The Butterfly

Revenge is a dish best served with blood

Dong Lan Xue began with a scattershot approach to the story, not entirely sure of what it wanted to be. I honestly dropped it after the first episode as it felt like the cast and crew had knocked back one too many double espressos laced with an illicit drug. The characters and story moved fast and erratically and one "time traveling" character was particularly annoying. Fortunately, I went back and gave it a second chance. When the writers took a deep breath and detoxed and decided to focus on the Seventh Prince and Shen Yan, the story began to gel.

For people well versed in historical Cdramas, the story was a familiar one. An evil Crown Prince caused misery for Shen Yan and other innocents due to his greed and desire for power. Seventh Prince had suffered a childhood trauma due to the Crown Prince's mother, the Evil Empress abetted by his father the Emperor, whose evilness has yet to be determined. Seventh Prince and Shen Yan teamed up to extract revenge on those who had caused them pain. They were not afraid to shed blood…a lot of blood to get there. Many of the more deadly scenes didn't make much historical sense but they were fun in a vengeful way so I just rolled with them and it was exciting to watch Shen Yan have her way with the Crown Prince's armored henchmen. There were also some very sensual scenes for a historical Cdrama, but well done. In around 90 minutes they told a story that often takes 50 episodes for other dramas while leaving enough story for part two of the revenge pact.

Dong Lan Xue was a short web series with high production values at least where sets and costumes were concerned. Once they settled the cameraman down and the pacing from the first few episodes, even those production values improved. The fight scenes were as good as any in a longer drama. I particularly liked Shen Yan being allowed to be a badass. They didn't shy away from her past as a prostitute or try to glamour or gloss over it. Too often they weaken actually strong female leads. They chose her background and stuck with it, not feeling the need to dumb her down or take away her power or voice. They also didn't remove her sensuality as she had chemistry with the Seventh Prince and with the Prime Minister's daughter.

Dong Lan Xue proved that longer isn't always better although I would have liked to have seen some of the story gaps filled in and it would have been nice to watch the whole thing uninterrupted. The main leads worked well together and the plot was fairly coherent if not historically plausible. All in all, after the first few episodes it became a highly addictive and entertaining watch.

7/7/23

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"Life has no script"

I’m Married…But starred two of my favorite Taiwanese actors, Jasper Liu and Ko Chia Yen. No one does realistic marriages like Taiwanese dramas, but somehow this one didn’t completely blow me away.

Lin I Ling and Zeng Xue You have been married almost four years and are still living with his parents. Zeng is fine with the set-up, he has two women to take care of him leaving him plenty of time to build his Lego town after work. Lin is not nearly as enamored with the set-up which causes a lack of privacy and autonomy. Zeng’s first words tend to be, “My mom said…” Not what a wife wants to hear every time they discuss an issue. Lin doesn’t want children while Zeng does. At least once a week Lin contemplates divorce. When she puts a soul mate app on her phone due to a client’s request, it changes the trajectory of her relationship.

These two characters seemed ill matched. Zeng was passive and overly kind to everyone. Lin was blunt and easy to anger. I don’t know what age the characters were supposed to be but the actors were both pushing 40. If they hadn’t been able to save enough money by that age, especially living at his mom’s for free, it’s doubtful they would ever put enough cash together for their own “house.” Another sticking point being that Zeng’s mom had a tendency to reallocate their savings. Disagreements over whether to have children can doom a marriage. Both flirted with other people. For me, this drama would have benefited from showing what inspired them to marry in the first place.

The special effects were telling. The father-in-law and other older men were often portrayed as houseplants, completely invisible to the rest of the family. When Zeng heard difficult news, his brain funnily enough displayed the blue circle of death with a “stop function” indicator. Lin’s talking uterus popped up out of nowhere and disappeared just as quickly.

Six episodes into the drama I was ready to divorce Zeng because as nice as he was, no wife wants to be second to another woman, even her mother-in-law. I kept waiting for Zeng to find his useless cajónes. While he did have some character growth, that growth never displayed itself by disagreeing with his mother. His mother may not have been evil, but she was manipulative. Newly married couples need to learn to depend on each other and make decisions for themselves.

I enjoyed this short drama primarily for the actors’ performances. Jasper Liu stretched and displayed more emotional nuance than I’m used to from him. I found many of the couple’s decisions mind boggling though many real life couples fall into the same pits they did every day. As much as I love Jasper Liu’s beautiful smile, I might have been tempted to smother him in his sleep the ten thousandth time I heard, “My mom said…”




29 April 2025
Slightly spoilery comments below
*****

*****

*****

*****

*****

*****

*****
The minute “Rain” showed up, the Piña Colada song (Escape) sprang into my brain.
“If you like piña coladas
And gettin' caught in the rain
If you're not into yoga
If you have half a brain
If you like makin' love at midnight
In the dunes on the cape
Then I'm the love that you've looked for
Write to me and escape”


Infertility was not treated the same for men as women. Lin was subjected to every woman in the family giving her advice, forcing vile potions on her to drink, they had priests chant over, and even moved the bed to a more favorable (public) feng shui place in the house. When it turned out Zeng was the one who was infertile, everyone clammed up and left. Speaking of which, Lin’s uterus also shut up, and baby making was never brought up again. And on that subject, Lin thought about divorce incessantly and then suddenly decided to have a baby. Baby’s do not heal marriages, they exasperate current problems and reveal new ones.

I will admit, a man buying menstrual pads for a woman he is dating would definitely give him a star in the win column. I’m not sure that would be enough for this couple to stay together, maybe a place of their own and a good couple’s therapist. These two needed to be able to make their own decisions, one of which should have been to purchase a CPAP machine for beautiful Zeng to tame his snoring.

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"You're disgusting, you make me sick!" Preach on sister!

The Street Fighter was violent, exploitive, and had almost no redeeming qualities. Takuma Tsurugi was the manliest man to ever man which means he got a pass for sexual assault and selling a woman into sex slavery. This was a violent film just to be violent, with little story to go with it.

Takuma breaks a death row convict out at the last minute. When the convict’s brother and sister can’t pay the last installment he begins to rape the sister. The brother tries to intervene, so Takuma kills him, and sells the sister to be a sex slave. Big man. A group attempts to hire him to kidnap an heiress but he turns down their lowball number. Because Takuma knows of their plan they attempt to eliminate him which drives him to be the heiress’ protector. After forcibly kissing and groping her, he's hired on to protect her. When the convict discovers what happened to his family he joins the other bad guys for the chance to free his sister and kill Takuma. Yeah, at this point I’m rooting for anyone who would kill this b@stard.

The fight scenes weren’t well choreographed and I hated Sonny’s fighting style and acting. The editing was even worse. At one point Takuma asked his sidekick, “How did you get here?” I was expecting Ratnose to say, “Heck if I know!” It was as if they edited out anything that would have caused the story to make sense. The story jumped around and so did the people as if they had a transporter to drop them into a completely unrelated scene. The acting was bad even for a 1970’s martial arts film.

The Street Fighter failed on every account for me. Only for Sonny Chiba fans and those who enjoy the main lead behaving reprehensibly toward women. This movie put the mindless into mindless violence. At the end of the film, in big letters it declared “Return of the Street Fighter coming soon!” Thanks for the warning.

14 March 2024

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"If we can't live together, we'll die alone!"

Pending Train was an entertaining story about strangers on a train mysteriously landing in a dystopian future. The strength of the drama was the characters and how they learned to work together through their fears and problems in order to survive.

Mild spoilers:
From the first, "Guys, where are we?" it began to feel like the writers had recently watched Lost (2004) and wanted to update the story for Japan. Shirahama Yuto (Jack) was a fire fighter with a painful past experience at work that has left him with deep seated guilt and a need to save everyone. Kayashima Naoya (Sawyer) was a hair stylist who due to his painful past trusted no one. Hatano Sae (too bland to be any character from Lost) was a school gym teacher who thought no one liked or respected her at work who was part of a weak sauce love triangle. The rest of the main cast contained a businessman who took a walk on the wild side (Locke), an effervescent game designer (Hurley), a graduate biology student who had a physics professor for some reason, a shady self-centered manicurist, and a middle-aged CEO who worried that she didn't spend enough time with her daughter.

As with Lost it turned out there were Others on the island who would compete for resources and survival. The battles were not nearly as deadly or mysterious. I have to say there were several characters who had me wishing a Smoke Monster would come and drag them away. At one point I honestly thought earnest Shirahama was going to quote Jack and say, "If we can't live together, we'll die alone," and he did more or less. Hatano was so uninspiring that her flashback story centered on her looking at a rainbow. She was everyone's cheerleader with either a smile on her face or a look that said, "where did I leave my purse?" None of the women had particularly interesting backstories or compelling stories in the future.

Despite the Lost coincidences and poor writing for the female characters, I did enjoy this drama. Kayashima showed the kind of character growth that makes dramas worthwhile. Shirahama worked through his guilt with the help of his new friends. The struggle to figure out where/when they were, and how to obtain food and water was interesting. The bromance that developed between Shirahama and Kayashima was the most engaging relationship.

The scenery varied with one side of the tunnel displaying Tokyo's ruins covered in an almost rainforest. And on the other side of the tunnel (always a tunnel in these pesky time-traveling dramas!) was a barren landscape. The latter setting appeared to be the one Kurosawa Akira used in his film Dreams for a post-apocalyptic future. The OST had a tendency to err on the overwrought side, not always meshing with a scene's mood.

The biggest problem I had with the drama was their "science" which would have been convoluted for an old Godzilla film and only coming in second to the Professor making phones out of coconuts on Gilligan’s Island ( yes my pop culture references are old ^^). And it was hard to get on board with people starting a fire with a green stick on a green leaf. The last two episodes dragged and didn't make a lot of sense with what had gone on in previous eps. To make matters more complicated the drama seemed to give an alternate ending unless they threw their own pseudo-science out the window.

Some people wanted to go home, desperate to see their loved ones while others had nothing to return to and were happy in their made kingdom. Many of the characters decided after learning how to survive in a hostile environment, the problems at home would be easier to deal with and they also would show appreciation for each day and those they cared about. "We have the power to recover from all kinds of obstacles and failures." Yet life is funny and people can be cruel and ignorant in the face of the unknown. I'm sure there were more than a few characters who would like to have said, "We have to get back to the island!" or at least "When's the next train to the future leaving?"

Pending Train came across more as a healing drama for damaged people than "it's the end of the world as we know it." If you enjoy a more character driven drama, don't mind a lack of dire consequences in your dystopian stories, and can overlook the terrible science, this drama can be a fun watch.

8/12/23

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"In the end, all you have is family."

Red Family, a film about a "family" of North Korean assassins living in South Korea feels dated in some ways, but timely in the never-ending question about what makes up a family.

The Assassin Family lived next door to the South Korean Sitcom Family. The Assassins blended in seamlessly in public but in private were stiff and formal, with the "Mom" who was their team leader constantly barking orders and threatening them. The Sitcomers were wasteful, always ended up in comic situations, and were constantly yelling at each other. Yet somehow, this comically imperfect family forever tainted The Assassins, causing them to question themselves and their mission.

The Assassins also had families back home, families who could be jailed or executed if The Assassins failed in their missions. Little by little, The Assassins began to develop into a real family who cared about each other which was a threat to their mission according to their superiors.

Also discussed was the split family of Korea divided into North and South, and the forces that kept the family apart.

The highlight of this film for me were the teenagers, the Assassin daughter and the Sitcom son. They were cute as they began to bond and form a friendship. I also enjoyed Assassin Grandpa and Sitcom Grandma having a few light moments.

The low points were the moms. Sitcom Mom was always screaming and berating her husband for not making enough money. If all South Koreans were this loud and obnoxious, I'd have headed north myself to get away from them. And even though The Assassins could hear much of what was said next door yet Assassin Mom's voice was always set on screech. The people down the block had to have known that they were North Korean assassins.

At the start of the movie, the Red Family seemed mostly one dimensional. Layer by layer, the rigid exteriors were peeled away to show more of what made each Assassin unique and the fears they had for their families back home. It would have been nice if the film had delved into the internal conflicts they might have had over having so much food available and being in a place where people could speak their minds without fear.

The premise was also a little shaky. The Assassin Family had taken out dozens of defectors to the south, and with all the other spy teams at work, it seems someone would have noticed if hundreds of defectors had been murdered over the last few decades.

Overall, I found the movie entertaining, if predictable. The juxtaposition of the two families with conflicting realities, the Assassins' stress of having to be ever vigilant for fear of being caught by the authorities or condemned by those monitoring them, and their evolution into something more than they were trained to be made for a flawed but compelling story.

26 January 2022

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"Had I not seen the sun, I could have borne the shade..." E Dickinson

Had I not Seen the Sun has been a difficult drama to rate and write a review for. Certain elements left me wanting and others I found completely engrossing. Also, given that we must wait until December for the second half to air, the drama ends on a cliffhanger meaning the story is not complete. I went out on a limb with my score hoping the writers bring everything to a satisfying ending.

Li Jen Yao turns himself in, confessing to several horrific murders. A small film company receives permission to do a documentary on him. Their goal is to discover the one thing the police were unable to ascertain…the motive for the grisly killings. Chou Pin Yu is the young film assistant. She’s moved into a haunted apartment and begins to be possessed by someone with a connection to Li. Pin Yu is given a ghostly guided tour of the lives of Li and the ballerina he loved.

The present time escapades did not work for me largely because the actress playing Pin Yu is extremely inexperienced and she lacked the ability to give any depth or nuance to a complex role. I rarely comment on acting abilities as it’s very subjective, but I nearly dropped this drama early on because I could not connect with her performance. When the drama largely moved to the past I fell into the story. The narrative may not have been original and was overtly melodramatic, but I don’t mind a little drama mama action. I’m tempted to say the writers were heavy-handed with their butterfly metaphors but can’t bring myself to criticize their uses of my namesake.

“Moths (at night) keep going in circles mistaking lights for the Moon…Butterflies only appear under the sun and go anywhere they want to.”

I’m curious to see how the writers will resolve the mysteries of which there appeared to be many. If nothing else, this drama was a strong motivation for cameras in classrooms and child advocacy programs and more.** With the exception of one girl’s family, there were no people deserving of children in their lives in this drama. Most of the teens involved lived in the darkness. They either basked in the sun hoping to learn how to walk in the light or attempted to drag the light into the darkness with them. We'll see if anyone sees the sun by story's end.

20 November 2025



Trigger warnings: SPOILERY






-a violent sexual assault, numerous beatings, and glimpses of disturbing murders.




**Spoiler comment below**












**** There is also a need for better protections for sexual assault victims with the police, schools, and more public education that girls/women who are raped are NOT sluts or responsible for the vile acts committed against them and they are not tainted goods. The protection of boys is not more important than the welfare of their victims and the victims deserve justice though it is too often denied. Li Jen Yao should have aimed lower.

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"Every day is April Fools"

Abe Hiroshi played much the same type of character in News Anchor aka Caster as he did in Vivant. I liked that character so I was okay with him looking rumpled, stunning and irreverent in his black suit and white shirt, this time as a no holds barred news anchor.

Shindo Soichi is hired to destroy the JBN news program from the root. Failing and stagnant, the evening news might need a shakeup with a journalist who doesn’t play by the rules, but the employees aren’t overjoyed by his process. Sakikubo Hana is tasked with being his handler. She has a secret past connected to him that makes her loathe his presence. Motohashi Yusuke normally handles the camera on assignments and is often caught between Shindo and Sakikubo. What neither of his colleagues know, is that Shindo is also searching for the people behind the death of his father and attack on his former wife.

As I mentioned, I’m okay with Abe playing Abe. At 61, he’s still got it. Shindo was the stereotypical loose cannon that doesn’t play by the rules but (nearly) always gets his man. Nagano Mei as Sakikubo Hana, despite her offset troubles, was handed a tough role. Perhaps Sakikubo was supposed to be the voice of compassion but I found her completely insufferable from beginning to end.

News Anchor had the murder mystery and coverup at its base. On the surface it covered organ transplants and Japan’s extraordinarily low donation rates, murder, sneak photography, and a wildfire. It also showed how reporters and news stations often comply with governmental offices, sponsors, and police departments in order to maintain access. It’s something that happens worldwide and has been one of the worst things to happen to news organizations. By refusing to ask the tough questions and dig for the real answers in order to access the soundbites they need, they cede reality and truth to those in power. Shindo blew past all those niceties.

Aside from Sakikubo who was nails on a chalkboard to me, I enjoyed News Anchor for the most part. That’s not to say it was a great drama, far from it. Aside from the FL, the various pieces of the puzzle were ham-fistedly shoved together in the last episode while leaving the corner piece to be found should there be a season 2. News Anchor took a lot of dramatic license and loved to throw out red herrings. Probably only for fans of Abe Hiroshi or other actors attached to the drama and viewers who don’t need a great deal of realism in their journalistic drama. Categories it would seem, I fell into. lol

13 July 2025

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"I don't scare easy" Well, I do sister

Tetsuo: The Iron Man is one of those movies I started without fully realizing what I was getting into. I am not a body horror fan so this film was not at all my jam. This review is for anyone thinking about watching it who also might have concerns about this sort of film. For fans of the genre, they will most likely find many things to enjoy about it.

A metal fetishist who has driven metal into his body runs out in front of a car and is hit. The couple take his body out to the woods to dispose of. The victim takes his revenge on the salaryman by causing metal to begin growing out of his body. That's the simplest explanation.

This film felt like the efforts of someone who had been on a psychedelics bender and brought his horrific hallucinations to life. There were numerous scenes that made it hard to tell if something was really happening and if it was, why it was happening. Was it just a delusion? Much of the action was fast forwarded or stop action which was nausea inducing.

Tsukamoto Shinya who wrote, directed and starred in this film had a penis obsession. Whether mechanical or real, the object of ecstasy or torture, phallic symbols abounded.

Tetsuo is the type of film that is more about the experience than the “plot.” For me, it was not a great experience. A curiosity, yes. Entertaining, not particularly. Again, if you enjoy this horror subgenre, it’s older, but might be one to try. Every time I think I've seen the weirdest movie, there's someone to say, "Hold my motor oil."

16 June 2025
Trigger warnings: Basically, if you have triggers, it would be best to avoid this film. Bugs. Gore. Violence. Sex. Nudity. Penis gore. Sexual assault.

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"An old shirt belonging to our son who is away; my wife washes it and hands it to me to wear."

Ballad of a Workman aka Ballad of a Worker was a loving ode to parents who sacrificed for their children to have better lives. Time jumps were often accompanied by stoic ballads and haikus. The film also showed the struggle many people faced as Japan rebuilt their economy after WWII.

Our story starts in 1946 when Yoshio returns home from the war, welcomed by his wife and son who had feared he was dead. Torako had moved to the countryside as the bombings devastated Tokyo. The only job Yoshio can find is working on the roads. As the years pass and he is promoted, Torako is paid to do housekeeping for the workers’ center. They don’t earn much but make sure that their son Toshiyuki is educated. When Toshiyuki leaves for Kyoto to attend college, the little family is hit hard by the burden of their poverty.

This film showed the progress of the Nonaka family from 1946-1962. Yoshio had to slowly learn to deal with his miserable job in ways other than drinking. Torako was the rock of the family, the one person who held things together. She worked a demanding physical job in addition to her own household duties but never complained or drank herself to sleep. Takamine Hideko and Sada Keiji were a great duo for the roles of hard-working parents. Toshiyuki dealt with stressors in Kyoto that his less educated parents could scarcely imagine. Yamamoto Toyozo may have been less experienced yet he still managed to convey Toshiyuki’s stress of being his parents’ great hope and reason for living.

The drawbacks to the yearly time jumps with accompanying heavy-handed ballads was that I felt like I missed out on more of the day-to-day lives of the family. They often bounced from one crisis to the next. Despite the family’s troubles, the parents kept moving forward refusing to be dragged down by their privation. Their quiet dignity was moving, even when they hesitated to accompany Toshiyuki to his new school for fear of embarrassing him. The son’s growth and learning to accept them as they were was also quite heartwarming.

Ballad of a Workman could have done with less ballad and more tender moments between Yoshio and Torako. The film showed that the job of parenting is never done. Even after children grow up, there is always something to worry about and plan for. What could have been an overly melodramatic story ended up being a heartfelt slice of life about a family with a dream for their son to have a better life.

“Together we’ve walked through the years. In times of laughter and tears. Our hands are roughened but you and I. We shall walk, foraging ahead with smiles.”

15 June 2025

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"Don't ever bite your own tail again!"

Hard Boiled was John Woo’s death filled cops and gun-runners ode to action films. A completely over the top, unrealistic, thrill a minute bloody carnival ride.

Officer Tequila Yuen is determined to bring down the Triads running guns that caused the death of his partner. A loose cannon who doesn’t play by the rules, he ignores his boss’ warning about staying off the case. It’s not long before he runs into Alan, an origami making Triad assassin. He deduces Alan’s secret and the two reluctantly work together to bring down the deranged Johnny Wong’s gang.

What I liked:
What’s not to like about a Chow Yun Fat and Tony Leung Chiu Wai pairing? The screen could barely hold their bromantic charisma. I could watch these two in about anything. Phillip Kwok (Lizard Venom) as Mad Dog was right up my kung fu movie loving heart. Lo Meng (Toad Venom) made a brief appearance before he like hundreds of others-died. Kwok was also the action choreographer. Stuntmen flew through windows and fell off buildings, and with all of the bullets hitting and grenades exploding they rolled and were flung about the sets continuously. Chow Yun Fat’s signature move of diving through or over something with both barrels blazing was used several times. Bruce Law was the guy often called for car stunts and there were cars and motorcycles flying, flipping, and exploding everywhere. The stakes were high with hundreds of civilians and a nursery full of new born babies to worry about. Will someone please think of the children!

What I didn’t care for:
It was almost like John Woo wondered how many senseless deaths he could get away with. The gruesome deaths of innocents fleeing a hospital were disturbing in particular and also all the friendly fire deaths. One friendly death was caused because Tequila couldn’t stop taunting Alan instead of guarding the person relying on him for survival! I knew some film nerd would count the casualties for me-thank you Collider!: The body count for Hard Boiled was 305. Honestly, after the first 100 deaths it became monotonous watching the bad guys mow people down with automatic weapons or with RPG fire. Some of the fire fight casualties were funny. I understand a bullet can go through two as easy as one, but not when the people are standing side by side! It's apparent that the carnage had gotten out of hand when the bad guy named Mad Dog complained about the overkill.

While many people enjoyed the reckless slaughter of the masses, it didn’t work for me. I would have rated this film much higher if Woo had showed a modicum of restraint instead of characters gleefully gunning down anyone moving. Despite having some cute babies in the film to lighten things up, Hard Boiled was the kind of relentless gun porn that might have the average viewer wanting to take the dream trip to Antarctica that was talked about in the film. A place where there was always light after living with so much darkness. *

20 March 2024

*(Scientific quibble-Antarctica has light for six months out of the year, it’s dark the other six)

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"It's like a bucket of sand poured over my head"

During Japan's economic boom period, Kurosawa Akira made a film about those who did not benefit from it, living on the fringes of society within or next to a large trash heap. Dodeskaden was his first film in color and he took full advantage of it with brightly painted backdrops and buildings. The colors did not translate into the drab, tragic lives of the people who lived there, as they continued moving in endless circles unable to escape their meager existence.

The film begins and ends with teenage Rokuchan and his mother as they chant their Buddhist mantra. The mentally challenged teenage boy believes himself to be a streetcar operator and each day he goes out to his imaginary streetcar and runs his routes through the shanty town. As he "drives" along, he calls out "Dodeskaden", the sound a trolley makes. Out of all of the characters, his full imaginary life might actually be the happiest. Other characters are not so lucky, an overworked niece becomes a victim of rape, a man who saw something he shouldn't have walks around unspeaking with dead eyes, a father and son live in a car with the son begging for their food in town when they need it, and a man with a distinctive facial tic has to put up with a harridan for a wife. For comic measure two day worker drunks swap wives and the viciously gossipy Greek chorus of woman who gather around the water pump give their commentary throughout. A man who makes hairbrushes has a wife who has given him five children with a sixth on the way with none of them being his. And lastly there is the old village saint who tries to help where he can.

Kurosawa has vilified the upper classes and their consumerism in other films. In this one he shows the plight of society's outcasts. Much like The Lower Depths, he doesn't make the characters sympathetic for the most part, only the youngest and most vulnerable who suffer bitter fates. Most of the characters don't truly interact, only tied together by proximity.

While Kurosawa's skill shows through as well as the actors, I can't say I particularly liked this film. Justice hides her face. Redemption is but a dream. And hope is so far in the distance that most people live their lives in resignation to their lots. With the exception of dutiful Rokuchan's mother, women are portrayed as harpies and harlots, completely untrustworthy and for the most part interchangeable. The men are given much broader range from mentally ill to lazy to drunkards to industrious to kindly generous to wise old sage.

With all the drudgery and tragedy, a few moments of quiet and joy exist even when only in the imagination. There are beautiful surreal paintings of the house the father and son build together in their minds while starving in the car. Rokuchan's drawings of streetcars on every surface in their hut and his imaginary world are quite vivid. The wise sage tricks a suicidal man into wanting to live and stuns a burglar in his house with generosity. Those gentle moments are few and far between.

Despite Kurosawa's skill behind the camera and the general resilience of the people living on the outside of society, the flat, negative portrayal of women, and the relentless negativity dragged this film down for me. To quote one of the characters, "It's like a bucket of sand poured over my head."

2/22/23

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"Life is an unknown course"

Like the languid lapping of the waves against the shore near the quiet fishing village in this film, Director Ozu brings a gentle rhythm to the past meeting the present and directing the future currents for the people involved. Komajura and his troupe of traveling actors will find their lives changed as they navigate their circumstances and decisions in this remote place.

Komajura is an aging actor with a less than successful acting troupe. He readily admits their Kabuki plays are not very good. Most of the players have only known the stage for most of their lives. In the sweltering heat of the day, they form a small parade in their costumes as they enter the village, handing out fliers. Some of the men seek out the prettiest women in town to invite to the play. Komajura seeks out an older woman and her 19-year-old son, Kiyoshi. Kiyoshi is actually Komajura's son, but only knows him as an uncle for Komajura doesn't want his son to have a poor actor for a father. Komajura's current mistress, Sumiko, becomes enraged when she finds out about his devotion to his secret family and hires one of the girls in the troupe, Kayo, to seduce the dutiful Kiyoshi setting into motion a wave of changes.

Though Floating Weeds has a romance with the young lovers, the main focus of the story is Komajura as the tides in his life change. He faces the loss of his troupe, his lover, and his son. He lashes out in fury in some of the most violent scenes I've seen in an Ozu film. He is forced to deal with his lack of control over his life circumstances and other people. Eventually, he comes to accept where he is in his life and what his relationships have come to be and that his loved ones will make their own decisions about their lives which he may not agree with. Many of the characters must decide who and where they want to be.

There are two scenes where Komajura becomes violent with the women who crossed him and his son. Though this male dominance may have been acceptable in 1959, it is jolting in this present time and incredibly offensive, making Komajura less sympathetic as he seeks to control the people around him through force. As with all Ozu films, the acting is normally quite restrained, making these outbursts all the more difficult to absorb.

The film itself is a beautifully staged and shot film. Ozu's scenic frames tell a story in and of themselves. They are contemplative, quiet, familiar, giving the characters and the audience room to think and breathe. Many of his frames would make incredible still lifes. His red tea kettle makes an appearance in the barber shop! In a powerful scene, Komajura and Sumiko have it out during a rainstorm. Each stands on the opposite side of the street, unwilling to budge, unwilling to move closer or get wet, unwilling to see the problem from the other's point of view. The words are vicious as the water pours down. Later, in a subtle bit of acting near the end in a train station, the same two actors drop their walls ever so slightly to let the other in as cigarettes are lit and forgiveness is given.

This film is a remake of his silent film, The Story in the Floating Weeds which I have yet to see as the film has no English subtitles. Floating weeds refers to itinerant actors. There were few weeds in this film, if I have any complaints, the movie did begin to feel long as some of the problems were dragged out and it felt as if some scenes could have been trimmed. Most of the acting was absorbing with the exception of the actor who played Kiyoshi. This young actor gave a rather wooden performance.

Ozu was a master of making family concerns and life decisions go from simple to complex to simply masterful. Though this film was not completely centered in a home, Komajura's family both biological and extended family with the troupe was explored. Ozu never ventures far from home and hearth, simply showing us different views of it. There is something comforting in his movies, we come to know the people and their struggles, their strengths and weaknesses, sometimes even see ourselves in them as they try to make the best of their lives. Komajura tells his old lover, "Life is an unknown course." The longer we live, the more these words resonate.

2/7/23

Edit—I have since watched and reviewed the original silent film.

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First come, first served or first killed, whichever comes first

A shy assassin assigned to guard a yakuza's teenage daughter finds himself in the middle of a revenge fueled war that takes place in a nearly empty school. Undercover as A Janitor, he ends up having to clean up more than empty juice boxes.

Fukima Akira saw his father murdered when he was just a boy. His father's blood brother, Majima Yoshiki, took him in as a son and trained him to be an assassin. Majima's biological son, Honda, grew up to develop his own gang to oppose his father. Eventually, Akira finds out that Yoshiki had his father murdered so that he could take over the gang and honor dictated Akira now had to murder his father figure. Other leaders were involved, including Honda, because everyone wanted to take over Yoshiki's turf. Yui, the daughter, was needed to biometrically open the vaults thus creating the deadly situation at the school with only Akira between her and 9 assassins.

The film bordered on the absurd at times with a baby faced serial killer, two female high school assassins, a geriatric assassin, two bozo bro assassins and one that resembled a terminator. Some of the acting could be over the top. Honda, looked like an IT specialist, but what he specialized in was killing, especially his own men. I kept expecting to hear him say, "have you tried turning it off and turning it on?" This was a kill or be killed free for all, where the only ones who would be paid were the ones who completed the job first. First come, first serve. What the assassins learned the hard way was that the gentle spoken janitor had no intention of letting anyone collect a pay day.

A Janitor (the most commonly used title name) looked like it was cheaply made. The school shots were that blown out blue/gray and white that many Jdramas seem fond of. Scenes with Yui and her father having dinner, steak of course, murderous villains tend to like their rare beef, were tinted red.

Some of the scenes were gratuitous in nature, and fair warning, there were a few random high school kids murdered. At times the fighting seemed brutal and real at others times it could seem ludicrous. Suppressing fire is one thing, wasting bullets shooting at something you can't see when you have limited ammo is something else, something stupid. Speaking of stupid, if you have an amazing hiding place don't crawl out in front of the villains in plain sight.

The acting was all over the place. Fukushi Seiji did a fine job as the conflicted and loyal Akira. Imou Haruka asYui had the tough task of playing the high school girl getting dragged all over the place with little agency of her own. Most of the rest of the cast set their acting on crazy overkill.

Despite the limited acting and sets, the movie was entertaining at times. Like a Godzilla movie, the monster didn't show up until 40 minutes into the story, at which point the action began and it became more interesting. Ultimately, a cute assassin wasn't enough for me with the huge gaps in logic though. The film is part of the Baby Assassins world which I know nothing about. So if that franchise is something you enjoyed or you like yakuza assassins pummeling and shooting each other, this might be something to try. It is thankfully as short as much of the logic in the movie, clocking in under 90 minutes.



9/26/22

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I'll have the house salad, hold the radish please

Monster Hunt was a messy quilt made of a variety of genres hurriedly sewn into one piece. Though childish in nature, it had enough disturbing scenes, one should think carefully before letting small children watch it.

The lack of clear and consistent narrative troubled me about the movie. A bad monster takes over the monster world and is hunting down the good monsters. When the pregnant ex-queen and her attendants escape, the hunt is on. Monsters are hunting monsters. Humans hunt monsters. It's rough being a squishy tentacled being in this movie.

Jing Bo Ran is Song Tian Yu, the de facto mayor of a backwater town, left in charge when his monster hunting father disappears. In a reversal of gender roles, Tian Yu is meek, a seamstress, and cook. His senile aggressive grandmother scarcely remembers who is and when she does is disappointed in what she sees. Along comes the pregnant hunted queen and her two attendants in human suits. Following them is Bai Bai He as Huo Xiao Lan, a low level monster hunter. When Tian Yu becomes pregnant, hilarity ensues. Eventually, the two humans are left with the baby monster king and have to decide what to do with the little bloodsucker all the while being chased by humans and monsters.

The movie is energetic, bordering on frenetic. Some of the martial arts fights, especially with CGI monsters are creative and captivating. Creatures break into song on occasion. A romance comes out of nowhere. Monsters eat humans and humans eat monsters, it's a dog eat dog world. There are bad monsters and bad humans. While I liked the moral complexity, too often it felt like someone throwing spaghetti at the wall and seeing what sticks. The baby monster, which I did not find adorable, seemed to be used to try to manipulate the audience emotionally into caring about it and it's human caretakers. I don't mind cutesy cartoon characters, but this one bordered on nauseatingly saccharine. And aside from him being the true heir, we're never really told much about the baby king's importance or place in the world. Like Chekhov's gun on the mantle, a rusty sword foreshadows the limping, docile hero will overtake the heroic female warrior protecting him. I cannot overstate how tired I am of this trope.

I enjoyed parts of this movie. Jing Bo Ran and Bai Bai He were affable and had a nice chemistry together. They were believable when dealing with green screen images something not all actors can do. Jiang Wu as a conflicted bounty hunter was fun to watch as he battled monster and human alike. I was particularly happy seeing Elaine Jin/Kam, Sandra Ng, and Tang Wei make appearances. The theme of seeing creatures and humans for who they are and not what they look like always appeals to me even when I had to sort through a lot of other themes in the movie to latch onto this one.

A brain burrowing bug and open air exotic meat markets may not be for everyone. The movie doesn't shy away from death and oddity.

For those who like lots of random action and a plethora of strange creatures, this will be right up their alley. As much as I enjoy CGI children's movies, this one felt too much like a fever dream hopped up on sugar for me. I left it staggering from the sweetness and weirdness overload.




8/6/22

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The Korean peninsula hangs in the balance when a volcano on the Chinese border threatens to blow everything sky high! Luckily, for both Koreas, Ha Jung Woo and Lee Byung Hun are on the job!

Ashfall is an entertaining disaster and spy thriller flick that doesn't try to take itself too seriously. It has all the characters one would expect in a catastrophic volcano movie. Ha Jung Woo plays The Hero who is supposed to be retiring from his EOD squad (Explosive Ordnance Disposal), instead he's leading a group into North Korea to steal a nuclear bomb to stop the volcano from making rubble out of Korea. Along the way, he has to pick up a North Korean agent/double agent/triple agent?, the always cagey Lee Byung Hun, as The Anti-Hero, who has been jailed in a NK prison. Easy peasy, right? Back home giving them support is, Ma Dong Seok, going against type as The Scientist Who Warned Them All and Jeon Hye Jin as the Politico Who Gets It. Bae Suzy also throws in with the scientist as The Hero's Resourceful Pregnant Wife.

Ashfall actually feels more like a spy thriller film with a cranky volcano in the background. Our plucky band has to deal with betrayals and comes under fire from various political powers that don't want them getting their hands on a nuclear bomb for ANY reason and disturbing the power balances regardless of the fact that both North and South Korea are about to be wiped off the map.

The action is non-stop, almost from the first frame and never lets up whether it's fire from the sky or fire fights. As with most disaster movies, you have to let go of reality and just enjoy the ride as nearly everything that happens is implausible.

The heart of the movie is the bromance that develops between The Hero and The Anti-Hero. Lee Byung Hun's character development and the friendship he grudgingly develops with Ha Jung Woo's character brings out the humanity this movie needed as everyone is moving at breakneck speed.

If you are expecting a rational approach to a cataclysmic tragedy in the making, not only for the Korean Peninsula but having an effect worldwide with scientists and world leaders joining hands and acting altruistically and quickly, you're going to be disappointed. If you are expecting vehicles, people, and the starring volcano to obey the rules of nature, you might want to skip this. This is an entertaining, if at times ridiculous, thriller disaster movie set on high drive with a little bit of heart to make it not instantly forgettable.

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