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This review may contain spoilers
Even if you start at a disadvantage, you can still be first across the finish line
Zero to Hero is an inspiring biopic about twelve-time Paralympic medalist So Wa Wai. So was the first para-athlete from Hong Kong to win gold and still holds the record in the 200m sprint. Zero to Hero is a feel good movie that also doesn't shy away from it's characters' faults and harsh reality.So Wa Wai was born with haemolytic jaundice which resulted in cerebral palsy. His mother was told he would never walk or be able to hold chopsticks. And he would only be able to hear 10-20%. She carried him on her back, literally, until he was four. In a desperate life or death moment, the mother challenged him to walk. As he gained more ability, they learned he may not walk well, but he could run.
As a teenager he joined the para-athlete's association and trained to run in competitions. The way to his success did not always run smoothly. His family was poor and used desperately needed funds to help him achieve his success. The movie highlighted how difficult it was for Paralympic athletes to continue training and competing with few subsidies from the government.
The true heart of this movie was the mother-son relationship. Sandra Ng gave a beautiful performance as the resolute mother who refused to give up on her child and sacrificed greatly to ensure he became all he could be and that he would have a financially secure future after she was gone. This created conflict with Wa Wai as he worried she was using him at one point and with his younger brother who felt at times that his only role was to be Wa Wai's future caretaker. Though perhaps flawed, the strength of this mother's love and determination to gain the best for her son and for him to overcome his limitations shined through. "Run to me at the finish line."
Leung Chung Hang's performance never felt patronizing. He poignantly portrayed a child dependent on his mother who grew into a man with his own goals and need to help his family. Yet in the end, it was the love for his dedicated mother that gave him the strength to attain those goals.
Heartwarming and inspirational with enough realistic edge to keep it from being treacly, Zero to Hero is a winner.
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"Nothing matters more than staying alive"
Legend of Zang Hai combined China’s corrupt imperial court system with a hint of tomb raiders’ creatures and a whisper of LOTR’s “my precious.” Though the titular character had Sherlockian genius, the plot’s logic didn’t always make sense. That didn’t stop this drama from being entertaining to watch.Our hero’s family is wiped out by corrupt officials with only ten-year-old Zhi Nu surviving. Saved by a masked man he’s secreted off to a special revenge training camp designed just for him. Ten years later and renamed Zang Hai, he and his sifu, Gao Ming, head for the capital to take down his mortal enemy---the Marquis/Duke Ping Jin. Before you can say, “Mycroft is a moron,” Zang is working for Ping and putting his plan into motion. He has to amend his game plan when he determines other dastardly villains were involved with the demise of his family.
This is another Cdrama where I had to SORAS (Soap Opera Rapidly Aging Syndrome) the main lead in my mind as thirty-three-year-old Xiao Zhan did not look 20. I enjoy his screen presence so it wasn’t a big problem for me. It was a little harder to accept that Zang was an expert in nearly everything at such a young age. I also liked Zhang Jing Yi as Xiang An Tu, the owner of the Zhen Tower and also a hostage Dongxia princess. She was calculating and independent until like most FLs in Cdramas, she became less so as the drama went on and the romance heated up. Huang Jue as Duke Ping Jin did too good a job of making the villain sympathetic. The writing for him also made it difficult to believe he was the same guy who had a macabre wardrobe hiding in his basement. The last evil character revealed was the weakest for me, I found his character, motivations, and acting less than compelling. Though it was really hard to top the scenery chewing Huang. And of course, Liang Chao as ZH’s sifu who had a complicated loyalty was endearing.
The cinematography, scenery, costumes, and sets were all lovely. The music wasn’t intrusive which was a win for me. The cast was huge which meant many characters were thinly drawn. They still filled their jobs effectively-the loyal childhood friend, the dutiful but not too bright bodyguard, and various and sundry minions and court officials. I made a comment about Lord of the Rings and one scene was directly lifted from the first film. I kept yelling, “Ride, Arwen, ride!” In another instance, a person holding the artifact stroked it with a crazed look and I thought he might actually say, “My precious.”
A brilliant lead who can think and talk his way out of nearly any situation is nothing new, but that’s okay. “There’s nothing new under the sun.” It comes down to execution and for the most part Legend of Zang Hai did a good job. This story with Zang’s uncanny rise through the court and search for a magical artifact were not meant to be realistic, just entertaining. The final 12 episodes weren’t as tightly constructed as earlier ones and the third arc felt particularly uneven. Yet overall, I had a good time with this drama and binged it rather quickly. If you are a fan Xiao Zhan or dramas that don’t adhere to a realistic storyline, it’s one to try.
5 July 2025
Spoilery comment below:
* * * * * * * * * * * * *
Finally! A male version of La Femme Nikita!
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This review may contain spoilers
"Your love has made me human"
Dear Hongrang was a dark, twisty, tropey drama featuring two of my favorite Jae Wooks. Instead of the familiar fight for the throne and court politics, this fight played out within a wealthy merchant family that’s made a deal with the devil. When a long-lost son returns it sets a powder keg of greed and avarice on fire.Jae I has spent the last twelve years searching for her lost younger brother Hongrang after the family mostly gave up on him. Her stepmother wants her dead. Her father only sees her worth in the columns of assets and liabilities. Her older adopted brother Mu Jin is being groomed to take over the family business and has a not so secret crush on her. One day a stranger with no memory of his childhood is brought in who turns out to be her brother Hongrang. Or is he? And what murderous mysteries are hidden behind the expensive walls and hanboks of the wealthy and nobility?
Dear Hongrang takes a strong stomach to watch. Children were kidnapped and tortured in painful and vile ways. Wives who no longer fell into the asset column were taken out to be murdered. Slaves and those without power or prestige were considered less than human and expendable while those with power often walked a fine line between sanity and insanity with overtly sadistic tendencies. Into this bloody mess Jae I and Hongrang went from being adversaries to allies, and “siblings” with complicated feelings for each other.
The cinematography, lighting, and music were overtly gloomy and melancholic. One particular scene went ATLA Tui funeral with red lighting. Deceptive sunshine only gave the viewer a breath to brace for upcoming pain. The sole spoilery comment I’ll make is that you need to prepare yourself for a high body count, many of which you’ll hope will be boiled in bronze. I didn’t find the drama particularly suspenseful as most of the turning points were well foreshadowed. I did, however, find it entertaining largely due to Lee Jae Wook and Kim Jae Wook’s performances. Kim has definitely found a niche for himself playing handsome, criminally maniacal characters. While this short nightmarish drama will not be for all tastes, it managed to tell its gruesome tale without overstaying its welcome.
18 May 2025
Trigger warnings: Dismemberments, more gruesome deaths than an average Kdrama, torture scenes, and child torture scenes
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"What kind of place this?"
Kyojo 2 had a new crop of recruits studying to become police officers under the watchful eye of Kazama Kimichika. Kimura Takuya returned as the no-nonsense Kazama who seemed to know everything happening in his purview.Once again Kazama had to deal with students who shouldn’t have been able to pass a psych eval or physical fitness test in order to get this far. He ferreted out their secrets and exposed their weaknesses. Some would be allowed to continue, others were shown the door.
Kazama was extra hard on his students because of the death of an unprepared graduate that also resulted in the loss of his eye. This fact alone made it harder for me to understand why certain students were allowed to stay in the program. **Minor spoilers to continue this thought are below the date. **
Kimura Takuya, the silver fox with the worst prosthetic eye since the wooden one from Pirates of the Caribbean, is always compelling to watch. Unfortunately, for me at least, most of the students were completely forgettable or memorable for all the wrong reasons. Kazama’s past had a small reveal, the biggest reason I watched this second part. If you enjoyed the first Kyojo, it’s likely you’ll enjoy this second one as it followed much of the pattern of the first.
17 December 2025
Minor spoilers below:
**
Steal a computer mouse? You’re out! Steal the ingredients to make a bomb? All is forgiven. Lie to a superior? No prob. Can’t tell time? No problem. Sexual harassment? No problem. Bullies are okay. Skittish students are okay. I dropped my score when near graduation a student at the firing range was so delighted at hitting the target they actually looked down the barrel of their loaded gun! To quote Zootopia, "You're dead bunny rabbit!" No wonder they have to have a constant flow of new students!
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"We're all just part of the drama..."
Peking Opera Blues is a classic 1980s Hong Kong film by Tsui Hark. Set around 1911, the film starred Brigette Lin, Sally Yeh, and Cherie Chung as three women with vastly different backgrounds who were thrown together by fate. I'm always happy when women take the main roles and aren't continually shown as helpless victims or sex objects. My kung fu movie loving heart was also happy to see Ku Feng and Wu Ma along with a secret document added to the mix.Itinerant singer Sheung Hung swipes a box of jewels when the local warlord runs afoul of his men. They’ve learned he can’t pay them because he lost everything gambling with another “general.” Bai Niu works for her father who runs a Chinese opera troupe. She desperately wants to act which enrages her father as women are forbidden from performing. Cho Wan is the daughter of General Cho and has returned from abroad wearing men’s clothes and a cropped men’s haircut saying the style grants her more freedom by keeping people guessing. The women end up working with a rebel who is after proof that General Cho and Yuan Shi Kai are working together in a plot for corrupt power and wealth.
I loved Brigitte Lin in her gender bender outfits. She carried the look off with chic elegance. Her character, Cho Wan, was a boss. Lin expertly showed Cho’s toughness, vulnerability, and also her conflict over betraying her father. Sally Yeh’s Bai Niu had less to do as the frustrated actress wannabe though her turn at Peking Opera was entertaining. Cherie Chung’s Cheung Hung was the weak link for me. I’m going to blame the writers as I enjoyed her performance in 1987’s An Autumn’s Tale. I’m just not a fan of bumbling, selfish, comedic characters. Mark Cheng as the rebel Ling Pak Hoi was handsome and capable in the fight scenes. Speaking of the fights, the martial arts and gun fights were well choreographed but often pushed the bounds of belief. Lastly, Ku Feng flexed his bad guy muscles as Commander Liu.
Behind the action comedy, Cho Wan and Bai Niu pushed gender roles for the early 20th century. It was gratifying to watch a film with three women going after what they wanted and weren't reduced to victims. Tsui Hark wasn’t afraid to tweak historical figures and events with some political satire. There was also the subtle emotional tug that Cho was the idealist and devoted to making China a better place through her actions and sacrifice though whether they amounted to anything remained to be seen.
This is one of those films that wildly mashed story tropes together to see what stuck to the wall--friendship, torture, comedy, action, politics, espionage, Chinese opera, familial love, betrayal, defying boundaries, and even hints of romance. Some of it worked for me, some of it didn’t (Sheung’s “comedic” scenes). I’m not a huge fan of Hong Kong comedy yet I will say one scene had me laughing so hard I almost cried and is the reason I bumped my score up a half point. If you like 1980s Hong Kong films or are a fan of Tsui Hark, this is a film worth giving a try, keeping in mind that the production looks dated. Prior to 1990 so I graded it on a curve.
21 November 2025
Trigger warning: a rather intense torture scene
7.75 could be a 7.5 or an 8.0 in my rating system. I've changed it twice now. lol
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Bangoro saves a country couple from being killed by drunk samurai. Later, he fights a wrestler who cheated in a sumo match and uses his father’s Yawara Jutsu which gets him disinherited when the dastardly Tenzen tattles on him. Later he travels to the mountains to fight the Spider Demon not knowing that Tenzen and another cruel samurai have attacked his family.
This film was composed of several chapters which thankfully come full circle by the ending. Onoe Matsunosuke played the “young master” at the age of 47. He would die three years later after having played in 1000 films! Sadly, just six remnants of his films have survived. I have only seen him in Jiraiya the Hero (1921) which was a lot of fun to watch despite the film being badly damaged. The intro to SB was a reminder that only a tiny percentage of early films are with us today. It’s estimated that over 90% are lost worldwide, mainly due to the nitrate film that was used which was highly flammable and if not stored properly crumbled into dust. Couple that with WWII and a terrible 1923 earthquake in Japan and even fewer of their films have made it to the present so each one we can still watch is a treat.
SB was much like a Kabuki play only on studio sets and in natural settings as much of the action took place in the mountains and next to a river. The Benshi narration wasn’t original to the film as there would have been someone in the theater narrating the film during its run. Men played the women’s roles and everyone was in heavy theatrical makeup and wigs. There were numerous fights involving swords, the aforementioned martial arts, sumo wrestling, and brawling with fists and poles. As with the makeup the fights were more theatrical and dance style moves than actual fighting. The best fight, of course, was with the long-haired Spider Demon as she transformed back and forth from two-legged to eight, and spewed white webbing everywhere long before Silly String was invented.
Shibukawa Bangoro may have been heavily dated, but that was part of its charm. Bangoro was a virtuous hero, the villains were a real threat, and despite the ravages of time, the film had a proper ending. It might have been a Shaw Brothers abrupt ending, but still brought the story to a close. And did I mention there was a giant muppet spider?
12 November 2025
I gave it a small ratings bump due to its age
Trigger: Attempted sexual assault
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This review may contain spoilers
This hopper fell flat on its face
Shaolin vs Evil Dead: Ultimate Power was bound to receive a low score from me for the egregious error of not actually being a sequel to the first film Shaolin vs Evil Dead. Did I mention the first film ended on a cliffhanger? The makers of these films decided to give us a prequel-sequel that went in a completely different direction to the previous film. To quote a vampire, “Bite me.”Dragon and his wife Phoenix White are called upon to save a small village from a gang of roving bandits. While completing their task they end up poisoned. Phoenix’s unborn child also suffers from poisoning. She begs their elder to save her child against his better judgement as the child would be born with an evil poison in his heart. Years later the leadership of the clan is given to Chiu Yu instead of Innocent, sending him into a murderous rage like a good nepo baby. Chiu Yu must study to gain the skills to purge the evil from Innocent’s heart. (note of clarification Chiu Yu was Gordon Liu’s character from the first film who was named Pak, Innocent was Louis Fan’s character from the first film whose name was Hak/Black. Moon and Sun were also renamed with their roles reduced, Fire was completely missing)
First off, this film committed a cardinal sin in a jiangshi/hopping vampire movie---it was boring. The first hour dragged horribly. Being a prequel with melodrama doesn’t mean I will care about any of the characters. They could have summed up this material in 10 minutes. Gordon Liu didn’t arrive until after the hour mark which was too little too late. Fan’s Black and Shannon Yiu’s Moon were scammers in the first film but not completely malevolent. The character changes here were jarring. Unlike the humor in the first film, Ultimate Power went dark. Much of it made little sense.
The martial arts choreography was abysmal. The wire-work was awful, seriously, kung fu flicks from the 80s had better leaping and flying. Characters flipped and twirled near their opponents without connecting. When they did connect, the kicks and fists were more like gentle pushes. The moves were criminally slow for 2006. The first film had some CGI, the sequel was dominated by it. If filmmakers are going to use this much CGI, it better be good. And it was laughably bad.
Shaolin vs Evil Dead ended on an unresolved cliffhanger, this film’s ending wasn’t as awful, but it wasn’t great either. I actually laughed it was so dreadful and out of left field, or in this case--outer space. The acting, editing, writing, and continuity drove my score down, a painful thing because I like Gordon Liu and hopping vampires. Basically, this hopper sucked.
5 November 2025
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"Everything's fine
A Sun spanned several years in the lives of a dysfunctional family. One son shown like the sun, radiant and beaming. The other son lingered in the shadows, swallowed in darkness. Each would be envious of the other, unable to claim what they needed, both would suffer dire consequences for their unspoken desires.A Ho gets caught up in a violent event initiated by his buddy Radish and is sent away to a juvenile detention center. The criminal act is the last straw for his father who washes his hands of him. The father does, however, dote on his seemingly perfect oldest son, A Hao, who is testing for the second time to be accepted into medical school. The mother struggles to keep the family together and in the process the family is expanded when Ho’s girlfriend shows up with a surprise. When Ho is released, he works to take care of his family and put his past behind him. The darkness in his life, however, is not so easily eradicated.
The film hammered home that the two sons were a dichotomy of light and dark, good and evil, night and day, the sun and moon. Yet one yearned for the respite of the shadows, scorched to his soul by ever being the family’s light. Always giving himself away to others, with little leftover to nourish himself. The other son longed for the warmth of affection and acceptance from his family. Frozen from the darkness, afraid he’d never measure up, never feel the sun on his face.
The caretakers of the circus of light and darkness were the parents. Mother Chen fought tirelessly for her family. She tried to pierce the iron shield her idiot husband covered himself in regarding A Ho. With an open heart and open door, she accepted Ho’s girlfriend into their family and also trained her as a hairdresser. She even devised a better work situation for the two of them. Meanwhile, Papa Chen dug into his long-held prejudice against his youngest son. Prickly and recalcitrant, he distanced himself from everyone exasperating the situation. He was too often an impotent passenger at work and at home.
Along with the growth for the main three characters, the cinematography was gorgeous. This film was beautifully shot, including the all-important lighting in a film built on the metaphor. I also enjoyed the OST, especially a mournful instrumental that played during one scene. My biggest peeves were that in a 2 ½ hour film, Ho’s girlfriend was given almost nothing to do or say. Ho had very little interaction with her over the years. While she had a couple of key scenes, the character was badly underdeveloped. With all the time jumps and flash backs, I would have liked to have seen what caused A Ho to go down the criminal path he chose.
I may be a Butterfly but I have the attention span of a gnat and yet I was never bored with this film despite its length and slow burn. Most of the characters were deeply flawed and yet continued to move forward, refusing to give up when it appeared the easiest thing to do. There were moments of pain, humor, anger, and a gut level resiliency. If ever there was a film to express that “Everything’s fine” means exactly the opposite, it’s this one. Well-acted, well-written, painstakingly shot, A Sun shone brightly.
4 November 2025
Trigger warnings: Suicide. Dismembered body part early in the film. A short violent scene near the end.
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"Sexy food"
A Nation of Tteok was the fourth installment in this delightful franchise. Mimi, Ryu Soo Young, and Heo Young Man returned as our guides, this time walking us through the history of, making of, and variations of tteok.Tteok preceded cooked rice in the diets of the people as cooked rice required more sophisticated milling processes. Having been around since the Bronze Age, this has given people plenty of time to come up with almost endless variations on preparing the rice cakes. At last count South Korea has more than 250 types of tteok.
In episode 1, our guides went to a Buddhist temple in the mountains of Cheongdo to see how they prepared their vegetarian rice cake soup. The First Full Moon Fest came next with a huge bamboo bonfire. From there they explored the different kinds of tteok made with seasonal ingredients from different regions.
Episode 2 visited the historical and current use of tteok for the Mid-Autumn Harvest Festivals. Early royal banquet tteok recipes were shown. Provinces that had little access to rice found ways to make tteok out of potato starch or pine tree bark. And last but not least, the famous tteokbokki shown in so many school dramas was explored with many of its varieties.
During the 2 episodes the guides helped knead, pound, and form different kinds of tteok. They also sampled tteok made with chestnuts, pumpkin, kudzu, ginko nuts, jujubes, seaweed, different kinds of leaves, and just about anything else you could think of. It turns out tteok is quite versatile. Soups, “burgers”, wraps, treats, side dishes, and a host of other forms were showcased.
Tteok was said to bind the people together and eaten in happiness. Used for celebrations and milestones, it’s a food that historically was meant to be kneaded, pounded, and shared together with neighbors and family. Enfolded in the beloved food were the blessings and good wishes of the preparers and givers. Each version had its own form, texture, aroma, color, and taste whether rustically made or artistically created by fine dining chefs. For the most part, ajummas were the stars as they foraged for ingredients and then lovingly made the specialties from their regions. These special rice cakes showed the patience, persistence, and resourcefulness of the Korean people who discovered ways of making delicious food, even when it was scarce. If you have enjoyed the other three installments of this show, I could easily recommend this one. Sweet, comforting, and informative, this tteok went down easily.
3 November 2025
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"The day will turn into night"
The Funeral was Itami Juzo’s directorial debut in 1984. In this instance, the film is exactly as described in the title. For three days a family gathers to mourn the death of the father, bringing together a peculiar yet largely relatable group of people.When Amamiya Shinkichi dies suddenly of a heart attack his son-in-law, Wabisuke Inoue is put in charge of the funeral. His mother-in-law, Kikue, wants the funeral to be held at the house near the Kamome Hot Springs. Inoue and his wife Chizuko know nothing about funerals and make a mad scramble to find help in figuring out all the customs and procedures. Everyone has an opinion on the various rituals, including which way the head should be facing and which way is north!
Itami showed many of the common funeral experiences regardless of customs--children unfamiliar with death playing in the background, laughter and tears as people process their complicated emotions, telling stories, arguing over procedures, and the financial costs. Then there were customs I was unfamiliar with—watching the loved one be cremated, salt being thrown on those returning from the crematorium, and the various Buddhist rituals. It was delightfully human that the relatives unused to kneeling for so long had cramping feet and knees. The funniest bit to me was when funeral novices Inoue and Chizuko consulted a video which might as well have been titled “Funeral Etiquette for Dummies.”
This appeared to be the first main film role for Miyamoto Nobuko, Itami’s wife. I found her face lovely and expressive. Ozu favorite, Ryu Chishu, played the ever-chanting priest with a fine eye for cars and expensive tile. Where the film lagged for me was a main married character dealing with his crazy mistress in the woods which included a fairly graphic sex scene. And she was cray-cray. The deceased was a serial philanderer that everyone accepted matter-of-factly.
The Funeral was a slow story with mostly gentle humor, showing both the reverence and irreverence that accompanies death and mourning. A far more pragmatic than sentimental experience-- because even at a wake, people need to know when to leave, how much money to donate, and how to tell a mistress to pull her weeping self off the casket.
27 September 2025
Triggers: Partial nudity and sex scene.
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Real estate mogul Vivian Rabaya grew up poor and now is merciless in business. Her ex-husband and son moved to the USA years ago and she hasn’t seen her son, Albert, since he was 17. After being diagnosed with bone cancer, she hires Jaica Domingo as her full-time nurse. At the insistence of Vivian’s right-hand man, Jaica calls Viv’s son, Albert, and tells him his mom has an architectural job for him. When that doesn’t work, she tells him she has cancer. Albert comes for the job but his anger toward his mother runs deep. Jaica believes he’s the best medicine for her boss and works to have them reconcile. Her mission is complicated by her attraction to the handsome architect.
I would have liked this film better if director Joyce Bernal had picked a genre and stuck with it. The romance was clumsy with cringey and obvious tropes. The comedy felt forced most of the time. It was better when it came from an organic place. What worked for me, was the enemies to friends relationship between Vivian and Jaica. It’s been done many times before this and better, but it was still entertaining to watch the two women work through their familial issues by leaning on each other. Vivian also realized she didn’t have much time to fulfill her bucket list spurring her to accentuate her altruistic endeavors. The son’s emotions were all over the place making Albert difficult to feel compassion for.
Everything About Her was at its best when the film focused on Vivian coming to grips with her new situation and Jaica helping her as she faced the medical fallout of treatments. Despite dealing with the side effects of the medications, Vivian was the usual healthy looking and energetic cancer patient often shown in movies. I always wonder if the writers have actually ever been close to someone who has suffered through chemotherapy and end stage cancer. Be that as it may, I would have preferred less comedy schtick and more authentic scenes between the characters as that was where the compelling moments came from for me.
19 September 2025
Triggers: Several vomiting scenes. F*cking cancer.
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"See you after the victory!"
I often enjoy Ann Hui’s meditative style and Our Time Will Come was no exception. In this film her quiet introspection was focused on Hong Kong’s resistance movement in 1942 during the Japanese occupation.Fong Lan (aka Fong Lam aka Fang Gu) lives with her mother. They have rented a room to a writer and his wife who have mentioned they will be moving out soon. What they don’t know is that Mao Dun (aka Mr. Shen) is working with the resistance to safely leave Hong Kong with other hunted intellectuals. Fong is called upon to help the Maos when their plans are disrupted. Blackie Lau (aka Liu Hei Zai) recruits her for their Urban Unit afterwards and soon Fong is delivering messages and printing flyers. Blackie Lau heads up the Firearms unit taking on dangerous and deadly missions. Fong’s ex-boyfriend works undercover at the Japanese surveillance office for General Yamaguchi. All three plus Fong’s mother do their part to hamper the Japanese wherever and whenever they can.
While the film did show the three-pronged attack on the Japanese, intelligence acquisition, guerilla attacks, and information sharing, much of the film centered on Fong Lan and her mother. Despite living in an occupied city filled with danger, especially for women, life went on. What little food they could grow or access had to be prepared and eaten, people still married, and when possible, people continued their businesses to earn a living. I could have watched the film with just these two women playing off of each other.
OTWC’s cast was loaded with quality actors. Deanie Ip gave a lovely and understated performance as Fong Lan’s mother. Mother Fong worried for her daughter, assisted where she could, reacted fairly nonplussed when stumbling upon a body, and stood tall in the face of death. Zhou Xun’s Fong Lan grew from a bunny loving young woman to one who courted death daily as a member of the resistance. Eddie Peng was at his charismatic best as Blackie Lau providing the film with a few lighthearted moments. Wallace Huo’s Lee Gam Wing was as expected suave and cool as ice. Pau Hei Ching showed up briefly as Fong’s aunt at a wedding with a rationed budget and one where the silverware was counted when the guests left.
Our Time Will Come was a well-crafted film. The cinematography was lush and saturated, the framing and composition of shots-gorgeous. Recently I watched a film that looked like it had been shot on a cell phone while riding in the back of a truck on a gravel road making this film’s quality seem even finer. Stories of the different cells and characters unfolded slowly though all were interwoven in mission and sentiment. True to war, the fighters had successes and failures, lives were saved and lost. Films such as this can overly rely on in-your-face patriotism and heavy melodrama. Hui managed to avoid these tropes while also showing people working together from the young to the old, women and men alike, to protect their home and neighbors from the horror all around them. OTWC was not filled with fingernail biting suspense or heart pounding action yet it was compelling all the same.
"The wind which carried the rays of the setting sun has died down. It's as if it melted away...Night's black curtain is falling, but glimmers of light remain..."
16 September 2025
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"If I understood him I’d lose him”
Stolen Life starring Zhao Xun showed how being brought up without real affection and acceptance can lead a young woman to settle for whatever crumbs she can glean from a man who is the very definition of a red flag. People can perform all sorts of mental gymnastics to avoid facing the truth and in this tale, Yan Ni paid a heavy price for ignoring the glaring warning signs.Wu Yan Ni lives with her grandmother and aunt in Beijing. Her mother was an “intellectual” sent to the countryside where she met Yan Ni’s father. Quiet Yan Ni rarely sees her mother and meets her father for the first time when she’s fourteen. The women think she should learn a trade and marry. Her father declares she should go to college (university) so that her future would hold more opportunities than theirs. On her first day at the university, she meets a handsome delivery driver named Mu Yu. He showers her with attention and small gifts which causes Yan Ni to lose her heart…and her common sense.
This film highlighted the problems that can arise from not communicating. Yan Ni’s mom never told her why she was living with her grandmother leaving Yan Ni to believe she’d been abandoned. For fourteen years her father never made contact. Yan Ni was so afraid of being alone that she never asked Mu Yu any personal questions for fear of the answers or upsetting him. She knew instinctively and empirically when he was lying to her yet chose to ignore the facts in order to stay with him. It was like watching a person continually swerve into oncoming traffic and expecting to not get hit. The costs to her physical and mental health continued to grow.
Stolen Life was frustrating to watch, especially with most of Yan Ni’s feelings being explained by a voiceover, not shown through her actions and reactions. Whatever the artistic reason for the scene-by-scene narration, it cost the story emotional integrity and distanced this viewer from the characters due to the near constant interruptions. It really was a shame because the film discussed a couple of issues not normally seen in Chinese films and the actors were more than capable of handling the sensitive subjects. Aside from the lessons in communication and self-worth, the film also emphasized the old saying, “It takes a mighty good man to be better than no man at all.”*
15 September 2025
*Dixie Carter
Spoilery comments below:
Can a baby’s father and grandmother determine a baby will be put up for adoption without the birth mother’s consent in China?
Female students forced to leave school for being pregnant is ridiculous. It’s not catching! Plus, the mother will need the better opportunities higher education will give her in the job market to help her raise the baby.
Mu Yu was playing a ridiculously long con on the women he scammed. His doormat detector was honed to perfection. He could spot a woman desperately alone and without any self-esteem. This is why women without supportive families desperately need good girlfriends.
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"Helping others is a measure of bravery"
Director Hu Mei attempted to tell around two decades of the life of Confucius. My knowledge of the great sage is extremely limited so I won’t be the person to determine if this depiction is historically correct. As a work of art, it let me down. I’m no stranger to documentaries, but even documentaries often pick a specific lens to view historical times and people through. Hu Mei tried to cram as many people and events as she could into two hours which gave little time or attention to each, especially the titular character.Confucius is called upon by the ruler of Lu to become a minister. Three aristocratic families hold much of the power and Confucius is asked to unite the land and decrease their power. Eventually, he is encouraged to leave. Confucius and his disciples wander through the neighboring countries, often driven out, until he’s finally invited back home.
I once read a book that continually added characters as the main characters went on their quest. It came across as “and then, and then and then…” which is how this story felt. Deaths and setbacks evoked no emotion because I rarely remembered who they were. Confucius’ wife and daughter made very brief appearances. As if to make sure the world had at least one woman in it, Zhou Xun was thrown in for a few minutes as a Wei concubine reviled for having too much power. Darn women!
These are the hardest reviews for me to write. Confucius wasn’t bad, but it wasn’t good either. I had truly looked forward to this film and was prepared for it to be slow. Slow I can handle, boring and crammed with mostly nameless characters is another matter. There were a few very quick battle scenes with terrible CGI, making the sage for the ages more of a military mastermind. Perhaps if the story’s focus had been narrowed, Confucius’ life and contributions could have been enhanced instead of watching him continually run from pillar to post.
15 September 2025
Triggers: Cockfighting. I really hope no horses were harmed in an early sacrificial funeral scene.
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(1) Shen Yue and her family live in Wuhan. Her recently widowed mother-in-law moved in and clings to her son and grandson, while always finding fault with Yue. When Yue develops a fever she follows the Covid guidelines and goes to the hospital suited up from headed to toe in protective gear. Turned away due to overcrowding she is sent home where her MIL decides she must quarantine elsewhere so as not to make the men in the family sick. The city goes on lockdown trapping the women together. Their difficult relationship serves to highlight the sense of isolation each of them feels.
(2) Xiao Lu has returned to Beijing in order to share an uncomfortable birthday with her family. Her boyfriend of 4 years and their cat stayed behind in Wuhan. The two lovers intend to marry, yet Xiao Lu hasn’t been courageous enough to tell her parents, who keep trying to set her up with someone else. Zhao Hua falls sick just as the lockdown is initiated. Desperate to be with him, Xiao Lu is devastated to be separated with no means of seeing him other than by phone. Zhao is isolated, dealing with his illness alone. Despite being circled by friends and family, Xiao Lu feels the pain of every minute away from Zhao.
(3) Chelsea works as a photographer for a Hong Kong newspaper while estranged husband Darren is a photojournalist. She records the problems of empty shelves, businesses closing, and people suffering in isolation. Darren is nearly always too busy to visit the children, a constant thorn in Chelsea’s side. When their child becomes sick the interminable wait for test results stokes the lingering resentments between the parents.
All three stories dealt with the difficulties from lockdowns and food/medical supply shortages. The cruelest isolation was saved for patients in the hospital who were cut off from loved ones, only able to communicate via their cellphone. For me that was one of the worst pandemic memories, people dying without their loved ones around them. The first story was melodramatic and had a rushed resolution. I have to admit I still found it satisfying. The second story was more polished and reminded us that Covid didn’t show mercy for any age group. Because the relationship was shown a la distance, I wasn’t as connected to the characters as much as I would have liked. The third story I found to be more irritating. Chelsea had a Filipino housekeeper who was loyal and kind. Chelsea’s mother declared that Filipino maids couldn’t be trusted and Luanna's days off should be curtailed. Aside from being blatantly racist the practice proposed dangled pretty close to slave labor. The third story’s emphasis on traditional female responsibilities irked me quite a lot. Xiao Lu’s segment was the singular story to not have either a mama’s boy or one that seemed to want a mother taking care of everything.
Each story in Hero had something interesting to offer as the women had to deal with the pandemic’s double whammy of illness and logistical problems in addition to navigating the difficult relationships in their lives. 7.25 On a coin flip, I bumped it down to 7.0. Though flawed I don’t regret watching it.
7 September 2025
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