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"When I'm cornered I tend to do some crazy things"
Snow Trail was a lot of people’s firsts. This film was Mifune Toshiro’s first film. It was Ifukube Akira’s first film to score. And it was the first of 53 films that Mifune and Shimura Takashi would make together. Kurosawa Akira wrote the screenplay marking the first, albeit minor, collaboration between he and Mifune as well.Three bank robbers flee to the mountains in Nagano with the police hot on their tails. They start out at a hot springs spa hotel before making their way deeper into the mountains where an old man, his granddaughter, and a mountaineer are staying in their rustic guest house. The robbers face the problem that there is only one road in and out of the mountains. Climbing over the mountains could be deadly as they face avalanches, blizzards, and treachery.
Let me just get this out of my system, Mifune was a sexy beast in this film and in his debut he showed the charisma that would keep him employed for many decades. But as much as a young Mifune Toshiro appealed to me, this was Shimura Takashi’s film. As the two men were cooped up in the guesthouse, Shimura’s Nojiro softened, longing for home and missing his lost daughter. Mifune’s Eijima grew more restless and dangerous by the minute like a caged panther. Kono Akitake had the pivotal role of the mountaineer coerced into leading the two criminals over the deadly mountains.
I can only imagine how beautiful this film would have been in a 1947 theater. The cinematography in the mountains was stunning even in this faded copy. I would also love to read about the making of this film as they climbed up, rolled down, and stumbled through the snow and rock.
The film showed the depravity of humanity through Eijima and the hidden humanity waiting to be restored as in Nojiro. The generous and cheerful grandfather and granddaughter elicited opposite emotional reactions in the two crooks. Shimura gave a touching performance as the crook transformed by human kindness. Mifune also gave a strong performance as Eijima’s baser instincts took over. The grandfather did not seem too concerned about the events that unfolded on the snowy peaks, “The mighty mountain will punish the bad.”
Snow Trail combined a thrilling mountain escape with a redemption story, fleshed out by two actors I enjoy watching work together. Ifukube’s music hit all the right notes as the men struggled against nature and themselves. Yeah, I enjoyed this film and could easily recommend to people who enjoy old Japanese films or want to be reminded that we are all tied together.
“Mountaineers have a code. No matter what, we don't cut the rope. The rope that ties one human life to another is not to be touched.”
19 June 2025
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AARO: All-Domain Anomaly Resolution Office
3 people found this review helpful
"I wasn't particularly planning on getting along"
AARO aka Zen Ryoiki Ijo Kaiketsu Shitsu was a shadowy organization occasionally used by the government when supernatural events were suspected. Working in tandem with the police department they investigated cases that appeared to go beyond the norm.Amano Koyume is pulled off her position in the PR department of the police department and assigned to the All-domain Anomaly Resolution Office aka AARO. With no investigation experience or knowledge of the occult she doesn’t appear to be a natural fit. Deputy chief Okitama Miyabi cuts her little slack as he pushes her along in their cases. The old god Hiruko seems to be making his presence known through social media and gruesome deaths gathering fear and members to his New Genesis plan. Okitama and Amano along with AARO colleagues work to track down and stop the source of the strange cases they encounter.
Supernatural investigators and creatures are nothing unique and AARO didn’t exactly break new ground. Despite strange goings on, there was a repetition of vengeful and jealous women throughout the drama. I kept waiting for Hiruko to be exposed as a female god who had been scorned and was taking it out on humanity instead of the people are horrible especially now that they have social media and must be reordered theme. Nearly every episode at least one person was kidnapped. The producers must have gotten a big box of zip ties on sale and decided they all needed to be used. Waste not want not.
The writing could be terribly uneven. Relationships were hinted at but never explored. Deaths of characters unknown to the viewers were mourned, while horrific mass deaths were scarcely mentioned. The acting was even more uneven, perhaps due to the writing. The last few episodes with the exception of the cliffhanger ending were more compelling and might have been even stronger if everyone hadn’t already been kidnapped or had their life threatened a half dozen times. I kept being reminded of Megamind regarding the frequent kidnapping card. “You of all people should know we discontinued that promotion.” While I’m on a rant, they overused the loud echoing footsteps. It was especially humorous when one character who weighed maybe 90 pounds/40kg was wearing rubber soled boots. One time is effective, four times not so much. I also haven’t seen fight choreography this bad in years.
Even taking my rants into consideration, AARO was an easy watch with entertaining moments. The sad thing is with better continuity and writing it could have been so much more. And 50% less kidnappings.
19 June 2025
Trigger warning: For people who are squeamish there were body parts shown and copious amounts of blood.
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"Gaja! Gaja!"
Aimless Bullet aka Obaltan was a relentlessly bleak look at an impoverished family in post-war Korea. While the film didn’t touch on politics, showing the hopelessness of the characters and the devastated economy got the film banned for a bit, before the censors relented and let it be released in South Korea.Song Cheol Ho leads a family that includes his pregnant wife and young daughter, his traumatized and bedridden mother who cries out, “Let’s go! Let’s go!” repeatedly, Yeong Ho-his handsome brother who cannot find a job and spends his days drinking, a younger brother who dropped out of school to sell newspapers, and a sister who has been shunned by her fiancé. Yeong can usually be found with his buddies from the military. Most of them were wounded during the war and have had no luck finding jobs two years after the war. Cheol works a dead-end job as an accountant. He barely makes enough money to feed and shelter his family. His wisdom teeth cause him constant agonizing pain but he refuses to spend money at the dentist’s when he can’t even afford shoes for his daughter. As tragedy after tragedy hits, family members begin to seek alternate forms of income that have serious consequences.
The film utilizes broken glass throughout. With the exception of the daughter, most of the characters were like broken glass with little hope of putting them back together. Cheol took a deep breath every day as he shuffled into his hovel in worn out shoes, believing he was failing his family. Yeong received opportunities and blew them, found and lost love, and eventually used up all his chances. Tragedy after tragedy struck Cheol until he was like an aimless bullet, disoriented and not knowing where to go.
Just about every problem associated with the economy was shown, even in blink and you’ll miss them moments. The sheer financial hopelessness weighed on the characters like ominous millstones around their necks. After WWII most countries were able to begin rebuilding, Korea ended up torn in two by a calamitous war further devastating their country and economy. Men who had sacrificed so much for their country came home without job possibilities. Gut wrenching loneliness compounded by PTSD and infirmities only led to further isolation and emotional desolation.
Aimless Bullet occasionally gave the characters a brief glimpse of a better future only to burn it to the ground. This film was an aggrieved cry, “Gaja! Gaja!”, “Let’s go! Let’s go!” But go where? For some characters there was only one path that led to release from their suffering, others wandered in circles, aimless bullets searching for a direction that led to sunrise instead of the eternal night.
17 June 2025
Trigger warning: suicides both alluded to and shown
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"We like to do our own thing"
I Love Filipino was a charming and informative show covering Filipino food, art, music, and architecture. The production values were not slick but that just added to the homey feel of Filipinos sharing their love for their culture, country, and people.
One-Pinoy Altanghap
Different dishes are explained and their origins. Also, how geography and history have transformed indigenous ingredients along with imports into tasty food that pleases the Filipino palate. Filipinos who left for work outside the country have also become more interested in learning traditional cooking and have brought back new takes on old recipes. As much as anything food nourishes not only the body but relationships and is a form of affection for guests and family.
Two-Himig
This episode focused on music. Foreign occupations in the past by Spain, Japan, and the United States caused musicians to express their feelings and love of country subversively. Foreigners and the diaspora still influence Filipino music but the country’s artists make everything their own. Whether its songs about love, gratefulness, or the coconut, composers stay true to their roots as they sing from their hearts and life experiences in versatile and creative ways.
Three-Juan with Art
Painting, sculpting, comic books, and making toys out of trash were highlighted. Many of the artists wish to express creatively the Filipino way of life including religion and family. Others stress sustainability with their artistic expressions. While one artist has made a name for himself with Marvel comic books, he and others in the field are working to revive and expand Filipino comic books.
Four-Sawsaw Juan
Filipinos love affair with sauces and dips was explored in this episode. Many of the sauces originated from resourceful mothers and grandmothers. In order to customize each bite and enjoy a diversity of flavors different sauces are available and the flavor combinations are constantly expanding.
Five-Bahay Kubo
The ancient and also imminently practical Bahay Kubo architecture was discussed. The basic style connects people to other people and nature. The style was described as resilient and spiritual. As one person said about sustainability in buildings and furniture, Filipinos didn’t have to relearn how to as they’ve nearly always used bamboo and local materials that are recyclable and biodegradable.
As I mentioned, the production values weren’t extremely high, but the love of the people for their country and skills shown through brightly. I enjoyed learning more about Filipino food, history, music, art, and architecture. Their devotion to preserving traditions and building on them all while trying to protect the environment was inspiring. Whether making delectable food, or creating toys from used flip-flops, or singing heartfelt music, creative artists shared their talent and affection for the place they call home. I for one, am happy I was able to briefly visit through I Love Filipino.
16 June 2025
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"It doesn't take much for friends to become foes"
The Wild trotted out every trope and plot element used in a dozen other gangster movies, offering nothing new or exciting. It’s only saving grace was that Park Sung Woong can always bring an intimidating presence to any role, even when playing an overaged boxer.Song Woo Cheol is picked up by his old friend and boss, Jang Do Shik, when he is released after 7 years in prison for accidentally killing another boxer in the ring during an illegal fight. Do Shik is ready to put Woo Cheol back to work, but the fighter wants, “to live quietly.” It takes no time for Woo Cheol to become entangled with a hooker who has a drug problem and one of her violent johns, Jo Jeong Gon, who is a detective and entangled with Do Shik and his North Korean drug supplier Ri Gak Soo. With a huge drug supply coming in, nearly everyone is double-crossing or murdering someone in order to either get hold of the drugs, the money, or both.
While I’m sure the writers thought the twists and turns would be surprising, I was calling them out before they came. It helps to have someone to be invested in, but for a solid hour, I really didn’t care about any of them. There were hints that Song Cheol regretted his part in the other fighter’s death and going to prison for Do Shik, but he didn’t exactly do anything to break away from Do Shik. I have no problem with age gaps, but a romance with someone half his age, felt more like male wish fulfillment than organic to the story.
The Wild was a wildly pessimistic and cynical gangster movie. I was deeply disappointed that Woo Cheol didn’t turn out to be as smart as I hoped he was. If you’ve never seen a Korean gangster movie or any gangster movie, The Wild might provide some twists and turns, otherwise, it was a “connect the dots” of familiar crooked games of deceit and betrayal all at the end of a knife.
26 January 2025
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"Who am I?"
Director Kim Ki Duk took the viewer to dark places with One on One. Though he highlighted how the rich get richer and the poor get poorer, the poor were shown to be just as culpable in society’s ills as those in positions of power.After a school girl was murdered, seven vigilantes stalked the killers and the ones who ordered the hit. One by one, the murderers were captured and tortured to find out all they knew about the killing. Each time they captured someone, the vigilantes changed costumes. The group began to fracture when some of the vigilantes begin to ask, when is too much violence, too much?
The contract killers were all shown to live comfortable lives with significant others. While they ate ramen as a snack, many of the vigilantes were reduced to eating it as their main meals. Most of the vigilantes were suffering social injustices from different corners. The curious thing was that Kim Young Min not only played one of the killers, but also several different characters callously interacting with the vigilantes in their daily lives. Perhaps it meant that abusive jerks are similar regardless of their station in life?
After every prisoner was captured, they all asked, “Don’t you know who I am?” Director Kim seemed to be asking the audience to ask that question of themselves as well. “I was just following orders” or even “I was doing it for the greater good” were the common answers given during the torture sessions. How many of the world’s evils have been built on those two concepts? What danger could a school girl be to society that she was brutally murdered?
The film was shot in two weeks and it looked flat and gray at times. The sound could be abysmally bad. Having seen Kim's 3-Iron which had almost no dialogue, the heavy-handed and stilted dialogue in this film was a disappointment. For those who would be bothered, there was a long sexual encounter that started with violence. Each “victim's” torture session was different, some of the methods were more gruesome than others. There were annoying lapses in logic on several occasions. Why would the school girl keep running down dark, empty alleys when there was a well-lit street with shops to dart into? Why didn’t the vigilantes have any security around their building? Despite their dangerous activities, they didn’t even lock the doors to their hideout. They were constantly followed and observed through windows yet never knew it.
Director Kim had plenty to say about human nature and its depravity. Good guys did bad things. A few of the bad guys regretted their actions. People were cruel and driven to be greedily selfish at all social levels. The utter lack of compassion for their fellow human beings went from the top to the bottom of the economic structure. Kim asked the question, “Who am I?” Perhaps more importantly, “What am I?" One on One was frustratingly inconclusive regarding answers and had an overtly pessimistic view of humanity.
11 July 2024
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Dr Storks protect and assist the miracles
Dr Storks followed the trials, joys, and frustrations of the medical personnel in the labor and delivery portion of a hospital as well as those in the NICU. Dr. Konotori worked to help mothers share the gift of life during the miracle of birth. Pregnancy is not an illness but as the drama showed, it is not without risks. The doctors and midwives fought alongside the parents and newborn infants as they dug deep to find their courage to succeed and survive.The main OB/Gyns were Drs. Konotori and Shinomiya, both devoted to their patients but as different as night and day. Friendly and talkative Konotori was willing to risk a mother’s life to save her uterus while harsh speaking and quiet Dr. Shinomiya was ready to perform a hysterectomy at the drop of a hat. Made for an interesting balance. For anyone wanting to watch the drama for Hoshino Gen, he was only in each episode for a few minutes. This was Ayano Go’s starring role and he made the most of it. I thoroughly enjoyed his piano performances in disguise as the pianist "Baby". Some doctors had character growth and others broke down. In my country the majority of OB/Gyns are women so it was odd seeing the majority of doctors as male. The female doctors weren’t very well represented. One female doctor was easily excitable and distracted while the other was a walking burnout. Both came across as fragile. The doctor I would want in my corner was the older NICU doc. He saw the big picture and was steady emotionally.
Each episode had different medical crises and subjects---teen pregnancy, adoption, abortion, Rubella, birth defects, maternal and infant deaths, IVF, smoking, preservation of the uterus, midwives, pregnancy and sexual discrimination, as well as discrimination against single parents and working women with children, postpartum depression, and more—whew! A few of the topics came across as strange to me. Adoption seemed to be a new concept and there were misconceptions about the availability of pregnancy care in Hawaii. Members of the staff also had very callous attitudes toward certain patients which seemed the opposite of how they should have approached patient care. The gut-wrenching stories involved parents and spouses faced with traumatic decisions that no one would ever want to make. Some parents handled bad news better than others. As in real life, there were parents who would do whatever was needed for their baby and others who wouldn’t visit a child fighting for its life. A few of the topics were handled with the subtlety of an afternoon school special while others were quite well done. I hate to admit that I became teary during two or three of the stories. It wasn't all tears, there were lovely heartwarming stories as well.
The cinematography and lighting were rudimentary and could be distracting. At times the music blared over the dialogue which was also distracting. What Dr. Storks had going for it were the compelling stories of life, death, and the medical personnel who fought for happy healthy outcomes for everyone even when it wasn’t possible. The doctors realized they were often powerless and that “things don’t always go as planned,” but that didn’t stop them from giving their all to the women and tiny lives entrusted to them.
4 Jan 2024
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This review may contain spoilers
"Pleased to eat you!"
If you decide to watch The Meg because of the tagline, "Pleased to eat you!" you probably already know to check your brain at the door because you are about to be swamped with clichéd characters and plot and ridiculous pseudo-science. Most of the CGI and cinematography were quality which helped when the dialogue tried to drown the fun of a massive Megalodon or two set loose from the Mariana Trench!Starring Jason Statham, you know he's going to have to go mano y pectoral fin with the giant 90ft/27m shark at some point in time. Jonas is the lone diver who can attempt a rescue at over 11,000ft/3300m depth and he's off in Thailand drinking his sorrows away. He'd attempted a rescue five years earlier of a sub trapped in the Trench and had to abandon some of his men when the sub was attacked by a giant creature. Even though he saved numerous lives he was branded as having had a psychological breakdown for the story he told. When his ex-wife and crew become stranded at the bottom of the Trench, an old teammate comes calling to talk him into rescuing her.
The characters were stock characters, shallow with little personality. Li Bing Bing was weighed down in the Stereotypical Headstrong Female Scientist role who thought Statham's Jonas was crazy and treated him as such until she was rescued by him numerous times as he snatched her out of the jaws of death. She had a Wise Beyond Her Years Daughter who helped to lead the two divorced people to a romance. The rest of the crew included the Egotistical Billionaire, Tough Chick, Black Guy Who Can't Swim (really?!?), Scientist Bestie, Jerk Doctor, Dad With a Target On His Back, and a couple of other scientists. Honestly, with the exception of a couple of characters, none of them were developed enough to make me care whether they lived or became chum. One of the early deaths was actually emotional and done well, after that it was bring on the shark!
The science was particularly awful without any conception of the forces at work on submersibles and the people in them at the deepest depths of the ocean. And one scene that was supposed to be frightening had me laughing until I could barely breathe. Seriously, that little boat they used was tough if they could lasso a megalodon using it! Also, every time the script called for Statham to have to dive into the water to face the big fish to show his courage was hilarious.
If you watch this movie, you need to know that there aren't any award-winning performances, in fact, some are particularly bad. The science is dreadful. The dialogue can be cringe-worthy. When numerous people are threatened the stakes don't feel very high because we don't know anyone, even the people from the main crew who fall into the water every five minutes. If you can set all that aside, it is a fun movie with the ginormous sharks seeking to turn back the clock about 10 million years when they ruled the oceans.
9/13/23
Edit--I bumped the score up .5 because I enjoyed it more than the sequel although the sequel had better acting. This one had me laughing more.
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This was almost non-stop Kaiju battles as monsters from the previous 50 years showed up to do battle with Godzilla, including the abomination from the US Godzilla (1998). A who’s who of monsters from the Godzillaverse---Hedorah, Rodan, Kamacuras, King Ghidorah, Manda, the aforementioned Zilla and many others. Mothra even showed up to bat clean-up with Gigan.
There was a lot to love in this movie. The humans were the most interesting of any of the Godzilla movies I’ve watched. It had aliens and mutant humans and futuristic weapons. Kitamura Kazuki as a bad alien with even badder guyliner was over the top. He looked like he was having as much fun making the movie as I had watching it. Don’t expect Oscar worthy performances, it’s not that kind of movie.
How could I not love a Godzilla movie that included my second favorite niche genre-kung fu in it?
Yes, the story could be a bit of a mess, but was easy to follow. The director unashamedly included a lot of the science fiction fads from previous years, the Matrix, Star Wars, Independence Day, Alien, and Jules Verne, among others. Sometimes it worked, sometimes it didn’t. No doubt there were moments of pure cheese. They also must have spent most of their money on the monsters, sets, and CGI because the music sounded like some guy hitting random notes on a synthesizer. The non-stop action from beginning to end could be draining and there were times when Godzilla was absent during a lot of the action with other monsters and the aliens. However, when Godzilla did appear, he showed why he was a force to be reckoned with.
Godzilla: Final Wars features guys in rubber suits and miniaturized cities and vehicles, just as the Godzilla Genie intended them to be from this era. On Godzilla’s 50th anniversary and retirement, it was appropriate. Final Wars was a monster mash that was fun and entertaining from beginning to end.
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Famously known as the film Alexander Fu Sheng died while filming, in a car accident off set. The script had to be re-worked leaving him out of the final fight scenes.
The themes of loyalty, family, honor and betrayal are woven throughout the movie. Out of seven sons, only two survived a betrayal by a family friend and ambush. One was driven mad and the other hid in a Buddhist temple and refined his pole fighting skills. The mood is bleak and dark throughout the film as the surviving family members seek justice and revenge.
I look forward to movies directed and choreographed by Lau Kar Leung. His fights are always fast and creative. Brutal, too. Gordon Liu is a gifted fighter and with every film of his I see I am more and more impressed. The pole sparring session between Liu and Phillip Ko Fei is not to be missed. Not to be outdone, Kara Hui shines as the sister who has to fight through her own ambushes and entrapment on her way to find her brother. The final fight is a bit gruesome as the monks practice their non-lethal moves that extract an opponent’s teeth. The action is almost non-stop from the opening credits to the end.
The story didn’t move me as much as I hoped it would. The fight scenes were, however, spectacular and worth watching this movie for.
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This review may contain spoilers
"It's human to lie. Most of the time we can't even be honest with ourselves."
*I have updated this review and my score on a second viewing. My added thoughts follow the original review.*I'm going to post a short, heretical review of this much lauded film. Much as I wanted to love this film, it had a major stumbling block for me in the story.
That the movie is technically well made is not up for debate. It was a well made movie from 1950. I've enjoyed other Kurasawa movies. I love Mifune Toshiro. Rashomon might have been a profound movie experience for me if the story had not been told through such a narrow male lens.
The Rashomon effect is still used to describe eye witnesses giving different testimony to a single event. People do lie to each other, to the court, and to themselves because of their egos, fears, survival instincts, and inability to face the truth. The film showed this human frailty quite poignantly. The cinematography, music, and acting were exceptional for the time. Mifune's performance as the bandit tinged with madness was unexpected but quite well done although at times it did veer into Ernest T. Bass territory.
Where I diverge from the fans of this movie is in one particular aspect of the film. It repeatedly showed and told the viewer that women were not just physically, but morally weaker than men and were not to be trusted. This was even more despicable because the men were shown as being morally corrupt so the raped woman was even lower than they were. Twice we come away with the woman in the story enjoying her rape and trying to use it to her advantage. In different flashbacks she pit the two men against each other or asked the bandit to murder her husband. That she was willing to go with her rapist was beyond comprehension to me, unless she was planning on murdering him in his sleep. I understand that during the period of time the movie was set in, and even in 1950, a raped woman was looked on as damaged goods. (The Comfort Women after WWII were looked down upon and expected to commit suicide and often shunned by their families.) If the director had convinced me that she was doing what she had to do to survive I might have been able to stomach that part of the story better, but as it was shown it built a fire of anger in my chest, not at the woman but the storyteller for perpetuating some of the most dangerous myths about women and rape. Given, it was a common view of the time, but it didn't make it any less reprehensible to me.
Only in the woman's version does she not come across as a conniving "whore", perhaps only a murderous woman to save herself, but we are also told to not believe a woman's story immediately thereafter.
As much as I tried to overlook the misogynistic view of women and rape in this movie to enjoy the rest of the story, I couldn't escape it. Rashomon, despite all the glorious reviews I've read across the internet, failed to live up to them in my experience.
2 September 2021
*Update on my review:*
Having now watched all but one of Kurosawa’s films for which he was the writer/director I decided to revisit this film about the unreliability of eye witness accounts and how truth is often relative, enigmatic, and subjective. I struggled with it mightily the first time because of how women were not only looked down upon but treated with outright hostility. I wanted to see if my opinion would change on a second viewing of this famous and well-loved film.
When asked about Rashomon, Kurosawa had the following comments: “Human beings are unable to be honest with themselves without embellishing…(these characters) are the kind who cannot survive without lies to make them feel they are better people than they really are.” “The human heart is impossible to understand.”
The message that people are weak and even lie to themselves for a variety of reasons still resonates. Also, how perspective and memory are faulty witnesses still holds true. I would have to add that perhaps Kurosawa was blind to the depths of his own gender bias. Other Japanese directors from this time frame and even earlier had made films showing how the patriarchal society caused women to suffer, I guess I was just expecting more from one of my favorite directors. I’ve read interviews with him about this film and he discussed at length how they suffered from leeches while filming in the forest, but not even a brief comment about the trauma or suffering rape causes a woman or how he wanted to show the inequality women suffer from. Instead Tajomaru is romantically described as a womanizer.
Social reform, individual responsibility, and equality were important points in many of Kurosawa’s films. Apparently, just for men. Masago’s rape was only viewed as a crime against her husband, and yes, I know this would be historically accurate. I was just looking for a hint of sympathy for her from any of the male characters since she was the only woman in the film. Her testimony in court was dismissed as irrelevant immediately. When she testified, she didn’t even mention her rape because either she knew no one would care or the writers knew that. The only crime was the samurai's death. The male rape fantasy that women really like it and want to be dominated was still appalling. Just one flicker of disgust from the men telling the story to the peasant, anything to tip the hand that her treatment was inexcusable, but nothing. Because all of the voices except one telling the story or judging it were male—the witnesses, the judge, the writers, the director---Masago’s witness was all but ignored. Masago's only weapon against the dominating men was her sexuality, all she had to try and salvage her situation with and save her life. Perhaps Masago was diabolically cruel and cunning, pitting two men’s penises and swords against each other for her own pleasure, her rapist and heartless, cowardly husband, but as was pointed out, “It’s human to lie. Most of the time we can’t even be honest with ourselves,” so I’m afraid I can’t even believe the actor (character) who usually played the moral compass in Kurosawa’s films.
I did bump my score up from a 6.5 to a 7.5 because this is a culturally important film and it was well made, but honestly, and still unpopularly, I didn’t like it any better the second time around. From my own biased witness on this film, if Kurosawa had been making a culturally relevant film that also purposefully highlighted the ruthless way rape victims were treated and the stunning disregard for women instead of reinforcing dangerous beliefs, I’d have rated this much, much higher.
11 June 2024
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"Everyone has a trigger"
What is the trigger for a person that will cause them to throw away their future for a moment of vengeance wrapped in the cloak of justice? What is the tipping point for a society lured into self-destruction? Trigger challenges the angel on a person’s shoulder to do the hard thing even as the devil on their other whispers for them to do the thing that will feel good in the moment.Due to his violent military past, Officer Lee Do has given up on guns and only carries a taser when on patrol. He seeks to show compassion to victims and enforce the law with criminals. South Korea’s stringent gun and ammo laws are suddenly being flouted by everyday citizens as well as criminals leading to numerous deaths and causing panic to incur in society. Do is determined to discover the source of the weapons and the plans of the dealers before Korea falls headlong into gun culture.
Trigger asked pertinent questions and addressed timely problems. While there were criminal elements getting their hands on guns, the more sinister elements involved the stressed-out citizenry clandestinely led down the path to their own annihilation. Bullied children and adults, the daily slings and arrows of casual cruelty, mental illness, and corporate greed and corruption drove people to their trigger points. When there was no recompense, no justice, no recourse for the downtrodden, desperate people with little to lose turned to vigilante justice with a gun. Trigger asked the audience to contemplate whether guns made people safer or less safe.
The production values were high and the story kept a stringent pace. That’s not to say you won’t have to suspend disbelief on occasion. I was relieved a drama finally showed the drawback to the first bullet in an officer’s gun being a blank. Most of the acting was excellent. Kim Nam Gil can always be counted on for a strong performance. I prefer him with facial hair and a devil-may-care grin, but we all have to suffer for his art at times. Kim Won Hae gave a nicely balanced performance as Do’s supervisor and father figure. He was utterly heartbreaking in one scene. Kil Hae Yeon played another distraught and vengeful mother, knowing how to hit all the emotional beats. I quite liked the music as it was neither intrusive nor overly wrought. My biggest complaint was the lighting and makeup that showed every pore on people’s faces and often the theatrical makeup itself.
Lessons I learned: 1) Always check your horoscope. 2) When holding a gun on a person, never stand too close. 3) Never bring a boxcutter to a gun fight. 4) It pays to know who your employees are. 5) A sincere apology could save your life. 6) “You can’t justify your actions with some sort of grade school philosophy.” You can, but it might not work out so well.
Guns are like cockroaches. Once a home is infested you are never going to get rid of them even if you burn the place to the ground. When trust is lost and people live in a state of fear, they are capable of abhorrent actions. And at least in Dramaland, if reminded of their humanity and shown compassion, people in a broken and suffering world can choose a path to a brighter future. I found Trigger entertaining, though it did bog down near the end. I only hope these forms of entertainment can help societies make choices that result in their children never having to practice active shooter drills at school.
25 July 2025
Trigger warnings: Numerous shooting deaths even of children. Because when guns are plentiful, the most vulnerable all too often fall victim.
Several comely nekkid buns at a gangster sauna.
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A new group of cadets begin the rigorous training to become police officers. The system is designed to filter out those who do not make the cut. No nonsense Kazama Kimichika takes over as one group’s instructor. The students literally quake in their shoes in his stern presence.
Kazama often appeared to be more of an exorcist than instructor as one by one the students’ inner demons were revealed. His methods were decidedly unconventional, bordering on illegal. Can’t say I agree with his mantra, "Those who hurt people can save people." By graduation, I wasn’t sure all of the ones who made it through should have. There was some seriously poor decision-making being done that didn’t bode well for stressful situations in the field. The criminal element will sleep better at night knowing these puppies are on the job.
10 November 2025
Trigger warning: Attempted murder-suicide
Slightly spoilery comments:
The mystery behind Kazama’s odd eye and dour disposition was never truly revealed. Perhaps in another installment.
I am a huge advocate for women in the police force, but it boggled my mind when one female cadet worried that weight training would make her arms “thick”. As tiny as she was, she could use a little thickness aka muscle when dealing with belligerent drunks and garden variety thugs. It won’t be her partner’s job to protect her. Oh, and drawing a nekkid pic of a fellow female classmate should have disqualified one student from being in the academy. Sexist jerk.
Very spoilery comments below:
Miyasaka should never have graduated when he did not turn the student in who threatened him with a gun. That’s not being a spy, that’s being a good cop and protecting not only himself but the class in general as the student was decidedly unstable. And hopefully, the other student who threatened him earlier was arrested for attempted murder and not just kicked out. Kazama secretly preemptively saving Miyasaka didn't obscure the murderous intent. Despite having such a tough instructor, the cadets who threatened, harmed, and/or attempted to murder other students didn’t appear to suffer any legal consequences.
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"Don't blame me---I have to kill someone!
Every once in a while a low budget, terrible CGI movie can surprise you. Monster was not a great movie, but for its little film niche it performed surprisingly well.A bus full of people wake up to find that they are in the middle of a desert with no memories of who they are. Nearly everyone panics and runs away only to be obliterated by a literal monster sand storm. Five men and one little girl survive on the bus. The desert reveals other horrors when the motley crew is attacked by roaming sand demon dogs. The little girl calls all the men daddy, naming them after characters from the Monkey King. Who were they before this happened and can they find the way home?
Little Daddy quoted Buddhist proverbs, one of which was, “Good people are always protected by the Buddha.” That saying will be tested and provided clues to the men’s backgrounds. Where the survivors were and how they got there was fairly logical given the writers’ world building. The characters could behave stupidly as often happens in these films but less so than in others. The film also brought up the question of how people would behave if they had no memory. Would they be selfless or self-serving? The acting was actually pretty good, I’m used to actors practically sounding out the words off cue cards in some of these low budget creature features. The child actor could be too much at times, but overall, she gave the men a reason to bond together.
The desert was desolate enough to throw fear into anyone. The CGI critters, sandstorms, and other special effects won’t win any awards yet they helped fulfill the Buddhist punishments of wind, water, and fire effectively enough. Not sure how man-eating monsters fit into that philosophy. Much of the film dealt with how people react and act during a crisis and whether they are willing to protect the most vulnerable. To be sure, redemption played a strong role in the story, my own personal butterflynip.
Monster is not a film for everyone. It won’t be terrifying for those looking for jump scares nor quality enough for the majority of movie viewers. If like me, you are the type to wander aimlessly through film sites and randomly pick films to watch, this one might not burn you like others. Truly damning it with faint praise, I know, but I set my bar of expectations low, very low, and came away adequately entertained.
30 October 2025
Trigger warnings: Dismemberment, and creatures attacking and feasting on humans.
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Ichiro and his friends Makoto and Kimi enjoy looking through Ichiro’s telescope. Ichiro’s father is in charge of the Maki Institute and developed a special rocket fuel that will enable interplanetary travel. Makoto and Kimi are the wards of shoe shiner Wakao. One night all television sets are taken over by Dr. Eggman, I mean Ambassador Phantom from Planet Silver who addresses Japan from his spaceship. He declares his imminent arrival, gives the address where he will land, and no one had better get in his way. A contingent of police, scientists, and reporters await him. Oh, and also Ichiro and Makoto. After the aliens vaporize a number of police leaving only their helmets, the Prince of Space arrives and drives the Phantom off. Not to be deterred, Ambassador Phantom devises an evil plan to obtain Dr. Maki’s rocket fuel recipe.
I know it was 1959 and this was a children’s film, albeit with a number of redshirt deaths, but the scientists said that Planet Silver was 305,000km from the moon. The moon is only 385,000 km from the Earth. A planet orbiting so close to Earth sounds like a doomsday film all by itself. Setting that small tidbit aside, if you look at this film from the eyes of children 10 years before the Apollo 11 landing, and in a much less connected world, it’s not that bad. The costumes, special effects, and acting were low budget enough to be hilarious for today’s kids and adults. But this film wasn’t created for us. I found the kids being around dangerous situations unthinkable, but remember equally implausible films/tv shows from my childhood. This film could have benefited from fewer military personnel, reporters, policemen--basically fewer stuffed shirt adults.
Having argued for leniency, Prince of Space wasn’t a measurably good film by any metric, but it was a capsule from a different time before CGI, where a superhero in a baggy costume could point a baton at an alien with a giant beak and utter the words, “Your weapons can’t hurt me!” unironically.
24 October 2025
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