ( “ カメレオン”) by indie pop band King Gnu, alongside niche yet effective renditions of haunting classical music compositions such as Debussy’s ‘ Clair De Lune’ were particularly memorable.
Fuji TV’s twelve-episode series certainly offered an entertaining and enjoyable mystery-thriller. Of course, ‘ Mystery to Iunakare’ wasn’t without its more problematic issues such as execution and cliches. However with a potential sequel season alongside brilliant performances by the main leads, the drama series will like offer a satiable and indulgent viewing experience for any crime and drama fan.
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The Pirates 2: The Last Royal Treasure
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The Pirates: The Last Royal Treasure; A Tumultuous High-Seas Adventure?
The journey from screenplay to production has admittedly been a circuitous journey for ‘ The Pirates: The Last Treasure’. Originally intended as a sequel production for screenwriter Chun Sung Il ( ‘ Your Honor’, ‘ All Of Us Are Dead’)’s original screenplay ‘ The Pirates’ (2014), the severe impact of production problems were certainly evident onscreen.
Naturally to understand the root cause of some of the problems with ‘ The Pirates: The Last Treasure’ it is important to elucidate that the movie suffered a lot throughout its production.
A notable change of director from Lee Seok-hoon ( ‘ Dancing Queen’, ‘ The Himalayas’ ) to Kim Jung Hoon ( ‘ Petty Romance’, ‘ The Accidental Detective), original stars Son Ye-jin (‘ Crash Landing On You’, ‘ Personal Taste’ and ‘ Something In The Rain’) and Kim Nam-gil ( ‘ Bad Guy’, ‘ Live Up To Your Name’ and ‘ Fiery Priest’) abandoning ship alongside pandemic-induced delays did spell-out a lot of problems for Sung II’s production.
As a consequence of these contributions, ‘The Pirates: The Last Royal Treasure’ focused upon an entirely different setup from the first movie. Set in the late 14th century in the early Joseon period, the narrative focuses upon female pirate captain Hae-rang (Han Hyo-joo- ‘ Iljimae’, ‘ W’ and ‘ Happiness’).
After coming into possession of a mysterious treasure map, Hae-rang becomes fixated upon the notion that the hidden treasure was gold sourced from the royal palace and then lost at sea. However Hae-rang is not the only one obsessed over the promise of luxurious valuables . On board her ship is a cadre of bandits, led by ringleader Wu Mu-chi (Kang Ha-neul- ‘ Monstar’, ‘ Misaeng: Incomplete Life’ and ‘ When The Camellia Blooms’).
The self-proclaimed “ Greatest Swordsman in Goryeo”, Mu-Chi begins his schemes in order to launch a coup and take over the ship.
Nevertheless when unwelcome rival Boo Heung Soo ( Kwon Sang Woo- ‘ My Tutor Friend’, ‘ Stairway To Heaven’ and ‘ Queen Of Mystery’) arrives on the scene with a keen interest in competing for the treasure, Mu-Chi and Hae-rang may just be forced into an allegiance of sorts, as betrayals and twists soon come their way…
One of the most problems with ‘The Pirates: The Last Treasure’ came through its script. As mentioned previously, the production was naturally caught in a rut after Chung Sung II was forced to rewrite parts, recast and subvert the storyline in a very short space of time.
However whilst certain excuses can be given for the film’s troubling filming and writing schedule , it’s hard to truly justify the film’s unmodified and particularly cataclysmic opening act. A barrage of rushed character introductions, predictable betrayals, sudden flashbacks and dream sequences are crammed forcefully into a very short space of time .
Indeed, instead of spreading out the narrative and allowing the structure of the film to feel circumstantial and well-paced, ‘ The Pirates: The Last Treasure’ admittedly felt somewhat disorientating and chaotic in its first half.
The second-act admittedly was less anarchic and did allow some opportunities in order to tie together a form of coherent plot, but still due to the poor buildup and structure of the movie, the final act of ‘ The Pirates: The Last Treasure’ was somewhat risible.
Of course it’s wrong it’s wrong to entirely suggest that ‘ ‘The Pirates: The Last Treasure’ wasn’t an enjoyable movie at times. Whilst it’s gnawing inconsistencies of pacing and writing were evident, ‘The Pirates: The Last Treasure’ was still fast-paced, entertaining and adrenal-infused with its swashbuckling bravado and overindulgent CGI.
Then of course there’s our main cast. Aside from some inconsistent acting moments at times in ‘ The Pirates: The Last Treasure’, Han Hyo-joo was fairly solid as main female lead Hae-rang, whilst costars Kang Ha-Neul and Kwon Sang Woo were fairly decent also.
On the other amongst the jam-packed action of ‘ The Pirates: The Last Treasure’, the array of characters onscreen felt often vacuous. Absent opportunities in order to explore or flesh out characters, in particular how a young woman became a pirate captain, was rarely developed beyond its surface level plot hook.
As for the cinematography, ‘ The Pirates: The Last Royal Treasure’ offered viewers with a high-budget bonanza under the directing reigns of Kim Jung Hoon. The overall product glossy but often heavily indulging upon CGI en masse without a greater focus on shots or the art of capturing the characters in more subtle detail. The OST is an odd accumulation of tremendous scores, alongside upbeat modern bops; a surreal mixture which whilst working effectively in parts, could feel somewhat out of place in other scenes.
‘The Pirates: The Last Royal Treasure’ attempted to offer viewers with a fun and action-engaged plot throughout its 126-minute duration. Nevertheless, despite some engaging performances by our main cast and some fast-paced action sequences , ‘ The Pirates: The Last Royal Treasure: often felt as though it was a chaotic bricolage of poor-pacing, story direction and enforced tropes .
For those willing to overlook the flaws of ‘ The Pirates: The Last Royal Treasure’, the movie offered viewers with a disorderly swashbuckling adventure filled with daring laughs and fight scenes as well as hare-brained escapades along the way…
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Nanba MG5; A Surprisingly Heartwarming Drama…
Adapted from the eponymous manga and its sequel ‘ Nanba Deadend’ by mangaka Toshio Ozawa, the 10-episode Fuji TV series ( sans the specials) ‘ Nanba Mg5’ is a nostalgic love letter to the bygone eras of delinquent school mangas and action heroes.
Although the series could often possess an overinflated element of cheesiness with its one-liners, the inner-monologues of the Nanba family’s dog ( voiced by Tsuda Kenjiro) and its fight scenes at times, ‘ Nanba Mg5’ was surprisingly heartfelt and sincere at times with its tales camaraderie and family as well as the unlikely discoveries and challenges faced for main lead Nanba Tsuyoshi (Shotaro Mamiya).
For those unfamiliar with the setup of the series, the narrative of ‘ Nanba Mg5’ is mainly focused upon male lead Nanba Tsuyoshi. Nanba is lucky enough to be able to get into a fairly good educational institution with his exam grades , Shirayuri High School. However, there is a catch; Tsuyoshi’s family are loud, proud and brazen delinquents.
Determined for Tsuyoshi to follow in the footsteps of his older brother Takeshi ( Shinnosuke Mitsushima) by defeating and conquering different regions of Tokyo and Japan, Tsuyoshi is forced to hide his attendance at Shirayuri from his parents ( Ukaji Takeshi and Suzuki Sarina), his brother and his younger sister Ginko ( Nanoka Hara) by pretending to attend the delinquent school next door.
In addition to hiding his place at the school from his family, Tsuyoshi is forced to hide his delinquent background from his classmates and peers, especially from his crush Fujita Mayuki ( Morikawa Aoi). However as Tsuyoshi is caught between two worlds, he is soon faced with unlikely friendships and alliances such as with delinquents Daimaru Daisuke ( Morimoto Shintaro) and Godai Naoki ( Kamio Fuju) as well as new obstacles and dilemmas that may just threaten to expose his dual identity.
‘Nanba MG5’ was adapted to the small screen by director Katsuyuki Motohiro. Known for his involvement with the popular anime series ‘ Psycho Pass’, as well as ‘ Bayside Shakedown’ series and ‘ Stranger’, it is fair to say that Motohiro’s style of fast-paced action, angsty moments and heartfelt character growth was fairly well-suited for the adapted screenplay ‘ Nanba MG5’.
Noticeably in comparison to some of his previously mentioned titles, ‘ Nanba MG5’ was heavily interlaced with lighthearted comedy and comic relief. While this certainly helped to balance out some surprisingly violent fight scenes and darker moments of the series by offering moments of easygoing respite, it wasn’t without its problems at times either. The comedy was fairly tongue-in-cheek at times, with one of the show’s running gags being the inner-monologues of the Nanba’s family dog Matsu ( as previously mentioned voiced by Kenjiro), the coarse vernacular used by the delinquents of the show as well as Tsuyoshi’s “ Yankee” past and background occasionally being exposed or misunderstood by those around him.
Although for the most part the comical elements of the show were fairly funny, there were times in the series where comical one-liners and Matsu’s monologues could feel somewhat out of place or enforced after a particularly serious moment or exchange. This is not to say that these elements of the show shouldn’t have exited at all but there were certainly parts of the show which could’ve toned these elements down without making parts of the comic relief in ‘ Nanba MG5’ feel so constrained.
The next big part of the series to talk about is the acting. ‘ Nanba MG5’ was admittedly a slight mixed-bag when it came down to acting performances. Although the main cast really helped to animiate their onscreen personas to life with main actor Shotaro Mamiya and supporting actors Nanoka Hara, Shinnosuke Mitsushima and Morikawa Aoi offering consistent performances alongside others, there were moments in ‘ Nanba MG5’ where the acting could feel somewhat contrived by line deliverances.
Admittedly this is not entirely the fault of the cast. Although ‘ Nanba MG5’ was often purposefully hyperbolic and over-the-top with its written dialogue as well as surprisingly direct during sincere moments, the dialogue could sometimes suffer a little as a result of being a little wooden during key moments.
Then of course there’s the discussion surrounding the plot and the trajectory taken by director Katsuyuki Motohiro. Considering the time limit as well as the amount of source material that the writing team would have to get through in a short space of time, the series’ narrative was unsurprisingly cutthroat.
However aside from from evident updates of technology and expressions to prevent the series from feeling alienated amongst its current era, fans of the manga series will likely acknowledge that the narrative is surprisingly faithful to the original manga. ( Although some fans may be surprised to see that some key characters or moments from later chapters in both mangas were cut out in order to make way for the climax and changed somewhat in the drama.)
In terms of narrative build, ‘ Nanba MG5’ could feel somewhat approached in the style of narrative stages.This isn’t an entirely bad thing per say. It allowed the audience to see Nanba’s journey, his passions towards art, his family and peers grow as well as his later struggles and challenges along the way. On the other hand as a result of the series attempting to stage Nanba’s dilemma in the latter half with his identity, it often felt that a lot of key interactions and elements of character growth were quickly dismissed or not fully fleshed out. ( As seen with Nanba’s relationship with crush Fujita. Although Fujita certainly had some serious moments of character redemption in comparison to some of her past actions, the hinted feelings between both characters was a little rushed by the ending. Similarly, Nanba’s dreams to chase art, Godai’s relationship with his mother, Daisuke’s hinted feelings for his old classmate and Takeshi’s redemption arc which were hinted at during various moments of the series and were covered slightly more in the manga, often felt a little disregarded and underdeveloped by the ending.)
Although it is wrong to entirely pass condemnation on the series’ rushed parts with the potential special episode ‘ Nanba MG5: Zenkai Baribaride Arigato-hen’ helping to smooth out the aftermath of events for Nanba and his associates, it did feel somewhat noticeable at times that these characters and storyline events were sometimes put on the sidelines. ( Especially by the ending of the series.)
The stylistic approach to ‘ Nanba MG5’ was fairly simplistic with close-ups and long-distance shots for the most. Of course, the show occasionally dabbed with minimal bright and dreary palettes in order to express mood and tone but its main highlight undeniably came through it opening and closing credits. In order to encapsulate the crazy and unconventional world of Nanba and his situation, the opening and closing scenes would often burst to life with the main characters being caricatured into cartoon sketches in between footage moments of the series. It was a certainly a fun approach to the series although it did feel as though ‘ Nanba MG5’ could’ve benefited at times from having that bubbly and imaginative approach to filming and editing throughout some of its main episodes also.
The OST of the series is a fairly bright and upbeat mixture of vocals and instrumentals. Although certain tracks certainly remained more memorable than others, the main theme song alongside compositions such as ‘ KENKA JOUTOU-KAKATTEKOIYA’ and ‘ SUSPICION-GIWAKU’ were particularly catchy at times alongside others.
‘ Nanba MG5’ could sometimes struggle somewhat with its rushed writing and line deliverances but there was something surprisingly sincere and wildly fun about the series. Despite risking feeling out of place with its subject area and themes at times, ‘ Nanba MG5’ was surprisingly relatable with its themes of school pressure, identity, family and prejudice, as well as still being able to feel like a nostalgic love letter to the delinquent mangas and shows of the past. Although slightly rough around the edges, ‘ Nanba MG5’ is a fun, heartfelt and an entertaining series which is perfect for those looking for something easygoing and heartfelt to watch. Overall, a fairly fun watch.
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Love Is Not Always Blind…
‘Koi Desu: Yankee-kun to Hakujou Garu’ ( alternatively translated as ‘ It’s Love; Yankee-Kun and The White-Cane Girl’) is based upon the manga ‘ Yankee-Kun and The White Cane Girl’. Adapted to the small screen by screenwriter Matsuda Yuko, ‘ Koi Desu: Yankee-kun to Hakujou Garu’ revolved around the sweet and unusual love story between Akaza Yukiko ( Sugisaki Hana) , a girl diagnosed with amblyopia ( a condition where the individual suffers from impaired or degraded vision) who uses a white stick, and a kindhearted delinquent Kurokawa Morio ( Sugino Yosuke). Despite initially being put off by his persistent attitude and self- proclaimed “ feelings ” for the female lead, Yukiko finds herself gradually warming up to the eccentric delinquent despite many obstacles that face them.Whilst sometimes a quick aside from comedian Hamada Yutaro ( playing himself) or a voiceover by Yukiko could feel a little arbitrary at times , it was evident to see that throughout more predictable romantic setups, the drama desperately pushed forward positive and didactic messages in order to disperse social stereotypes and stigmas surrounding blind and visually impaired individuals.
However whilst praise and commendation must be given to ‘Koi Desu: Yankee-kun to Hakujou Garu’’s themes and depictions, the acting could admittedly was a mixed-bag . Of course this isn’t to bring down any of the respected actors as individuals. Sugisaki Hana’s onscreen performance as Yukiko captured the mannerisms of her character’s amblyopia subtly, whilst Sugino Yosuke added a heart-melting charm to Morio onscreen. Nevertheless it is notable that certain line deliverances by the cast could sometimes feel exaggerated.
As a character , Akaza Yukiko undeniably has her screenwriting strengths and weaknesses. She’s not defined as a main female lead by being “ frail” or “ timid” female lead trope due to her visual disability, and instead, was often shown to have a more stubborn side when problems arise due to a hurtful experience in the past. Whilst this incident admittedly did play a major role through brief foreshadowing in early episodes, the “tense” buildup could often feel anticlimactic . Foreshadowing towards Yukiko’s past could’ve easily been brought up early on to deliver greater impact in later episodes. In particular this subject could’ve easily been conveyed more frequently through conservations and interactions with her older sister Izumi ( Nao) as well as her father Seiji ( Kishitani Goro).
However this also brings up the elephant in the room in the series also; Yukiko’s family dynamic. Understandably it is not uncommon for different beliefs and viewpoints to be taken by family members towards a visually impaired relative. In the series this was often reflected by the differences between Yukiko’s sister being overprotective towards Yukiko whereas her father Seiji could often adopted a laissez-faire and easygoing attitude. It felt odd that aside from Izumi being the first to disapprove of Kurosawa being “ unworthy” for Yukiko, there was little reaction or insight into Yukiko’s own feelings towards her sister acting this way. Additionally there was rarely little conflict presented between Yukiko and Seiji’s different viewpoints in order to present greater insight for viewers into this differing family bond also.
Naturally this brings us onto main male lead Kurosawa Morio. Morio embodied the stereotypical stock trope of the “ delinquent with a heart of gold”.His physical appearance ( and especially his scar) have given him a bad reputation over the years. However despite first appearances, Morio is revealed to be a naturally kindhearted soul. Throughout the series Morio tried his best to accommodate to Yukiko by asking and learning more about her everyday life. Yet whilst Morio is undeniably a male lead with a big heart , there were certainly moments regarding his character arc which could often feel disjointed. Of course it was not necessarily quintessential that we had to know everything about Morio’s background or past. Nevertheless there was still a lot of potential to have delved deeper into his reasons for being perceived as a “ failure” and dropping out of school, greater social stigma surrounding his “ delinquent” appearance ( aside from a few key scenes when it was necessary to the plot) , the reasons behind his current adopted mindset as well as his home environment also.
Of course this brings us onto the main topic of discussion; the romantic relationship between our main leads. Sugino Yosuke and Sugisaki Hana had fairly dynamic onscreen chemistry together adding to a charismatic and friendly interactions onscreen. As characters it shouldn’t come as a surprise that there were many obstacles presented throughout the storyline to “ complicate” matters between Akaza Yukiko and Kurosawa Morio’s potential relationship. Naturally whilst a lot of these opportunities saw opportunities to facilitate heartfelt and angst-ridden scenes in order to explore relationships, feelings and strengthen relationships chemistry, there were some still some predictable tropes which lacked the element of surprise also .
Overall ‘Koi Desu: Yankee-kun to Hakujou Garu’ is a fairly sweet and laidback love story. The acting front is decent enough ( sans from a few awkward scenes and lines) and the main leads have enough chemistry to keep viewers entertained. Admittedly the characters could often feel archetypical at times but the series enjoyed diverging from expectations and allowing characters to grow from their experiences. Perhaps whilst a few areas and topics which could’ve been brushed up more, ‘Koi Desu: Yankee-kun to Hakujou Garu’ will likely be a fairly heartwarming watch for any romance fan.
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The Road To Happiness Isn’t Always Easily..
Coming across the comment section for “ Hello, God” (2006) it strikes me as surprising that this will be the second review, and the first English-language review posted on this section. Nevertheless it’s important to try to give an honest review for any drama ( regardless of its popularity of time of production) , including “ Hello God” (2006) .Before we begin with noting the actual critical appraise and inconsistencies of the drama, perhaps it is important to note that “ Hello, God” (2006) is often swept under the rug by a lot of drama fans in favour for more popular contemporary productions from around this period such as “Stairway To Heaven”(2003) and “Hello, My Teacher “(2005) which notably gathers more prolific actors and mainstream appraise by audiences both in South- Korea and amongst the drama-watcher community .
Yet against all odds, “ Hello, God” (2006) is surprisingly a good example of a forward-thinking and philosophical concept loosely based upon Daniel Keyes’ novel “ Flowers For Algernon” ( later adapted into a Japanese 2015 version also called “ Flowers For Algernon” ) , retrospectively trapped in a specific mid- 2000s time warp of dated camera quality, outfits as well as notable romantic cliches .
With evident localisation in South-Korea by screenwriter Kang Eun Kyung ( “Dr. Romantic”, “Where The Stars Land”), “ Hello God” is fairly similar to Keyes’ novel, centralising upon a kind-hearted young man named Ha Ru ( Yoo Geon) who has an intellectual disability and decides to go through a pseudoscientific surgery in order to become “ smarter”.
Yet for a show which attempted to intrinsically focus upon the philosophical questions of morality, “ Hello, God” was often outweighed by its own cliche focus of the “ love triangle” and romantic pairings, particularly between Ha-Ru and his benign feelings for the the “fraud”, petty criminal and love interest Eun Hye ( Kim Ok Bin) , who in turn harboured feelings for the head surgeon of Ha-Ru’s operation Park Dong Jae ( Lee Jong Hyuk).
Although, there was nothing intrinsically wrong with having a romantic love interest for our main lead ( in order to add something extra to the storyline as well), Eun Kyung seemed to overly outweigh the romantic and melodrama cliches, rather than balance this in the show with the more intrinsic philosophical questions which arose throughout Ha-Ru’s journey as an individual.
Arguably “ Hello,God” did have some surprisingly progressive characterisation amongst our main characters - Ha-Ru often acts out emotionally upon his feelings, whilst Eun Hye gradually begins to progress from a self-centred love interest to an altruistic heroine over the course of the series. The acting in the show could be a mixed bag amongst the cliche setups of our main characters,however, Kim Ok Bin, Yoo Geon and Lee Jong Hyuk did help to add charisma and charm to their roles for viewers .
On the other hand , this does not disregard the fact that for a drama with an intriguing and fairly original premise from its source material, the storyline was too heavily reliant upon nonsensical cliches . Nevertheless, whilst there are still some bones to pick with the overall plot inconsistencies brought forth in the ending ( not least the lack of explanation towards the pseudoscience of the series), the delivered finale was surprisingly bittersweet; an appropriate ending , considering the overall storyline of the series.
So, what’s left to really say about “ Hello, God”? Is it a drama which should continue to be buried away by drama watchers , or is it actually worth watching?
Whilst undeniably dated retrospectively with wardrobe attires, format and a mediocre OST, “ Hello, God” has some surprisingly progressive factors for a mid 2000s Korean-drama with a thought-provoking premise, characters who are written as individuals and a fairly well-rounded female lead who doesn’t comply to the typical stock “ generic girl -next- door” heroine popular in contemporary dramas of the time . On the other hand, “ Hello, God” is heavily outweighed by romantic cliches, rather than ethical, moral and philosophical questions (which were naturally hanging over the concepts of the show), as well as the ridiculous pseudoscientific elements (which weren’t explained by the medical professional Dong-Jae at all in the drama). “ Hello,God” is not a terrible show if you’re bored and want something to quickly binge-watch, however, it certainly was not as thought-provoking as it should have been either.
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A Bloodthirsty Journey Down The Rabbit Hole...
“Alice In Borderland” is one of this shows which (judging from what you’ve probably read by previous reviews), attracts typically three main audience types; diehard fans of the original manga, J-drama fans of either particular cast members and a minority of “ casual” drama watchers who have either stumbled upon the drama during a search or have just been recommended it. For those in the former category, it’s fair to say the biggest question which should be raised is if the first season of Alice In Borderland is actually worth watching, or if it is simply a waste of time.As you can probably guess from the mention of this drama being a “ first season”, it’s wrong to entirely claim that some of the show’s flaws won’t be fixed in later episodes , however, there are a couple of notable reoccurring themes , inconsistencies and problems which should be mentioned to anyone considering watching this first season.As an idea the show is both intriguing, disturbing and undeniably quite ingenious throughout some of its storyline . From “ Liar- Game” and “ Battle- Royale” -style puzzles and fights , plot twists to the notable name references from Lewis Carroll’s surrealistic classic “ Alice In Wonderland” ( Arisu of course being “ Alice” as our protagonist ), there is of course a notable array of reoccurring and intriguing characters introduced into the show who all play intriguing roles . In particular these include; a mysterious girl and mountain climber called Usagi , the taciturn and conniving Shuntarō Chishiya ( Nijiro Muramaki) and his accomplice Hikari Kuina ( Aya Asahina ) as well as strong militant fighter Aguni Morizono ( Sho Aoyagi).
It should be said , however, that the acting in the show is bit of a mixed-bag .Whilst Kento Yamazaki ( Todome No Kiss and Death Note-2015) is undeniably a fairly good actor, there’s no sugarcoating that his performance as our main protagonist Arisu was a little lacklustre to say the least , with several scenes throughout episodes of fairly generic line deliverance . Similarly whilst Tao Tsuchiya ( Mare, Orange) wasn’t bad as our female protagonist Usagi, her performance was a little questionable in consideration to her fame as a fairly renowned actress. Perhaps the one role which was certainly well-performed in the show and must be given some praise to is Nijiro Muramaki’s (Anohana; The Flower We Saw That Day-2015 , and The Isle of Dogs) roel as the intelligent, mysterious and conniving player Shuntarō Chishiya ; a character who against all odds is more likeable than the male lead.
By all default Arisu had all the right traits of being both a likeable and deep male lead; a traumatic past with his family, experiencing loss and loneliness, intellectual and undeniably socially-awkward at times as well gave boundless opportunities for character growth . Sadly, the biggest issue with Arisu’s characterisation was that against all the action and bloodthirsty moments of the series, there was little time provided for us as viewers to either reflect or see Arisu being able to contemplate these moments both through his interactions with other characters and through his own doubts as well. Whilst it can be argued that Arisu’s poor character depth was a it consequence of the show “ running out of time” than anything else, there is still the notable presence of minor well-written characters such as Kuina and Aguni who actually have quite good character depth, interesting pasts and are fairly three-dimensional in comparison.
This resulted in Arisu often coming off as a notable plot device in the series rather than an actual character; impassive to certain events and only really having the “ driven- angst” when it was necessary for a plot event rather than allowing Arisu to be a likeable male lead.
The ending was undeniably open. This is naturally because the show will receive a second season and allows the plot to extend outwards, however, there were several notable flaws in this first season alone from acting abilities, a fairly lacklustre OST and even our main protagonist’s depth which will probably need to be smoothed out or at least focused upon going forwards. Overall, the first season of Alice In Wonderland was far from a masterpiece ( in addition to some questionable CGI as well) , however, nonetheless it was a fairly thrilling journey down the rabbit hole into a bloodthirsty Wonderland ; undeniably ridiculous at times, but surprisingly a fun ride.
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Unknown; A Drama with Wasted Potential...
Unknown is arguably one of the weirdest dramas from 2023 so far. This statement does not come from the plot itself. In fact, on paper, the drama was engrossing; a vampire called Yamihara Kokoro ( Takahata Mitsuki), pretending to be human, falls in love with a human policeman Asada Toramatsu (Tanaka Kei). Toramatsu's skeletons in the closet come to light as the drama precedes. As Kokoro and Toramatsu attempt to navigate their new sense of the everyday, their lives are interrupted by a series of brutal murders.
Where the problem became apparent with Unknown came through the writing and execution itself. Initially, the story began on a solid foot. Viewers learn early on that Kokoro's family are vampires. She is dating a human and struggles between her identity and shielding elements of her life from Asada. The early teasing by the screenwriter Tokuo Koji ( Ossan's Love and Eiga Engeki Success So) for the series is a mystery thriller with elements of slice of life was soon interrupted by the attempts to bring about '' shocking twists''.
Of course, a dramatic twist or moment of sudden reversal for the characters can work well in a drama, given that it is well incorporated into the plot. The problem with Koji's writing came from trying to outdo the last twist in a series of events, which becomes increasingly ridiculous in later episodes. By the end of the series, the more relevant plot twists were so lost in the multitude of loose plot threads that they lost their true significance in the series.
The acting of the series was okay. It was nothing particularly award-winning ( especially considering the more over-the-top performances), but it was watchable for the most part.
Takahata Mitsuki offered arguably one of the best performances in the series as the vampire and journalist Yamihara Kokoro. For the most part, Kokoro is a fairly kindhearted character who attempts to live a simple life by adapting to the modern world. She has a close relationship with her parents ( though her relationship with her brother is rarely explored, even in minor scenes to their full potential). She cares deeply for her boyfriend and fiancé Yamihara. One element which became apparent in Kokoro's character was that she rarely seemed to have a more profound sense of authority or putting her foot down. It is understandable not to want to upset others ( in fact, this would have been an exciting flaw for Kokoro to have possessed). Still, her questionable relationship with Kagami Keisuke ( Machida Keita) was bizarre. For a character like Kokoro, it seemed odd for her not to question or worry about how she practically had a flirtatious relationship with Keisuke, even in front of Yamihara. The series attempted to add a shocking twist on this front, but how this was left lacked a lot.
Tanaka Kei starred as policeman Asada Toramatsu and Kokoro's fiancé. Toramatsu had a lot of potentials to be morally ambiguous and complex. His backstory and relationship with his father were hinted to have been a major driving force of the series, and while it did possess some intriguing aspects, its blunt deliverance and rushed conclusion lacked a lot of dramatic impact and buildup. This resulted in Toramatsu's character being a bit weak in his writing. He certainly had kindhearted elements to his character and a good heart. Still, considering the number of deaths and conflict around Toramatsu, it seemed odd that this character was not given full justice through his development.
Other vital characters included Kokoro's theatrical father, Yamihara Kaizo ( Yoshida Kaizo), an attempted piece of comic relief for the series, which, while funny in scenes, became a bit exhausting at times. Kokoro's mother and Kaizo's wife, Yamihara Iori (Aso Kumiko), is a reasonably fun character in her own right. The series was going for a Morticia and Gomez dynamic, with the couple seemingly being head over heels for one another in a more morbid manner. However, a lack of romantic chemistry between the characters and a lack of dynamic between the actors often meant this relationship fell slightly flat.
Kagami Keisuke enacts as Kokoro's co-worker and potential love interest. Keisuke and Kokoro's relationship dynamic was arguably one of the most bizarre in the series ( including an attempted threesome date with Toramatsu, despite the male lead disliking him). The drama tried to pull a sudden, surprising twist in the final part of the series, but a lack of proper build-up and writing made this feel rushed and poorly developed.
Other supporting characters included Yoyozuka Yukio (Kote Shinya), Igarashi Matsuri (First Summer Uika), Yamihara Ren (Inoue Yuki), Igarashi Daigoro (Sota Ryosuke), Niwatsuki Genji ( Sakou Yoshi), Minamijuji Hajime (Niiro Shinya), Soga Shinichi (Ishikawa Zen) and Imafuku Ume (Kino Hana). Although these characters were fascinating in their own right, they were rarely given enough screen time or development to be explored to their full potential.
The OST was decent. Kono Shin composed some decent tracks, such as ''UNKNOWN MAIN THEME'', which were haunting. The cinematography was strange in that the opening had the highest production budget of the whole series. Directors Kanai Ko and Ruto Toichiro attempted to add to the mystery element by revealing minor parts of the ending in the opening credits per episode. This was quite a creative take with all things considered but a mixture of rushed execution and convoluted plot twists often resulted in the impact of the opening losing its meaning over time. The actual quality of the series was average.
Unknown was a drama which was filled with wasted potential. Poor writing decisions and a lack of character development meant they needed further development. The acting was not bad, but they were not performed in a way viewers could take entirely seriously. Overall while short in length, Unknown was a waste of time and potential despite its exciting premise.
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