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Brother Beat tells the story of a Tokyo housewife and her 3 sons. After her husband passed away she was left to raise 3 rumbustious boys all on her own, but after the kids reached a certain age this mom hung up her apron, leaving all the household chores to the boys.
The boys carried out their duties with varying degrees of dedication, but still, men doing house chores in Japan is a novelty to me so I appreciated their efforts with awe.
Mom was an offbeat, carefree character & while you're likely to see her face if you look up the definition of slacker mom, I actually think she did her sons a service by teaching them to be self-sufficient at home and not leave all the household chores to her or their future wives. To date I have never seen a Japanese man help out his wife/girlfriend in the kitchen (or lift a finger around the house). Granted I haven't seen that many Japanese dramas or movies but it was nice to see this occur in Brother Beat.
I'm no feminist, but I'm certainly for mutual respect and equal treatment between the sexes & here in this drama I think a fair balance was achieved in so much as can be achieved in a traditional, patriarchal society like Japan.
Moreover, the girlfriend of one brother in particular may strike you as your typical docile Japanese belle, seen but not heard, but nothing could be farther from the truth. I liked how she stood up for herself when he passed his place. It gave me the confidence to believe that in a traditional relationship the woman need not be a doormat.
Brother Beat was just an overall great slice of life drama, man. A revolving door of themes were explored, from lighter stuff to more heavier fare, but it never got dark. Everyone played their roles really well. That positive, upbeat, feel good vibe was maintained throughout the series and that's why I loved it. I almost couldn't believe I was watching a Japanese series. Usually melancholy, sadness, depressing worldviews are staples in Asian cinema, particularly Japan's, but not this time around. This was just pure enjoyment and escapism. The episodes flew by in a jiffy, leaving you wanting more.
It was refreshing to watch a drama where young people acted as you'd expect them to. Especially when it comes to young men, you know they're having sex and they didn't skirt the issue in this drama. This is something the Japanese is decidedly better at dealing with than the Koreans who tend to frustrate me with their innuendo and allusions when it comes to sex. It's like the big pink elephant in the room no body wants to acknowledge, lol.
As usual, though, the lack of kisses was a disappointment. They were pretty much non-existent and when they did occur it was your standard frozen kiss. No passion, no engagement, no nothing, just ... blah. Sigh. Aside from that, though, this drama was flawless entertainment, but I guess you can't have your cake and eat it too.
I wouldn't hesitate to recommend Brother Beat to anyone. It's the best family drama I've seen to date. The Sakurai family is a wild, but great bunch. Mom put a wonderful spin on the typical Japanese housewife archtype and her rough housing with her sons is quite adorable to watch. Last but certainly not least, female viewers will be particularly pleased with the brothers. They're certified eye candy, esp the older two. I mean seriously. THEY.ARE.FINE!!! :-)
If you don't watch this drama, you're really missing out!
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Basically what I disliked the most was its message that a woman's worth is determined only by her beauty.
The story, about a selfish, cocksure playboy architect who falls for an "ugly" woman due to a temporary vision impairment, was pointless and shallow. The hero was a jerk for most of the movie. He did little to endear himself to me, and the supposedly "ugly" heroine was anything but. I think if you're gonna make a movie about a playboy falling for an "ugly" woman don't cast a woman who looks like a supermodel, put fake buck teeth in her mouth and pass her off as ugly. That's just weird, disingenuous. Cast someone plain then at least the movie might have acquired a little authenticity, if nothing else.
I was surprised to learn that Kang Ji Hwan who I recently saw and liked in LIE TO ME was the male lead in this movie. His acting was okay, but I didn't like him in this role. There was no growth to his character. He started out being a shallow bastard who takes advantage of women and pretty much remained that way 'til the end.
I've heard a rumour that South Koreans are unusually fixated on looks. If there's any truth to that I guess this film isn't so far fetched. Nevertheless, I couldn't get over the blatant objectification of its female cast members.
I try not to judge East Asian culture through the prism of western ideals, and for the most part I don't mind that they adhere to traditional gender roles, but it's hard to suspend belief or maintain a laissez-faire attitude when certain liberties are taken. I worry about what lessons impressionable South Korean girls (and boys) will draw from this film.
I wouldn't recommend it. Watch My Little Bride instead. It's a lot sweeter, funnier and the hero is a decent guy who appreciates the heroine in all her adorable quirkiness.
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There's no gratuitous violence or gore. This is intelligent fare, complex and visceral as only the Japanese can make. The lead actress was amazing in her role. Even if you can't relate to her situation as a mother, if you're not one yourself, her devastating experience is gut-wrenching enough to inspire horror and torment. Through her heartbreaking soft-spoken recollections of her daughter you could feel how deeply entrenched her pain was, her simmering rage at the senseless act that had befallen her beloved child. In short, she was a very sympathetic figure, and the psychological mayhem she unleashed on the perpetrators in pursuit of revenge seemed poetically justified against the backdrop of the film's visually stunning mosaic.
As with many Japanese films I've seen of late, Confessions was slow to build, but raged toward a pulsating climax by the end of the second act. Dark and artistically fortified by the director's unique eye for detail the film will challenge any perceptions you ever had, if any, about juvenile homicide.
With that said Confessions fell short of a perfect 10 for me because I felt it was trying too hard to be too many things at once. It did not achieve a perfect balance between art and story. Instead one is often sacrificed in pursuit of the other at varying points in the film. The best art movies are those that are able to combine both art and story seamlessly (see movies like 3-iron or In The Mood For Love). At times I felt certain scenes in Confessions were included to fortify its artistic merit but not necessarily essential to the story at hand.
The film deserves every accolade, however, for breathing new life into the revenge sub-genre, especially if your previous consumption has been mostly western fare. I enjoyed it thoroughly and would recommend it to anyone who enjoys a thinking (wo)man's film.
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The laughs kept piling up 'til 2am. I had to force myself away from my Mac screen, and that was only because I had a super important work meeting later that morning. Otherwise I totally would have stayed up and finished it.
I usually approach romcoms with reserved disdain because a lot of times the movies in this genre are neither romantic nor funny OR they're one but not the other. What made Petty Romance great was that it's funny and romantic AT THE SAME TIME, for the entire show.
Furthermore the superb acting & cracking chemistry between the leads was awesome! They both had wonderful comedic timing and played extremely well off each other. Their interaction never felt forced or awkward, but very fluid and natural, which is not an easy feat when doing comedy.
I was never that impressed with Lee Sun Gyun in Coffee Prince, but here he brings a cavalier charm to his character that neither you nor our female lead can resist. Moreover you gotta give nuff respect to a man who has the balls (pun intended) to expose his crotch for a close up. Now don't get all bent outta shape ... he was covered (barely). Still, this is NOT a pose most male actors would jump to do, but one which Lee Sun Gyun delivered with great aplomb!
Choi Kang Hee was sweet and innocent in her role without being Moon Geun Young annoying. They both did a great job!
If I had to complain about anything, it would be what Jung Bæ did when he first met Da Rim. I mean, really? Who does that? You'll know what I mean when you see it. I could not believe him! Jeez. It made me look at him with slightly less adoration...
Anyway, Petty Romance still deserves a solid 9. Fun, fresh story (because it's not a storyline you see often) & great, great chemistry between the leads. My favourite Korean romcom yet! :-)
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Creatively this isn’t a bad script. I personally would have preferred a different structure to the story because EVERY Japanese drama with a romantic arc kind of follows the same trajectory. I can think of veeerry few exceptions. I don’t want to go into too much detail, but let’s just say I would have loved it if the relationship had a stronger foundation before a certain key event occurred. Anyway, while audiences may be moved to sympathy and anger on behalf of the female lead, the pacing begins to plod around episode 6 or 7 and I found myself growing impatient with the repetitive nature of Mæ’s plight. This is neither the fault of the character nor the actress portraying her. Rather it’s the writer who just doesn’t know when to give sh-- a rest.
As for the acting, Tokiwa Takako does a fair job most of the time (when she isn’t in full ægyo mode), but she always seem to accept these scripts that make her character come across as whiny and irritating at some point or another in the drama. I had a similar reaction to her in Aishiteru to Ikketure, though thankfully that feeling dissipated a lot quicker here than there. Mostly I felt a deep sympathy for her because she really could have been any woman, me or you or someone we know. I also have to say she has an amazingly beautiful and radiant smile though a great beauty she is not.
What this show does well is that it shows that rape doesn’t only have one victim. The tentacles of evil will touch many lives, almost just as cruelly as the victim's. To be honest I didn’t really like Oda Yuji’s acting here. His interpretation is gimmicky and cartoonish, and you could easily tell this is one of his very first roles. Nevertheless, I really liked Naoki. I found him genuine and sincere in his efforts to lend support and understanding, in spite of making a few mistakes along the way. Moreover, he is such an average, ordinary guy with no spectacular talent or pedigree. He really could have just walked right out of your life. And that’s why I love Japanese dramas because they’re so authentic. They tell the stories of REAL people. Awesome. The supporting cast is well placed, never feeling arbitrarily thrown in just to take up space (or annoy you). Instead they enhance and help to move the story forward, as supporting casts are meant to do.
Finally I want to take a moment to comment on the music. Now I’m not a very musical person. I’ll leave the squealing over a drama’s OST to people who have a better appreciation for the art. Usually I hate theme songs that play over and over again like a broken record -- at best they give me a headache, at worse they make me feel like I'm losing my mind. But I loved this TV mix of Swing Out Sisters’ Now You’re Not Here. Very fitting. It’s been stuck in my head for days. In a good way.
If you’re not put off by the topic, fans of the genre will like this show. The story is moving, the chemistry is there and their connection is so sweet. It’s very easy to root for these two.
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It tells the story of two teachers: a rather selfish and unscrupulous man who is also a liar and a cheat; and an emotionally unstable woman with such low self-esteem & clear mental issues it's a wonder she didn't off herself during the course of the show.
With a pair of damaged, rather unlikable protagonists it doesn't take a rocket scientist to predict the train wreck of a relationship that is about to culminate between them. Unlike the Japanese movie, Happily Ever After, where you meet equally tragic individuals trying to figure out the meaning of life & love in a poignant, slightly hopeless, but always heartwarming journey, you'll struggle to understand why the heck Choi Hung & Lee Yoo Rim in Rules of Dating are together because they clearly shouldn't be. It's a very co-dependent, unhealthy, immature relationship between two people who literally have NO redeeming qualities. The acting inspired very little empathy or faith that these characters will grow into better people.
Overall the plot and overarching story seemed very ill-conceived, as if the film's only purpose is to say the world is filled with some pretty strange effers. If like me you weren't born yesterday, and thus already knew this, this movie offers nothing in the way of an engaging plot, likable leads or a memorable ending. In fact when it ends you'll just be glad it did, if only so you'll never have to see these weird ass people again.
Music - what music?
Rewatch value: 0
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Narimiya Hiroki and Kaname Jun without their shirts on, getting their love mojo on ... a vision!
Anyway, getting to the actual review, this is an anthology film consisting of 4 shorts which explore the theme of romantic love. Each film looks at different types of love: unrequited love, first love, forbidden love, love at first sight, framed by different circumstances.
I'll comment individually on each:
LAST LOVE:
Narimiya Hiroki was pretty gorgeous here, and boy can the man kiss. His love story was interesting. It left me wanting to know more about his relationship with his woman leading up to the Sweet Room. (7/10)
BIRTHDAY:
My favourite of the four. Romantic, sweet, it depicts, in my opinion, love in its purest form. (8/10)
TRIANGLE:
Perhaps my least favourite of the four. The dramaturgy was a bit off. The story felt too big for a short format, and so it lost some of its impact as a result. I was left with a feeling of ... huh? at the end. That's never a good thing. (5/10)
ROOM SERVICE:
Started off a bit slow and for well over half of it I was pretty sure I didn't like it, but turned out that I did. The ending was great. I loved the cinematography too, especially those shots of our male lead in the hallway. (6/10)
Overall, this did not leave as big an impression on me as it's Korean equivalent Five Senses of Eros, but I still liked it. If you're in the mood for romance, and not the watered down kind you see in your average drama, I think you'll enjoy this. Plus you get to see some pretty fine looking Japanese men in compromising situations. What's not to like? Throw in the Korean version while you're at it too. Eros explores the erotic whilst Sweet Room is more romantic, the perfect balance. Enjoy!
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I loved this movie for its many layers. Abe Hiroshi and Nakatani Miki in the lead roles offered up some stellar acting. Their performances did not disappoint at all.
For about two hours we're transported into the dreary, uneventful lives of Isao and Yukie, two lost souls, co-dependent, broken ... both trying to claw their way towards a better future but not knowing how. Their relationship is not the healthiest you'll ever see, but somehow they make it work, together, in all its dysfunction. There's a lot of love there, even when you're just about convinced there isn't.
I loved the strong sense of loyalty and acceptance of each other that existed between Isao and Yukie. These characters dared to show each other who they were: the rawness, the imperfections without fear of rejection or judgement. At the same time, they epitomized the saying 'can't live with you, can't live without you' so well it's beautiful.
Another thing that pulled me into this story even further was it's rich commentary on life and our need as human beings to feel a sense of purpose, acceptance and belonging. The movie argues that these are important requirements to living a contented life, happily ever after, and I tend to agree.
With all round wonderful performances and a beautiful story of new beginnings there's no way I could score this less than a 9. Moreover, Japanese happy endings are the best! They're always sweet, poignant and whimsical, just the way I like them.
NOTE: If you choose to watch this film, and I hope you do, please keep in mind that there's one final sequence AFTER the credits roll. It's one of the best scenes in the movie so you won't want to miss it! :-)
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The film makes a shoddy attempt at storytelling. A young man seeks to escape from his unhappy, monotonous life by taking refuge in a dream like world. Here he meets a nubile young thing who fulfills all his sexual desires. We're given hints of who these people are, but we never get to know them or why they come to be in the situation they're in. On the other hand, we're privy to their sexual exploits, ad nauseam.
Hear me when I say Dream Affection is pure porn. With a budget.
Given that there's essentially NO story to speak of, I don't even know why this picture was made except to continue the widespread objectification of women.
The acting is lame. It's clear the female lead is probably an aspiring actress looking for a big break. Or an amateur porn actress. Whatever her story, if she has any talent we don't get to see it considering the lack of a plot and the director's obsession with her breasts.
The male lead is only a little better. Dude spends the entire show dazed & confused. Even when he's getting his rocks off.
What a waste of time. Pisses me off that films like these get made when there are brilliant indie filmmakers out there who will never get a shot.
Needless to say, I won't be watching Part II.
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For Seung-Chul, a hardworking, quiet, unassuming, church-going man, it is a world away from the derelict backwater that is his hometown of Musan in the communist North. He longs for a life of small pleasures and dignity, but faces a reality harsher than he could ever imagine.
Working for pittance amid rampant discrimination and heartless bastardry, his life reflects the dismal hopelessness faced by many immigrants and escapees from the North. Nevertheless, Seung-Chul makes a brave effort to rise above his circumstances and not lose hope. But when an entire system seem to conspire against him, he finds himself in bind after bind with no reprieve in sight. And just like the stray dog he adopts for comfort and company, he’s a man without roots, displaced among people of his own kind.
An impressive debut by director Park Jung-bum who also wrote, produced and starred in the film. A filmmaker after my own heart, the movie was made in the true spirit of independent filmmaking: on a shoestring budget with borrowed equipment and a mostly amateur cast.
While picture quality & Park’s shaky camera movements bear the mark of budgetary limitations, this is without a doubt a sturdy first effort. The Journals of Musan captures well a dark, unforgiving side of South Korean society, and will pull at your heartstrings from start to finish.
Park, as the tragic misfit that is Seung Chul, is exquisite. At first his performance came across a bit wooden and stiff, but by the end of the film I adjusted my perception. What came across as stiff was a true depiction of Seung Chul’s instinct for self-preservation in a world that would have broken him if he didn’t always have his guard up.
I really liked this movie. It’s a deep human story, based on true events. The real Seung Chul, a close friend of Park, didn’t live long enough to see his legacy materialize on screen. He died young -- from cancer -- in 2006. Really sad business.
Park has a decent future ahead of him. I’ll be looking out for his next film.
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I hate intense love triangles; I really wish they weren’t such a major part of so many dramas. Upon starting this drama I knew one was prominently featured, but I figured if anyone could pull it off in a sensible way maybe KES could (given that she had done a pretty decent job with the love triangle in Lovers). Well, I was wrong. This was one of the more nonsensical, nerve jarring love triangles I’ve ever had the displeasure to witness. It made absolutely no sense to the plot and only served as a filler where a legitimate advancement of events was lacking.
Moreover, I absolutely hated how the romance played out here. One of the reasons why I like KES is because the romance in her dramas is, for the most, mature & realistically portrayed. So great chemistry, REAL kisses and fairly good physical intimacy between the characters are the norm in her dramas. You don’t usually see frozen face kisses or disengaged female participants in a KES drama, at least none that I’ve seen. But here all the childish awkwardness and inauthentic skinskip you can imagine abound.
The characters were just about the only good thing about this drama. I recognized them as hallmarks of KES’s writing. Older and more worldly than your average drama leads. Acting wise, I was particularly delighted to see Ha Jeong Woo in a supporting role. Even as one of his earliest efforts, he was as magnetic & charismatic as ever. I just love the man. Other performances were decent enough, though nothing to rave about.
Great characters notwithstanding, they alone could not make up for the poor writing. Though I understand this was written early in KES’s career, I couldn’t rate it higher than a 5 even though I really wanted to. Watching it was just too painful. I definitely would not recommend it.
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With corporate espionage, insider trading and other back stabbings, the story picked up tremendously in the second act. By episode 8 I was finally invested. Valuable life lessons were learnt (by both us and our leads). Our prodigious but arrogant hero grew as a person and as a businessman, and it was hard not to like him then. You come to realize that under that gruff exterior he wasn't such a bastard after all.
The acting was convincing, perhaps a tad overdone by our heroine, but she had some mad on-screen chemistry with the hero. They reminded you of an old married couple who loves to bicker and swear at each other, but feels lost when their beloved isn't around. Very cute. And although a bit juvenile and silly at times the actress did a good job of portraying the adorable klutz next to the hero's gruff, cantankerous persona. She may also come across as somewhat of a pushover, but it was, for the most part, a very effective front she used to manage Hyuga. After all, you catch more bees with honey than vinegar, don't you? I wished more time was dedicated to developing their love story, but unfortunately this was sidelined to accommodate other characters and purposes of the plot.
I felt the role of the second female lead, Yoko, was redundant. A perfectly decent character she was, but she served no true purpose whatsoever. I’m pretty convinced the drama could have gone on just as easily, and more effectively, without her. Why are Asians so obsessed with these blasted love triangles I don't know. It gets really old really fast and has no real dramatic effect if all second leads do is confirm the attractiveness of our lead male/female. Give them a more substantial purpose or leave them out entirely.
I did not care for Asahina. I wanted the resolution of his story arc to be completely different. Without giving anything away, here's why: I understood his feelings very well & even sympathized with him to a point, but his actions toward someone who was essentially like a brother to him were despicable, vicious and totally unforgivable. Therefore, to my way of thinking you don't give people like that a second chance to wedge the knife deeper into your back.
Anyway, if you’re into technology and the machinations of the business world (with a smattering of romance), you’ll likely enjoy this series. This was like The Social Network adapted for the small screen. I wanted more from it, but in the end what we got was okay, I guess.
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The leads were quite easy on the eyes and they had great chemistry. I loved that the heroine didn't live her life at the mercy of her condition. She was very self-sufficient, sweet and a very good balance to our broody hero.
Speaking of him, I don't think he did much acting here. Haha. He was like a big log that grunted. :) But who cares, he was hot and the way he opened up to the heroine's sweet coaxing was awesome to watch. I wish there were more scenes with the two after they decided to go steady, but I'm not gonna complain one way or the other.
This was a very sweet love story. I loved how it played out. The characters didn't have it easy, but in the end they got their happy ending. I also loved how relatable they were. The hero was just your average joe working two jobs to get by. The heroine worked at a call centre, not a luxury job by any means. They really reflected ordinary people living and loving very well. It's something you don't see often enough on screen -- as if society is overrun with corporate CEOs.
My new found addiction to Asian cinema is here to stay. There's no escaping it so I imagine there's gonna be a lot of sad dramas and movies in my future. That's why I'm glad I found this film. When I can't take the melancholia anymore at least I'll have this to turn to. I've already re-watched it twice since I first saw it. It's like balm for the wounded soul.
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I watched it once, then I had to watch it again immediately afterwards. On my second viewing I literally had to pause the movie, get pen and paper and map out the characters in order to understand all the twists and turns. It was worth it, as in the end I felt satisfied I knew who the REAL protagonist was (unlike most people who reported being frustrated with the ending).
Don't get fooled like the rest and think this is bad movie. It isn't. It's only bad to those who weren't able to figure it out. It's a movie that's true to its genre. What's interesting is that it follows traditional linear storytelling with three full acts - all the clues are actually given to you up front, but due to its intricate (though others might say convoluted) plotting, the narrative can appear jumbled and not so straightforward to the impatient eye. Like I said before, this is likely to breed frustration in viewers who like to be spoon fed each & every plot development. Moreover, if you're a prude and humans in their natural form offend you, you shouldn't be watching this genre because most of these films will have nudity in them. Most of them will treat women like accessories, rather than fully fleshed out characters ... because what do you know, most gangsters IRL don't respect women. Most gangsters just use women for sex and arm candy & that's it. Hardly, if ever, do women play a more significant role in the underworld's nefarious dealings. So don't watch films like these and then complain about nudity & the lack of odes to feminist ideals, OK? It makes you sound juvenile.
REAL may not have been a masterpiece, but for a first film from director Lee Sa Rang , it was a decent film noir; well worth the watch for lovers of the genre. I liked it. I thought KSH did a great job with his character & he was HAWWWT asf in this. Unlike most people I loved the fight scenes. KSH was totally badass in all of them! They had that superhero feel to them. I don't see why this movie garnered such poor reviews. There are certainly worse crime films out there.
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This drama is melodrama personified.
The story started out with great promise, but quickly got derailed by ridiculous, nonsensical plot devices (I mean, how many damn time can one person disappear?), unreasonable character behaviours (faced with a problem? Don't stick around and deal with it - disappear!), convenient changes to the story line to suit the writer's purpose. Needless to say, such changes did not make a lick of sense to the over all set up of the story thus far.
The writers certainly did not appear to be writing with thinking people in mind since they pretty much went on a rampage of insulting the average viewer's intelligence and common sense.
With the exception of Ryu Soo Young, the acting was exaggerated and unengaging, but I'm not sure if this is due to the actors being bad performers or if it's just the bad material they were given to work with. I have a sneaking suspicion it is the latter rather than former. Whichever it was, the heroine and her perfectly flawed reasoning for doing the dumb sh-- she does got on my nerves. The hero wasn't much better. At the beginning of the show I was really drawn to his rebellious streak -- he was doing his own thing whether his family approved or not, but as the show progressed he became this wimp of a man who allowed others to yank him around like a puppet on a string.
The only notable performance was that of Ryu Soo Young who was surprisingly good at portraying the ruthless, tortured antagonist. I had previously seen him in 18 vs 29, a drama in which he played a cute, wholesome guy next door type. It was a role I thought suited him well, but his spin in Save the Last Dance For Me made me look at him in a new light. In fact, there were times when I wished his character was the lead, and not just because he's cute and I have a major crush on him, but because he was so much more interesting than our limp noodle hero. Because of him and a few of the supporting cast members I'll give acting/cast a 7.
I probably would not have cared about all the absurdities that take place in this drama if the romance was solid enough to distract me from it. But as soon as the characters had a moment of happiness some nonsense would occur to tear them apart.
Ironically enough, though, this show was like a train wreck you just couldn't look away from no matter how ugly it was. With all the eye rolling I did it's a wonder my damn eyes aren't permanently stuck in the back of my head.
I can say with a fair amount of certainty that I will not be re-watching this anytime soon, if ever. If you're like me and you can only suspend belief for so long before things start making you go WTF, skip this drama. The ending is satisfying, but overall I don't think it is worth the emotional investment to get there.
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