The Butterfly

An affair tells the story of a married woman in her late thirties drowning in a gray world of mediocrity and what happens when she is confronted by passion and desire.

Seo Hyeon’s reserved life is comfortable but devoid of color and dreams. She is married to a man she has never been in love with. Her uninspired life is reflected by the traffic report station her car radio is set on.

U-in returns to Korea to start a new job and prepare for his marriage to Seo Hyeon’s sister. He is a young man bound by his father’s expectations. He falls in love with Seo Hyeon at first sight despite their age difference. Slowly and deliberately he pursues her. She tries to take refuge in familial duty but succumbs to his advances.

Seo Hyeon’s time with him is awash in colors, feelings, and dreams. He exchanges her traffic station for romantic guitar music and her predictable existence for one of excitement. For the first time in her life she falls deeply in love.

Ultimately she has three choices:
Choose to destroy her family and leave for a new life with U-in.
Maintain her duty to her family and stay with a man she has never loved.
Take a chance on herself and leave the gray world that has enveloped her.

Each choice has consequences involving loss. The question is which choice can she best live with?

The loves scenes are sensual in this movie and a bit of a shock after watching the guppy kisses of Kdramas. There is a sense of intimacy even in the scenes where they don’t touch as well.

The movie never seeks to excuse their relationship, more to understand her need for a lifeline out of the dark ok-ness she has settled for.

Lee Mi Sook and Lee Jung Jae bring these characters to life, their passion, love, and guilt.

The musical was okay, but not particularly memorable.

As far as rewatch value goes-just like U-in’s love for Seo Hyeon, An Affair is highly addictive.

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“That fence led you to the middle of nowhere, made you suffer, pushed you out.”

Kim Nak Su has followed “The Plan” regarding his business and family life, supremely confident he has taken all the right steps. When his life starts crumbling apart, The Dream Life of Mr. Kim begins to resemble a nightmare.

Manager Kim Nak Su is up for an executive position at ACT and has no doubt his dream is about to come true. He knows very little about his team and hasn’t kept up on the newest developments but he covers his boss’ behind and does what needs to be done, even if it means skipping his own son’s graduation. He treats his wife and son more like employees than beloved family members and always has a critical word ready. When the company needs a scapegoat, the 55-year-old employee who has never worked anywhere else, makes the perfect patsy.

If there is a reason to watch this drama it is for Ryu Seung Ryong. He gave an amazing performance as the complicated and flawed Mr. Kim. He utilized his body, face, and voice for an optimal portrayal of a man brought low who must finally face himself and be brutally honest with what he wants and why he has been so driven.

Full disclosure, redemption and reconciliation dramas/films are my favorite genre. This drama should have been perfect for me, but I struggled with every episode of it. For eleven episodes, Mr. Kim was prideful and made bad (sometimes horrible) decisions one after the other. His treatment of his wife, leaving her out of key moments was frustrating. As she said, “Do you even consider me a part of this family?” He claimed to have worked to protect his family, yet everything came down to what made him look good and his reputation. Just past the midway in the drama, he committed a selfless act which seemed completely out of character and unearned. For the most part, Kim failed to take responsibility, was vain, refused good advice, showed little respect for family members and friends, and was completely ego driven.

The Dream Life of Mr. Kim showed the perilous nature of corporate work, especially for aging workers who become expendable. Companies were reluctant to hire older people for a variety of reasons which made starting over difficult to impossible. Middle management men found themselves to not be as valuable as they believed themselves to be. Nearly everyone in the family fell victim to a scam at one time or the other. For me, it was difficult to root for a character who was largely insufferable through most of the drama. When the ultimate cathartic moment came, it was still unsatisfying.*

"You don't know how to be grateful. You think you got this far on your own."

4 July 2026

Not Buying It Note: In a flashback from 25 years earlier, they merely painted on more makeup, but the actors went from looking 55 to 52. Just have younger actors play the characters in flashbacks.

With Family Like These, Who Needs Enemies Note: Ha Jin’s sister and brother-in-law were awful.

Good Son Award Note: Su Gyeom made a mistake but worked like crazy to make up for it, never blaming anyone else. He showed his father more grace than what he'd earned.




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* While the carwash business was “hard on the body, easy on the mind”, Kim was already getting older. For whatever reason Koreans always say they’ll live to 100 but the average life span for men is closer to 80. After 60, the body is not always so compliant to manual labor. I hope he was a brilliant businessman and could figure out how to expand the business with younger labor. If he died of a heart attack or became sick/injured, he’d saddled his wife with enormous debt unless the sale of their apartment helped pay it off. Ha Jin was also struggling to find work. I still can’t believe he used every penny they had saved and also borrowed a small fortune while unemployed WITHOUT consulting his wife who was in real estate and ignoring the advice of a friend who was in real estate. The sheer lack of respect for his wife’s opinion and not including her in major life decisions made me dislike him all the more. I’m always thrilled when a character turns their life around but 11 episodes of his selfish behavior were hard to wade through. I normally binge dramas, but it took me two weeks to finish this one.

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"Are they Squid Gaming us?"

Culinary Class Wars managed to highlight the Korean culinary world’s hierarchy without being mean spirited even with layers of ambition and main courses of egos served piled high. Chefs and judges Baek Jong Won and Anh Sung Jae were the ring masters who declared who stayed and who went home in this high stakes cooking competition.

Eighty chefs, many self-taught or working as street vendors or in average restaurants came to take on 20 professional fine dining chefs for a prize worth 3 million won/215,000 (USD). The chefs on the lower rung of the hierarchy were titled Black Spoons and only given nicknames. The professional chefs were given the title of White Spoons and their real names were used. Only 20 Black Spoons would move on to the next level after the first challenge. After the winnowing, Black Spoons went head-to-head against the White Spoons in ever demanding challenges.

My favorite challenge was the Blindfolded Challenge. I’ve seen too many cooking shows where the established chef is treated deferentially and preferentially. The Pros freaked out when their advantage diminished. With only their senses and not their sight, Baek and Anh had to determine which dish tasted best. For this alone, I gave the show a .5 bump. The Infinite Cooking Hell mission would be my second favorite as the chefs had to utilize the blandest ingredient I can think of in numerous dishes. Honestly, I would have preferred for this to have been the semi-final with ALL of the remaining chefs participating to see what they were truly made of. The final by comparison was a limp noodle and anti-climactic. At least have them make a three-course meal to demonstrate a range of skills.

If I have any other quibbles, it would be with the editing. The class wars took place there as well. The Black Spoons also had a hierarchy. Two of the female contestants I was invested in, had much shorter screen time than most of the male BSs. It wasn’t difficult to determine who would be the finalists due to the editing as some chefs were barely shown.* There were also a couple of conflict of interests, including using Baek’s products in one challenge. The Professional Chinese chef’s protégé was given several second chances which wasn’t a good look. The maneuvering to keep some contestants and the ratio of White Spoons vs Black Spoons even was over obvious. Also, thirty minutes to do the introductions in the first episode was overkill. I’d rather watch them cook.

The culinary social statuses were clearly delineated. Early on the White Spoons may have admired some of the cooking techniques they observed by the Black Spoons, but often acted superior as if their skills were untouchable. After all, many of them were award winning, well established, famous, and far removed from prepping the highest quality ingredients for the meals served in their restaurants. The Black Spoons were mostly chefs fighting for recognition and validation, true hustlers innovating with the ingredients available to them. I will nearly always root for the underdog, and cheered each time a BS took down a WS, even more so when the WS had a shocked look as they tried to process losing. My heart broke for one Black Spoon who beat a White Spoon and was so overcome he pulled a peasant in a Sageuk and kneeled head to the floor in respect and was never acknowledged by the old dude.

The White Spoons had only their egos on the line. At first, they didn’t seem too worried about the rookies. As the WSs began to hit the floor it became obvious the BSs had nothing to lose and were playing for keeps. They weren’t just fighting for prize money, they were fighting for recognition and to show they were worthy of respect. The biggest exception I had to the White Spoons was Edward Lee. He embodied not only a competitive spirit but also a humility unusual for someone skilled in discovering unique and clever flavors and presentations. I’m still a little salty that one of his dishes was significantly downgraded over his name for the dish and not the flavor. Now that is culinary elitism at its best.

Many of the Black Spoons knew their chances of winning were slim, but they still persevered to prove themselves to others and to themselves. Despite working in what would appear to be basic places with whatever ingredients they could afford, they took pride in their food and desired recognition. Often judged for their lack of fine dining skills, they still prepared delicious food. I’m okay with the winner though the result felt too scripted, a common drawback in most cooking competitions. I was just relieved they didn’t turn it into a Game of Thrones or Squid Games to make the show more dramatic. Watching chefs work to create delicious and memorable dishes was thrilling and entertaining enough.

"Once you start walking you have to go all the way through to the end." Edward Lee

16 November 2024
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#JusticeforTheLunchLady! I hated that her head-to-head competition with a White Spoon was barely shown. This was the biggest upset of that challenge for me! She survived several rounds and had very little screen time. She and Hanbok Auntie punched above their weight throughout the competition.

I did love the Italian chef's response when he lost, "Fabri always stays positive" while holding up finger hearts. And classy! I knew he was screwed when their ingredient to work with was skate.

While her attitude could sometimes grate, I had to admire Jung Ji Seon for her tenacity to become a famous chef in a profession often ruled by men.

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Kill me, love me, just don't bore me

I knew nothing about Kill Me Love Me when I started it. The beginning intrigued me with a black-hearted prince and a tough as nails female assassin. It didn’t take long to figure out that they were both working on the same side in the first episode. If you are a fan of red flag male leads, you’ll be disappointed. If you are a fan of badass assassin female leads you’ll be even more disappointed. Honestly, this is the type of drama that I normally wouldn’t write a review for, but I promised myself this year I’d review everything I watched, so here goes.

What I liked/disliked:

I’ve liked Liu Xue Yi since Ancient Love Poetry and Wu Jin Yan since The Story of Yanxi Palace. The two had a nice chemistry whether adversaries or lovers. I’m not a fan of red flag leads, but have seen that most of the time they are a bait and switch and rarely stay villainous so I expected him to lose his fangs. I’m also used to badass female leads being defanged but was still disappointed when Mei Lin became pretty window dressing.

Baron Chen is a fave and even with his chocolate cupcake frosting hair, he was still handsome. The Crown Prince came across more whiny than menacing though.

I’m a sucker for bodyguards and Qing Yan was the pretty, loyal bodyguard I’ve come to expect. He proved his loyalty in an explosive manner moving him closer to the front of the line of dutiful bodyguards. No notes on him.

Speaking of baddass females, I had high hopes for General Yin, but found her to lack the gravitas and stage presence such a role required. Her one facial expression regardless of the situation began to wear thin. Also, her 180 on her love interest defied logic as well as her devotion to him. Apparently, getting laid made her lose not only her sense of independence but also her reason-at least for a time.

I didn’t mind the romping through the countryside for Jing He and Mei Lin but when the badly dubbed side characters later started taking center stage, my fast forward button or mute button came into frequent use.

The Xiyan characters were mostly useless. Prince Yue Qin could not have been more bland. The kooky Xiyan royal family and retainers were mind numbingly boring to me. Zi Gu looked and acted very, very young which made her relationship with grandpa Yan Emperor creepier than sweetly romantic.

The story went off the rails with the detour through Xiyan when the characters became bogged down in border trade talks after the natural ending to the drama. The writers vastly overestimated my attention span for ancient economics.

In the end, I did find around two-thirds of this drama entertaining, mainly because I enjoyed the performances of LXY and WJY. Despite the red flag transforming into a white flag and the assassin turning into a baker. 7.25 rounded up to 7.50

14 November 2024
SPOILER NOTES:



The most disappointing part to me was Mei Lin. She suffered and trained for 10 years to have her revenge. When the time came, she was shuttled off screen. This happens too many times in dramas. If anyone deserved to deal the final blow, it was her. Also, “If this is the price I have to pay for meeting you, I have no regrets.” Really?? Jing He poisoned Mei Lin with a poison that had no antidote. Who does that? Everyone knows the Puppet Master for assassins holds the antidote for compliancy. Especially a guy trying to prove he’s not a monster. So, she’s dying, suffered brutality for 10 years, didn’t get to take part in bringing down the Big Bad, and she has no regrets. Girl, no matter how rich or good looking he is, I’d have a list of regrets. When they took away her martial arts ability, I just rolled my eyes. Why can’t badass female leads stay badass to the end? And apply their lipstick only to their lips and not in the dip above them? If she was reduced to baking cakes and offering moral support she should have had time to check her lipstick in a mirror. But I’m not bitter. lol

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"Why is it so hard to lead a simple life?"

I went into Scent of Time without reading the synopsis. I was more than a little trepidatious when I discovered in the first episode that it involved time travel. The Chinese government’s rule against hopping through time meant that it wasn’t going to really be a true time travel so I braced myself. That’s not a spoiler, that’s the sad fact with the current state of affairs. How the writers worked with and around the regulations would determine how satisfying it would be.

Hua Qian has made some poor choices along with her family that has led to the deaths of nearly everyone close to her. As she collapses after being captured, she hears a voice asking, “If you had the chance to start over, would you change anything?” She says yes and awakens 2 years prior on her wedding night. From that moment on she endeavors to be a good person and to find a way to save her family and herself. She’s helped on her quest by her right-hand woman Qian Zhi, bodyguard Hua Rong Zhou, and the lord of an incense empire-Zhong Xi Wu. The damage to others from years of conniving behavior will have to be undone with few people willing to give her a second chance.

I thought this was an interesting take on a typical romance and historical drama. The scheming 2FL from the original story was given a redemption arc and the chance to put things right. Hua Qian methodically planned to save not only her family but also that of her rival’s, Mu Yao. After two years struggling to survive, she came back with new skill sets and sympathy to those in lower social positions. Because of her new life or death goals, romance was not on her list of things to do. That didn’t keep at least two men from falling for her---hard.

Zhou Ye brought a wide range of emotions to Hua Qian as the reformed selfish social climber. Wang Xing Yue also made the most of his portrayal of Zhong Xi Wu. The two had great chemistry even though Qian’s responses let him know she was aware any chance of them ever being together was remote given the social circumstances which kept her at a distance. Peng Chu Yue’s Zhong Ye Lan and Zhang Yi Jie’s Hua Rong Zhou were rather flat, both the acting and the characters. Zhao Qing didn’t create any depth to Mu Yao either. Zhou Ye, Wang Xing Yue, and the older cast provided the acting chops for this drama.

It took around 8 or 9 episodes for this drama to sink its teeth into me and once it did, I was hooked. Scent of Time was addictive even without much overt romance. I do love redemption stories and Qian was a young woman for whom suffering and loss became harsh but invaluable teachers. The ending I feared would “incense” me due to censor restrictions turned out to be tolerable.* (Thoughts on ending and TROP connection below) This drama may not have been “scent-sational” but it was entertaining.

21 July 2024




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Spoilers for Scent of Time and The Rise of Phoenixes

Hua Qian and Hua Rong Zhou’s relationship felt a little like TROP fan fic if Feng Zhi Wei and her bodyguard Gu Nan Yi had developed a relationship. Zhong Xi Wu had the same, “the business/country comes first” platitude that Ni Ying had which was detrimental to relationships. ZXW became rather overbearing in the rerun life near the end as well. Story-wise, Hua Qian should probably have ended up with Rong Zhou and stayed in the alternate timeline with him or had him available to go out into the vast world and start over with when she woke up. Overall, those writing choices would have made better narrative sense. Chemistry-wise Qian and ZXW had way more chemistry though not enough scenes with her showing she cared if they were truly endgame. By having her awake from the coma, she had to deal with the consequences of her actions which was decidedly painful but more realistic. Though it did make the prior 29 episodes feel irrelevant. I suppose the rerun life gave her life training lessons on how to be a better person. And realistic is a relative word, without feeding tubes and IV’s Qian would not have survived 26 months in a coma. The esophagus closes when a person is unconscious, making force feeding impossible. Despite logical and narrative lapses, I “whiffed” through this drama and its tantalizing “bouquet.”

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"Some secrets have no room for so many people"

The Victims’ Game brought Fang Yi Ren back for a second helping of pain and murder. This time Fang would find himself the prime suspect when his mentor’s case from 15 years ago was re-opened and the bodies started dropping around him.

Fang is called into police HQ by Prosecutor Chang, who is new and takes an immediate dislike to Fang. Another fresh face is Dr. Hsueh, a medical examiner who also has no love for the retired forensics investigator. The case in question involved a teen couple in a murder-suicide which was closed by Fang’s mentor, Lin Ching Jiu. When civilians involved with the old case start dying, Chang is all too willing to point the finger at Fang. Intrepid reporter Hsu Hai Yin quits her job after her boss sensationalizes a teen addict case she worked on. One of the teens in the story ends up at Sevensleeves rehab. Handsome Lin Meng Cheng runs the rehab and home for teenagers from troubled families. When Hai Yin visits, he hires her right away as the foundation's PR rep. Her inquisitive nature tells her there is more to Lin than meets the eye. Fang’s daughter Xiao Meng feels suffocated and not understood by her dad and moves out. She coincidentally ends up living at Sevensleeves. Someone who was familiar with her problems from S1 offers her a job cleaning up crime scenes which leads to insights on her part.

I enjoyed the dynamics between Fang, Hai Yin, and Xiao Meng. Hai Yin and Xiao Meng were so sure that Fang wasn’t trying to understand them that they failed to see they might not have been trying hard enough to understand him. Fang and Xiao Meng struggled to determine if they could build a relationship while Hai Yin was feeling shut out from Fang’s thoughts. Whether Joseph Chang’s portrayal of a man with autism was accurate or not, is not a judgement I’m qualified to render. Chief Chao returned from S1 with his steadfast belief in Fang, a relief since Fang was being bombarded on all sides. I didn’t find the “who done it” part very suspenseful. I was quite certain who killer #1 and serial killer #2 were by the second episode. The heavy-handedness of Prosecutor Chang always trying to bring Fang down got old quick. He was a shady character with connections to an even shadier organization.

Warnings---If you are squeamish, there were numerous gruesome scenes of murder, torture, and decomposed bodies. The body count was high and bloody. Revenge was not a dish served cold but at the average body temperature much of the time. There were also a few gross scenes with insects. Tiffany Hsu’s Hai Yin smoked almost continuously in S1, so if smoking is a trigger you’ll be pleased to know that she didn’t light up once in S2 that I can remember.

The main theme of S2 was “What would a parent sacrifice for their child?” Some of the parents were willing to sacrifice lives, reputations, and peace of mind. As determined characters searched for the truth, others tried desperately to bury it. Despite its shortcoming, I found The Victims’ Game S2 engaging and binge-worthy.

23 June 2024

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Hidden Motives, Crouching Fire

The Longest Day in Chang’an is a drama that can make you rave and rage. The production values were excellent, building a world that seemed real. For the most part the acting was also above average. What was rage worthy were all the characters from the ruling class that lied, cheated, stole, tortured, and murdered to move up or keep their vaunted positions. Completely out of touch with the people’s reality, the more they talked about the great Tang or serving the people, the more they ignored the truth, often seeking to find scapegoats for any problems that arose.

“Humans have always acted differently than their words”
The basic template was simple. Bad guys were in town to cause problems and the Crown Prince was about to be passed over for the Right Chancellor. Li Bi, a young prodigy, headed up the Peacekeepers Corp which had a database of information to draw from. The database picked death row inmate, Zhang Xiao Jing, to solve their problems. All he had to do was track down the bad guys and round them up before the Emperor’s giant lantern is lit at 2:00am on the night of the Lantern Fest and make the Crown Prince look good in the process. This being a drama filled with political intrigue, nothing was that simple when everyone was vying for position and trying to be on the winning side, especially when being on the losing side of power could mean death. Much of the action also occurred because of a military squad’s loyalty and near annihilation due to bad military management ten years prior.

“Kindness must be repaid, vengeance must be served”
Ex-soldier and ex-Sleuth Hound Commander, Zhang Xiao Jing , was a hardened warrior who was completely devoted to the surviving 9 from a disastrous military campaign and the daughter of their leader. He also held to the dream of what Chang’an could be for all people and would fight to protect the commoners with his last breath. Lei Jia Yin gave a strong, if not varied, performance as the super fighter who seemed to always be fighting large numbers or having to sacrifice to gain information. I was curious how a prisoner confined in a tiny cage for months would have had the stamina to run across Chang’an over and over all day and night as well as fighting almost non-stop.

“If I can’t save the present, I can’t save the future”
Jackson Yee as Li Bi, was more limited in his range as the leader of the Corps who found that despite his intelligence, he was often outplayed by people outside of and within the Peacekeepers. Rayzha Alimjan as Li Bi’s servant, Tan Qi, at least gave a strong female presence in a largely male cast. I was surprised and pleased to see Djimon Hounsou in the role of the Underworld Lord. Feng Jia Yi played the much older and retired on duty Emperor, with his white beard and eyebrows reminding me of Lo Lieh’s iconic character from Clan of the White Lotus. The most mesmerizing performance, however, was from Zhou Yi Wei as Long Bo. His every move was captivating in a nuanced and menacing performance that in lesser hands could have been ham-fisted.

“Numbers are the truth”
How many times did someone pull out mint to chew on? I stopped counting at 17 times. How many times was Zhang accused of being the perpetrator of a crime? Around 1,756, 230. The Emperor has indigestion. Dang that Zhan Xiao Jing! How many times did someone promise protection and then renege on it? The odds were not good for the person being promised. Pinky swears didn’t count for anything in Chang’an. How many characters did I wish would erupt into flames, but didn’t? Around 10. “A good man will be rewarded” or blamed by the bad man who will then be rewarded in his place. How many times were the good guys captured? Let me pull out my calculator.

“Truth doesn’t matter as much”
What Longest Day in Chang’an did well was world building. The excellent sets, teeming streets of extras, and costumes that looked worse for wear as the day went on, transported me back in time. The multi-layered narrative, intriguing characters, and well-choreographed action scenes were engrossing. Again, Zhou’s Long Bo was captivating and Zhang’s dogged determination was admirable if not exhausting. Where it didn’t work as well was when it became bogged down in the details and desire to give small history lessons. By giving many minor characters important screen time it side-lined others. Certain elements also became redundant. And a character that was talked about often, the Crown Prince, had relatively little screen time making it hard to tell if all the hearsay stories about him were true. Whereas, the despicable Right Chancellor's every loathsome move was shown. Despite focusing on numerous characters, the big reveal at the end was rather anti-climactic as the “mastermind” divulged pages of exposition regarding his evil plan in order for it to make sense and even then left a golden clue dangling.

“Human beings need to hold onto some kind of dream. That is what will drive them forward.”
Zhang and his buddy Wen, both knew Chang’an was not an ideal place, but both hoped it could be. There were people who fought to protect the citizens, even a Catholic priest who could do parkour! The suffering was largely due to the corrupt political system. The royalty and officials constantly looked for a way to destroy their rivals and rise in power with little thought for anyone else. Commoners, soldiers and servants were expendable and interchangeable. Even the terrorists who desired to set the system on fire had no compassion for those who struggled to make a life and living in Chang’an. The Longest Day in Chang’an was gripping and well worth the time even when I was ready for the day to end.

17 January 2024

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"Even before we entered the world we were marked by karma."

Lady Snowblood is the film that inspired Quentin Tarantino's Kill Bill films. Yuki's blood spewing revenge is a cautionary tale of feminine vengeance. Splendidly filmed with an impassioned OST, the unique style based on a manga, and the excellent acting make this film one worth seeking out if you enjoy this genre.

Born to a dying mother in a prison on a snowy day, Yuki was charged with her family's vendetta against the villains who murdered her father and brother and viciously raped her mother. She grew up trained by a ruthless master to become the hand of death to the group that had decimated her family. One by one she hunts the villains down, in her lovely kimonos with a deadly umbrella to gracefully slash her way through the people who had inspired this life she'd never asked for. Beneath her beautiful veneer lay a dark and fiery need for payback for her dead family, one she had never known. Tasked with never feeling emotion, Yuki retains shreds of compassion as she interacts with those she comes across in her rampage. Ironically, she opens another cycle of vengeance by her actions.

The film lays the blood spewing on thick, every slash sends the gooey red paint flying everywhere. Puddles of blood enough for a slain army float around the unlucky bodies. As the story begins on a snowy day with a child born pure but commissioned with her first breaths with the bloody job of vengeance, so the ending scene leaves the beautiful assassin with her butterfly kimono covered in blood in the snow wondering if there is life after revenge.

There were some subtle and not so subtle political messages about corruption in the upper echelons of the military and government. And though the plight of the poor was pointed out, it dispelled the myth that the poor are always good hearted. I wish there had been more of an attempt to understand what a woman must feel growing up with brutal training and an unbreakable oath for people she had never met.

As many older martial arts films with swordplay tended to do, this one used the almost dance and slash technique. Best to not think too hard about the fight choreography from a realistic stance but to admire it for the stylistic forms.

Lady Snowblood was in many ways similar to other revenge fueled martial arts movies but elevated by the haunting music, colorful cinematography, and the stellar acting of Kaji Meiko. If eyes were knives, her targets would already be dead with the cold steely glare she honed in on them with. Kaji's expressive face and graceful moves enhanced the tension filled moments of her hunting her prey even when she had to settle for satisfaction instead of revenge.

If you are looking for a modern movie you may be disappointed. This is a film rich in character with old style effects. Revenge is a dish best served cold and Lady Snowblood served it on a silver blade.

"Forgive me! Spare me!"
"I shall do neither."

3/2/23

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"Everything will be fine when the sun rises"

From the moment you see four white circles dancing over frosted tree tops you know you are watching a master at work. Director Zhang Yi Mou takes on the spy genre with the grace and flare he has refined over the decades.

Four Chinese spies trained in the USSR drop into Japanese controlled Manchuria to rescue an escaped prisoner of the dreaded Beiyinhe camp, where prisoners were tortured, experimented on and killed. They want him to tell his story so that the world will know what is going on in those devilish camps. Unfortunately, from the moment they hit the snow covered ground and split up they find themselves in even greater danger because a traitor has revealed their mission to the enemy.

Xiang Chen partners with Lan as Team 1, while his wife, Yu, and Lan's lover Chu Liang form Team 2. Both teams run into subterfuge and lies dipped in murderous intent. The pace of the film moves ever forward with enough chases through the snow on foot, in trains, and in automobiles to keep things exciting. It's often a cat and mouse and cat and mole frantic affair. The script took a sentimental turn at the end, which frankly, I enjoyed because I'm a big softie at heart, even when watching a spy film. That's not to say there wasn't violence, fair warning for the squeamish, there were some utterly brutal torture scenes and deaths.

Zhang Yi Mou took a flawed script and made it gripping as each of the team members had to get by on their wits as well as their training. His trademark stunning shots and framing were in effect in every scene. This truly looked like a frigid world, emotionally and physically. The Republican Era costumes were sharp and spy approved black with plenty of Fedoras and fur-lined coats. Cho Young Wuk's music perfectly fit the scenes regardless of the mood. The closing song's melody was hauntingly beautiful. As a whole the film was stunningly put together.

Zhang Yi as the team leader did an admirable job playing the skilled and stoic spy. Yu He Wei as Zhou, the man dangerously straddling two worlds had me rooting for him and hoping I wasn't wrong. Unlike many Zhang Yi Mou films, the women's roles seemed less well defined though the two female spies held their own as they struggled to find a way out of the traps they were in.

Cliff Walkers wasn't a perfect film but I found it engaging nonetheless and a treat for the eyes and ears. Zhang Yi Mou has run afoul of the censors before so hopefully, this more patriotic film will give him more room to work in future endeavors. Having said that, he kept the political propaganda to a minimum focusing more on the individuals, their strategies to overcome the terrible odds and sacrifices that had to be made. I found it to be a well made spy thriller and worth checking out, especially if you enjoy this director's works.

9/24/22

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Was this movie entertaining? For me, yes. Was the story a mess? Also, yes.

This movie felt like a Frankenstein's monster of movie ideas that the writer even lost track of-flying guillotines (1975 movie), a compass that doesn't point north (Pirates of the Caribbean), Fire Benders and Water Benders, a Tiger Gargoyle(?), and as always in these types of movies there's a glowing orb of destiny. Finally, I honestly thought at one point they might quote, "One ring to rule them all and in the darkness bind them." (LOTR) Making everything more confusing because of new censor requirements the writer had to do some writing gymnastics to not use mythological characters making the monsters wanting to take over the world aliens instead. This movie included a lot of CGI characters. There might have been a love triangle or square but that was also not made clear.

The cast was very likeable and did a good job with what they had to work with. Ridiculous as it seems, I enjoyed the ride they took me on even if I didn't understand it half the time. Fortunately, the movie focused more on the human characters than on the creatures. The story all boiled down to the old end of the world ploy that the band of heroes had to find a way to divert. Not a great movie by any stretch of the imagination but not completely worthless in terms of entertainment value either.

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Will someone please think of the children!

When your introduction to a movie is a mad scientist and then an alligator wandering in the ruins of the city, you know you are in for a wild ride. Badland Hunters won’t be remembered for its riveting plot but when you have Ma Dong Seok swinging his mighty fists and a giant serrated machete it really doesn’t matter.

Three years after an earthquake that leveled Korea, Nam San along with teenagers Choi Ji Wan and Su Na live in an encampment called the Bus District. Due to a devastating drought, water is the most precious commodity. Nam San and Ji Wan are hunters for the people. They trade meat for whatever their neighbors can spare. A well-dressed group comes to the encampment looking for teenagers. The newcomers promise Su Na and her grandmother all the fresh water they can drink, shelter, and food at the only apartment complex to survive the quake. In a dystopian future when armed men come promising “heaven on earth”, best to be suspicious. It doesn’t take long for everyone to realize that heaven is not all it seems to be when a mad scientist is running the place. Nam San was ready rain down hell on the complex to rescue Su Na.

It would have been nice to have some background info on our main characters, but in this sort of movie it’s not overly necessary. Though it stumbled about in regards to narrative, the fights were right on point. Nam San had to take the scenic route on the way to the apartment complex so that he, Ji Wan, and newcomer Eun Ho could battle their way through two gangs. While the story didn’t add anything new to the genre except for maybe the whole “I am the Lizard King” angle, the fights were well choreographed. Most of the hand-to-hand combat was in close quarters and bloody. Very bloody. Lots of dismemberments and decapitations. The big draw to a film like this was watching Ma Dong Seok do his stuff. I love this big ahjussi hitter.

The production values were fairly high though some of the destroyed city sets looked familiar from other dramas and movies set in the dry ruins of Korea. Badland Hunters didn’t set itself apart in this genre but it was entertaining. I could have used 25% more ahjussi hitter. I’m just happy Ma Dong Seok is still making this kind of fun action film at the age of 52. If you are looking for a taut script with new thrilling elements in the ruins of the future, you might need to look elsewhere, especially if you’ve seen a number of this type of movie. But if, like me, you enjoy watching the big guy pummel his way through baddies, even ones with long forked tongues, you might want to give this a try.

26 January 2024

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"People are ghosts, and ghosts are people."

The cold stone complex with glowing red eyes in Zhang Yi Mou’s Raise the Red Lantern bids young women into its luxurious lifestyle. Afterall, it’s just as easy to marry a rich man as it is a poor man. Or is it?

Gong Li stars as Songlian the newest concubine of a rich man in this gilded cage of competitive horrors. Educated but with few options after her father dies she marries an older man. She quickly learns that the women and servants are pitted against one another in a popularity game to garner the master’s favor. Red lanterns are lit in the courtyard and living apartment of the woman he chooses for the night. The clickety clack of massage hammers used on the chosen one’s feet turns into a Pavlov’s bell for the women. The master’s idea of foreplay is something akin to “brace yourself darlin’” but the women do what they must to attract his attention and keep it.

Other than the privileges the chosen one temporarily receives, the concubines hold no power. They are largely interchangeable, this is the territory of the powerful master and his game and rules. The women’s fate is tied to pleasing him and gifting him sons. In the ruthless conflict between the concubines, betrayal and tragedy are always near at hand.

Master Chen’s face is never focused on. His is the face of oppression and rigid familial customs, the ringmaster in the tragic circus.

Songlian discovers that the people in the huge complex are largely ghosts living in the house abiding by the rules of ancestors long gone. She tries to rebel, game the system, and in the end becomes ostracized and alone. When she witnesses an unspeakable act she realizes that she is trapped with only two ways out-death or madness.

Raise the Red Lantern criticizes a number of social structures as well as the plight of women during this time. Outdated cruel traditions that guide their everyday life are firmly in the director’s bullseye. It is gripping and difficult to watch at times.

Songlian is not an easy character to like as she can be very abrasive and snobbish. Her youth and independent nature cause her to chafe under the ridiculous rules and volatile hierarchy. She learns the hard way the price for disobedience. Gong Li’s expressive face helps us to understand how we should feel as well. Rebellious. Trapped. Isolated. Horrified. She gives a gloriously understated performance as a young woman caught in the chains of family customs; the players involved more like ghosts ensnaring fresh faces to drag into their macabre story.

Zhang Yi Mou saturates some scenes in a rich red light, the color of birth, life, and death. At other times an icy blue hue overtakes the scene driving home the solitariness of the one not chosen. The large complex could almost be given a credit as well the way Zhang lovingly uses the stunning architecture to showcase the concubines’ limited stone world. There was no soft place to land amongst the hard edges. The lush colors of their costumes played in stark contrast to the institutional banality. It was a remote facility both physically and emotionally.

The sets, concubines, and costumes are intoxicatingly beautiful but lying beneath them is a grotesque cruelty. Raise the Red Lantern is a treat for the eyes as most of Zhang Yi Mou’s films are. Though difficult to watch this story of the powerful’s abuse of women and tradition is one worth trying.

“What do people amount to in this house? They’re like dogs, cats, or rats, but certainly not people.”

1/12/23

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"Everyone lies"

I began Regeneration knowing nothing about it and was rewarded with compelling storytelling. If you have ever watched Kurosawa Akira’s Rashomon, you’ll find they have something in common. Never wholly trust in a witness’ testimony---"It's human to lie. Most of the time we can't even be honest with ourselves.”

At a memorial for conman Fei Ke, five seemingly disparate people were brought together for the reading of the will. For reasons I will withhold, the five began to tell about their relationships with Fei Ke. Each knew him in a different manner, but most were ultimately deceived by him.

Episodes 1-6 followed a similar pattern of how Fei Ke ingratiated himself into their lives and then scammed them out of money. All of the “victims” were innocent and well meaning. From episode 7 on, the tone changed and the revelations poured out. I found the final episode overly dramatic and unfulfilling which lowered my score. A shift in the tale of revenge would also have provided better closure for me. But overall, the characters were engaging, if often unlikeable. This was the strongest performance of Jing Bo Ran’s I’ve seen which was a pleasant surprise. He had to express a wide range of emotions as each interpretation of the past played out. I hesitate to say anything else which might spoil an intriguing ride of vengeance and deception.

I’ll end with an Edgar Allan Poe quote, “Believe only half of what you see and nothing that you hear.”

18 January 2025

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"This battle is a fight to live for our future"

When I saw the Toho logo my heart jumped with joy knowing Godzilla was back home where he belonged. In Godzilla Minus One he was no longer a comic character playing catch with a giant lobster or the King of the Kaiju restoring balance to the Earth. He was a destroyer and an indictment on humankind’s hubris and a reminder of the horrors of war. If Japan was at level zero after WWII, Gojira put them at minus one when he surfaced from the depths of the ocean with a terrible judgement.

Near the end of WWII, Shikishima Koichi is a kamikaze pilot who lands his plane on a small island held by the Japanese ostensibly for engine trouble. It’s not long before the mechanics realize he has run away from the fight. They don’t have long to berate him when they are attacked by a monster the locals call Gojira. When Shikishima freezes once again, he is labeled a coward by the only other survivor. Back home he is reviled by a sister for returning alive, as she blames the country’s problems on his failure. Koichi takes in a woman with an orphaned baby, unable to throw them out when Noriko makes herself at home. The war isn’t over for Koichi as he is paralyzed with regret, guilt and PTSD and unable to move on with his life. When Gojira heads for Japan, the pilot will have a second chance to redeem himself and his honor.

Godzilla Minus One succeeded in two areas. Firstly, they went back to Gojira’s mythology and his evolution from nuclear testing. Gojira was personification of the fear and memory of atomic weapons, something the people of Japan had suffered horrifically from. He was also a punishment for Japan’s militaristic era and the damage done to others and their own people. This monster claimed his territory with a fearsome rage. Capable of regenerating, modern weapons were all but useless against him. Secondly, for one of the first times since the original, there were compelling human characters with interesting stories seamlessly woven into Gojira’s appearance and threat. Too often, the humans were dead weight in Toho’s Gojira films saddled with mediocre actors and dialogue. Koichi was a complicated character and his boat buddies were developed enough to remember them. Noriko as a character was thinly but heroically drawn. Even the characters who reviled Koichi came around to being more well developed.

If there was one flaw, the horrors of the war were laid solely at the government’s feet, which categorically absolved the rank and file from atrocities committed during the war. And yes, the government had the “best ability of spinning and hiding information from the masses”. The government also, “...treated our lives too cheaply...Tanks with insufficient armor, poor supply chains-leading to starvation and disease…and fighter planes without ejection seats…as well as kamikaze and suicide attacks.” The characters emphasized living for their country and its future instead of dying for it even as they bravely faced a seemingly indestructible foe.

For a film made for 15 million dollars (USD), it looked far richer. The special effects were excellent whether it was Gojira’s atomic breath, miniatures, ships, or buildings crumbling like houses made of cards. Gojira himself, was frighteningly majestic and terrifying. Able to regenerate, he did come across as a vengeful god. This film deservedly earned an Oscar for Visual Effects. One last little production note--Sato Naoki is credited as the composer but much of the score was a reworking of Ifukube Akira's iconic Godzilla theme.

Not since the original Godzilla (1954) have I enjoyed a Big G film this much. Gojira was a merciless, destructive force, created by unnaturally splitting atoms. The people of Japan united not to fight to the death against this formidable opponent but to use all of their abilities in a battle that would ensure that they could live for their future. In the face of this harbinger of death, there were those who found redemption, love, and healing. Good job Toho! You made a film worthy of the original and a wonderful way to celebrate Gojira’s 70th anniversary.

2 June 2024

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"Everything is transactional"

Tokyo Vice was based loosely on the first foreign reporter to work at a prestigious Japanese newspaper. Driven by ambition and a fierce intelligence, Jake Adelstein was determined to be a success. Problems arose quickly as neither his bosses nor the police officers he relied on for information had any use for a Gaijin.

This drama carries the mood of a noir between the lighting and acting. The police accept that the Yakuza aren’t going anywhere and it’s their job to work with them to keep the peace. Deadly problems begin when a gang from out of town seeks to take over another gang’s territory. Jake is slapped down and betrayed repeatedly by the police, his bosses, and the Yakuza often derogatorily called a Gaijin and other racist names. He digs in and finds leads to a series of suspicious suicides. Along the way, he attempts to make a police source out of the handsome and shady Miyamoto. But it is with the righteous and wise Katagiri that he begins to learn more about the criminal world underlying most of the businesses. Jake’s boss, Maruyama Emi, initially resents having to work with him, but slowly learns to respect his desire to uncover what is hidden beneath the police reports. Patronized by the men she works with on and off the paper, Jake treats her with respect and she finds an ally for looking for the truth. Before long, Jake has made friendly acquaintances with two other rookie reporters, a low-ranking Yakuza named Sato, and an ex-pat American with an ambition rivaling his who works as a bar hostess.

The stories in Tokyo Vice were often slow burn but never slow. The people and plots were intricately woven together and took time for the characters to discover who was pulling the strings and why. As one character said, “Everything is transactional.” People used each other for information, power plays, money, sex, and protection. Fair warning, there was no shortage of tattooed and bare bottoms. Speaking of tattoos, there was some spectacular fake ink work on display.

Tokyo Vice benefited from strong performances. Watanabe Ken can always be counted on to deliver a strong performance and he came through here as Katagiri who bravely faced down the Yakuza and also knew when to lay back and set his traps. Katagiri had a gentle side as a devoted father and husband. His home and relationship with Jake reminded me of Shimura's Detective Sato in Stray Dog. Baby Driver's Ansel Elgort, brought a twitchy energy to Jake as the character sought to make contacts and learn the truth of how Tokyo and the newspaper operated. Favors required payment, for some a lie was as good as the truth, and for others, “a path opens to the one who is honest”. Kasamatsu Sho as Sato, gave a nuanced performance as the young Yakuza who came to understand the bloody payments that would be required and also joyfully sang along with the Back Street Boys while driving in the car with Jake. A son, an enforcer, and a lover, a myriad of emotions could cross his face in a matter of seconds.

Answers were hard to come by and season 1 ended with upping the ante for everyone and leaving others in peril. I’m looking forward to where this drama takes me in season 2 if they can sustain the tension and character growth begun in the first season.

10 February 2024

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