The Butterfly

"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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"Put the family first!"

Cue the violins and bring out the box of tissues because Ode to My Father will shamelessly and successfully pull at your heartstrings. This film is not only an ode to one father, but two, as you follow a boy from childhood to old age selflessly working to provide for and keep his family together just as he had promised his father he would do.

The film follows Deok Su as a child in 1950 fleeing Hungnam as the Chinese were overrunning the city. His only task was to hold his little sister's hand as the family sought shelter on a US ship, the USS Meredith, accepting refugees. In the stampede to find a way onto the ship, his sister was lost. When his father turned back to find her, he tasked Deok Su to be the man of the family and always put the family first if he could not return. Deok Su took his promise seriously when they arrived at his aunt's shop in Busan. Accompanying him on his various entrepreneur ventures was his best friend, Dal Gu.

Deok Su would later go to Germany to be a coal miner, a dark and dangerous job, in order to pay for his brother and sister's schooling. There he would meet his future wife, a Korean woman studying to be a nurse, Young Ja. He and Dal Gu returned home when the Germans stopped renewing their work visas. After his aunt's death, his uncle wanted to sell the Kkotbun Shop. Once again, Deok Su stepped forward, this time taking Dal Gu with him to Vietnam to earn money as "technicians". The two friends would face the same choice the Americans did at the North Korean port when as they were fleeing Saigon women and children begged for them to let them onto their boat. In 1983 Deok Su and Dal Gu would go to Seoul in the hopes of finding his father and sister when the Korean Broadcasting Services showed families being reunited through their programs.

Deok Su's grown children cannot understand why he won't sell his shop or change the old-fashioned name. Deok Su who so easily sacrificed his own dreams and took dangerous jobs to provide for his family, privately confessed to his father's image how difficult the struggle had been. After promising his father he would always put the family first, the last words he heard his father speak were that he would meet them at the Kkotbun Shop. Never saying his purpose aloud, Deok Su kept the shop open in case his father survived so that he could find his way to them.

This was a nostalgic look back for older Koreans who after surviving the Japanese occupation were devastated by the Korean War. Their country divided and some families divided by the new boundaries, dealing with political and economic upheavals, mothers and fathers worked hard to feed and shelter their families among the continuing changes around them. The main character in this film shined shoes, dug coal, traveled to Vietnam during that war, and later ran the family shop. He did all this to make things easier for his family and children. In a letter to his wife, he told her how grateful he was that it was he that suffered and not his children. And of course, his children, as children are wont to do, did not fully understand the hardships and struggles their parents went through for them.

Lest you think it was all melodrama, fear not for there were gentle moments of humor that lightened the mood. As much as the film was about family and sacrifice it was also about friendship. It was heartwarming to watch Deok Su and Dal Gu stand by each other from childhood to old age.

A small historical note: The USS Meredith was credited with one of the largest humanitarian rescues when the ship dumped its cargo and took on 14,000 refugees in a ship designed for 12 passengers and 47 crew.

I am not a crier, but this movie moved me to tears on several occasions. I knew the director and music director were setting me up for the big emotional moments and did everything but present a cue card that said, "Cry now!" It didn't matter, the milestones in this film though far removed from my life still reminded me of the sacrifices and relentless hard work my parents and grandparents went through to make my life easier. And like the director, who made this film as a thank you to his father, it reminded me to say thank you to those who went before me. The desperation during times of political upheaval for people who have nowhere else to run is truly heartbreaking. I cried for the families around the world who have been separated by war, death, and poverty and felt gratitude for the ones left behind who have fought tenaciously to hold the survivors together and refused (and still refuse) to give up.

The film could swell emotionally and had an ambitious overview. It helped that the acting was on point and didn't boil over into being overwrought which kept the characters grounded. With all of the time jumps it could have been easy to become lost as we were given a personal tour by Deok Su through pivotal points in Korean history. Though the story covered decades and several countries, Ode to My Father was at its heart a simple and intimate story of a man keeping a promise to his father. Unabashedly melodramatic? At times. But this film was also inspiring and uplifting and a lesson in the power of tenacity. If you are looking for a movie to touch you, look no further.

4/24/23

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All is fair in love and war...

For those who love wuxia or Zhang Yi Mou's films, Hero will weave around you, wrapping you in its hypnotic effects of color, music, scenery, and skilled performances. The film is a poetic examination of the different facets of being a hero and the sacrifices required. As a fan of both wuxia and Zhang Yi Mou I found this film breathtakingly beautiful and emotionally heartbreaking.

It is helpful to understand on the first watch of Hero that the story is not told in chronological order or from a single viewpoint. Each viewpoint and version of the story has a particular color hue. When the warrior Nameless is brought before the Qin emperor, gray and black dominate the color scheme. Nameless has killed the three most infamous and dangerous assassins in the realm granting him unprecedented access to the emperor, coming within 10 paces of him with only several rows of candles between them. The emperor asks Nameless to explain how he came to possess the weapons when even 3000 soldiers could not acquire them.

Nameless (Jet Li) tells the emperor a story of how he defeated Sky (Donnie Yen) and his silver spear in the rain accompanied by an old blind man playing the guqin. Every time I watch this movie it is a treat to see Jet Li and Donnie Yen fighting in the rain with water dripping from the rooftops. Next, in a world gone crimson, Nameless explains how he defeated the warriors and lovers Snow (Maggie Cheung) and Broken Sword (Tony Leung). Broken Sword believes that calligraphy and sword fighting are intertwined. He and Snow are the masters in a calligraphy school drenched in red but have a rift driven between them. This vermillion school is the home of primal emotions-jealousy, hate, lust, and revenge. Nameless wants a banner with the unique and 20th version of the word "sword". This memory has a sequence with an extraordinary fight between Snow and Moon (Zhang Zi Yi). In a spiraling storm of golden leaves the two women swirl and parry until blood is drawn and the leaves echo the color of life and death.

The emperor doesn't believe Nameless and gives his version of events now told in blue. The characters are calm, clear thinking and accepting instead of being ruled by their passions. Instead of Nameless ending up with the swords because of vengeance, this time the lovers willingly hand over their swords in order for the skilled Nameless to kill the emperor. After Snow sacrifices herself Nameless and Broken Sword have a balletic battle over a tranquil cerulean lake.

Finally, the truth is told in white as death hovers ever near for the characters and the genuineness of their motives is revealed. The emperor's memories of Snow and Broken Sword attacking him three years ago are in green with floating green curtains hanging from the throne room ceiling. In this emerald world Broken Sword had a moment of clarity and that clarity distanced Snow from him.

Zhang Yi Mou's lush and color saturated frames were romantic and stunningly spectacular. Every version of the events was filtered through the chosen color-lighting, wardrobe, and sets. He is a director who always knows how to get the most out of nature's scenery whether in the wind blown desert or a verdant hillside. Tan Dun's score was splendidly lovely and mournful.

This film had a dream cast. Jet Li's reserved acting was perfect for the Nameless and committed warrior. Maggie Cheung and Tony Leung have never looked more beautiful. Snow and Broken Sword had a tender yearning for each other tragically tethered to her burning desire for revenge. They were truly the emotional heart of the film. Neither the lovers nor their swords could ever be parted. Their final scene was emotionally shattering. Zhang Zi Yi played Broken Sword's servant, Moon. Thinly drawn, she filled it out as much as she could. Donnie Yen was only briefly featured and brought the martial arts credibility to go along with Li's. Chen Dao Ming gave the right amount of balance, maybe more humanity than he deserved to the tyrant emperor.

Despite being a wuxia, the fights were not the main thrust of the story, even though they were well choreographed and shot. For those not familiar with the genre, the fights often relied on wire work. Though most of the actors were quite graceful as they danced and twirled in the air, there were a few gaps. The choreography tended to err on the side of the visual instead of the realistic which made for imaginative sword work. Jet Li moving through the rain drops is still one of my favorite movie images. The large Qin army raining down impossibly numerous arrows on the calligraphy school with two characters countering them conveyed the dire situation of the heroes and the high stakes.

The only thing that kept this film from being perfect for me was the ending. The emperor's adage that the brutal destruction of his enemies and annexation of their lands was for the greater good and the hero's acceptance of this was disturbing. I thought it was ironic that the old calligraphy master said, "Qin arrows can never annihilate our written words." In reality, the emperor did just that by massive book burnings and burying alive over 400 scholars who disagreed with him. I do agree with Broken Sword that the goal is to be rid of the desire to kill and the need for the sword and to live in peace with one another. Because this is not my country and history, I do not have an educated view on this emperor, only a limited personal opinion. Whether desiring to kill the emperor to prevent further war or letting him live to prevent further war, the heroes were willing to sacrifice all for their beliefs.

Despite the ending, I loved this film. The haunting score, the lush colors, fanciful fights, and sorrowful love story pull me in every time. In large part due to the stellar cast and Zhang Yi Mou's exquisite directing style, I have found few wuxias better than this one.


3/27/23

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The world is not ruined by the truth

The King's Letters gave a fascinating glimpse into the creation of Hangul, the Korean alphabet. It was set in 1442 with King Sejong the Great determined to do something for his legacy as the sands were quickly running through the hourglass of his life and reign.

The Joseon court was largely ruled by ministers and scholars schooled in Confucianism and Chinese writing. They were not at all interested in developing easily learned phonetic letters for their language. Sejong wanted all of his people to learn to read and write which would have meant more competition and a threat to their power and positions.

King Sejong was not to be deterred. An envoy of Japanese monks arrived demanding the Tripitaka, the oldest collection of Buddhist scriptures written in Hanja on over 80,000 wooden blocks. A series of dots connected him, with some help from the Queen, to the Joseon Buddhist monk in charge of the Tripitaka. Sejong discovered the monks could chant, read and write in Sanskrit which was based on phonetic letters. His Eureka moment occurred after years of failed attempts to create an easy and useable alphabet. Promising the monks he would build a temple in the capitol if they would help him with the alphabet, an uneasy alliance was formed.

Much of the film covered the monks and king working through their language and breaking it down into a total of 28 consonants and vowels. Instead of memorizing thousands of characters, what they were developing would make it much easier to be literate. Sejong wanted the letters to be elegant and concise like geometry using only lines, dots, and “facets”. The major conflict of the story was keeping what they were doing from the Confucian court. Due to conflicts with the Buddhists during the Goryeo Dynasty, there were hard feelings on both sides. Most of the tension, however, dealt with the ailing king fearing he wouldn’t live long enough to not only create the letters but also to spread their use so that they would be protected and take root.

Spoiler alert! Of course, they succeeded as we all know. Sejong did end up giving the Confucians credit to try and gain their support. It took time for the “vulgar” or “women’s” script to be accepted. Thankfully, women and fiction writers used it as well as Buddhist monks which kept it alive until it took hold. In 1849, it was adopted as Korea’s national writing system. Even the Japanese during their occupation who outlawed it, couldn’t kill it.

The King’s Letters did tend to slow down and become repetitive in the latter part. I am enough of a documentary geek that this felt like an enjoyable one only dressed up and with excellent acting. Song Kang Ho (King Sejong) had great chemistry with both Park Hae Il (Monk Shin Mi) and the late Jeon Mi Seon (Queen So Hun). The cinematography, sets, and costumes were all lovely.

King Sejong was playing the long game, he wanted an educated people who would only make the country stronger and more enduring. His vision didn’t come to bear overnight or even in his lifetime, but he planted a seed that did take hold, blossomed, and bore fruit. Is still bearing fruit. A legacy of knowledge which can break down class lines and open communication is not such a bad legacy after all.

10/10/22

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Love is found on The Road Home

The Road Home tells of a simple love story, one that is simply beautiful and sincere. It is also a look at how the past informs the present and ties those in memory together.

Yusheng is a grown only child returning to the snowy mountain village where he was raised upon receiving the news that his father has died. His mother will not be consoled until he promises to have his father's body returned to the village from the nearest city by foot, a traditional custom enacted so that the dead can find their way home. As he discovers, it will not be easy, for the only people left in the village are too old or too young to be of help. He perseveres for his mother's sake and as he does he reminisces about his parents' love story.

The present is told in black and white, but as the past opens up it was like leaving Kansas and stepping into Oz. Director Zhang saturated each scene in color, making every shot worthy of being framed. Zhang Zi Yi as Di, in her first role, was ethereal as the eighteen-year-old girl, wearing pigtails and a bright red coat. The village was building its first schoolhouse and it was love at first sight when Di laid eyes on the schoolteacher who rambled into town. The small village was Luo's first job, though well educated he hadn't been able to find work until someone brought him into the mountains. On the road Di would walk the extra distance to the well by the schoolhouse just for the chance to hear his voice. On the road she would watch him walk children home and then stealthily follow him on his return until the day she emboldened herself enough to meet him. When Luo had to leave because of a political offense, Di waited for his return on the road.

Little happens, but even a broken bowl or a lost hair clip have meaning. A bowl of dumplings carried by a girl racing through the hills, propelled by young love has more meaning than a thousand sonnets. The villagers with their traditional roles look out for each other. Di and Luo have few words of dialogue but their earnest looks and actions speak volumes. Yusheng's voice over narration is almost like he's reading a book as he recites their story that he and the other villagers know by heart.

Zhang Yi Mou's use of light and color never fail to mesmerize me. He gets the most out of natural scenery whether it is a golden forest or snow covered fields. He also knows when to hone in on his actors and Zhang Zi Yi made it easy for him with her lovely expressive face. There was no doubt his camera loved her face and movement as Di ran through the mountains for a glimpse of Luo. The softly romantic music enhanced the picturesque scenes and gently developing story of true love.

The film revolves around Di, Luo and the cherished schoolhouse, both in the past and in the present. Traditions and customs thought forgotten give meaning to many in the present as Luo is brought back on The Road Home to be laid to rest. Love is both lost and found on The Road Home. Remembrance and family ties are renewed on The Road Home. This film resonated with me as Yusheng came to terms with life away from the village and the importance of the past as he traveled The Road Home. Quietly simple, the path on The Road Home is one worth traveling.


9/21/22

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A kill or be killed world and love

When a film begins with a traditional marriage where the bride wants to murder the groom on their wedding night you are left with the question, "Which one is the The Legend and which one is the Butterfly?" A political marriage of the uncouth Fool of Owari and the cunning Viper's Daughter made for an explosive and potent combination.

The story was a reimagining of Oda Nobunaga and Nohime's marriage as little was known about it. Historically, she was thought to be beautiful, intelligent, and skilled with a blade. In this version of the life story of the first "Great Unifier" of Japan, she was the genius and fire behind the man.

Nobunaga and Nohime clashed, sometimes violently, in early scenes in the film. The story takes place over thirty years, giving short amounts of time to major events in their lives, usually converging with battles for power outside of the marriage. Eventually, they come to a place outside of Nohime's role as a spy for her father and her infertility where they could move beyond tolerance and reluctant admiration to love. But true love rarely flows smoothly with pride, vengeance, and illness creating problems.

Kimura Takuya was able to portray Nobunaga's carefree and coarse youth with buddies outside of his caste. He also conveyed the weight of the battles and familiar lives lost, showing the transformation from the Fool of Owari into the Demon King capable of ordering women and children to be killed. Ayase Haruka transcended many of her drama roles as the tough as nails and brilliant strategist, Nohime. I was saddened as her role diminished once she fell in love and yet she still wrung as much out of Nohime's shadow as she could.

The gorgeous sets, elaborate costumes, music, and cinematography were all well done. It would be hard to fault unless there were some anachronisms involved. I am not well versed in the history of this era so I can only comment on the entertainment value of the film for an outsider. While I enjoyed the fast-track history lesson, the romance between Nobunaga and Nohime was difficult to comprehend as both held their emotions close to their vests. They only allowed their true feelings to show a couple of times. It could be hard to keep up with their emotional "growth" because of the constant short time jumps and quick changes in attitudes as Nobunaga strengthened his resolve to kill everyone who opposed him and she softened desiring a normal life with him more and more. As much as I wanted to care about the two, it was difficult to emotionally connect to them and their conflicts. Perhaps this would have worked better as a short drama so that their personality changes could have been delved into more and not be seen as so abrupt.

The Legend and Butterfly was entertaining even if it lacked the emotional depth I was looking for between the spouses. Regardless of historical accuracy, it was refreshing to see Nohime shown as a capable and intelligent woman, a wife Nobunaga could turn to for sound advice. Whether Nobunaga was a Fool or a Demon, neither, or a little of both is for people far more educated on the subject than me to comment on. As a film, a nearly 3 hour film covering 3 decades, focusing on the marital harmony and disharmony of one of Japan's most famous historical figures, The Legend and Butterfly succeeded largely on the likeability and skills of the performers. It was a kill or be killed world and for a time, marriage.




5/19/23

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"I went far away only to find nothing was different"

The Breaking Ice was a slice of life film that was more mood than plot. Filmed during the frigid winter in Yangi, China near the North Korean border, the snowy mountainous setting was easily the fourth main character in the story of three young adults disenchanted with their lives and in need of healing and connection.

Na Na leads tours in the Korean prefecture of Yanbian and doesn’t hesitate to ask for tips and good reviews with a smile on her face. Han Xiao works at his aunt’s restaurant in Yangi where Na Na brings the tour groups to eat. Hao Feng has come to town for a wedding. He spends most of his time dodging phone calls about his missed mental health appointments and staring down from the building wondering whether he has the courage to jump. He sees Na Na’s tour group and joins it the next day. When Na Na lets her mask slip around him, he finds a kindred spirit. After his phone is lost with his virtual wallet, Na Na invites him to dinner with Xiao. The three drink, dance, and later sleep it off at Na Na’s apartment. The next day they jump on Xiao’s motorcycle and travel on their own tour of the area.

“Whether I like it or not, I still have to do it.”
Zhou Dong Yu managed to lift dour Na Na above the material and give her emotional depth where the script did not. Liu Hao Ran brought a fragility to Hao Feng even though the writers were stingy with his backstory. Qu Chu Xiao’s Han Xiao wisely underplayed any jealous feelings Xiao might have had as Na Na and Hao became more intimate. The men’s friendship overcame hurdles that would usually derail them. Xiao was a good apple who even gave Hao a coat when they went hiking in the knee-deep snow, showing that the German saying, “There is no bad weather, only bad clothes,” worked in China as well. Though Xiao wasn’t a well-developed character his compassion toward a stranger was revealed in different significant layers.

“I’ve been away so long, I’m not even sure where home is.”
Xiao and Na Na had moved to Yangi and became stuck professional and emotionally. Both of their jobs had been adversely affected by the pandemic and both dealt with family separations. Hao may have had a good job in Shanghai, but he was equally disaffected. The three people were as isolated and closed off as the snow-covered mountains surrounding them. Yet they found warmth and healing connections as they spent time together.

“I don’t want to be alone.”
Director Anthony Chen and cinematographer Yu Jing Pin created beautiful shots of ice and mountainous roads and trails, lighting everything with exquisite care. The interior shots in contrast were warm, although the clubs highlighted the remoteness of the individuals as they drank and danced in the crowd. The film was gorgeous to watch and the music set the mood perfectly. The acting was all on point. My only complaint is that little was revealed about the characters, especially Hao Feng. Sometimes I had to create my own dots to connect. Despite my reservations, I quite enjoyed this film of three people reaching out and accepting each other where they were for the time they had together.

2 November 2024
7.75

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"This is not the place for you to seek the truth!"

Under the Microscope was an interesting title/translation for this drama focusing on a math obsessed male lead who used zero microscopes. Why not “You Can Count on Me!” or “Who Is Plotting Something Evil?” lol I may not have understood a “fraction” of the math involved but the story was “greater than” the “average” drama.

“Arithmetic is the most honest thing in the world”
Jia Mo and his buddy Bao Yu make extra cash at gambling dens by utilizing Jia Mo’s savant-like math skills. They run afoul of new casino boss Lu with Bao Yu’s sister Bi Yu coming to their rescue. Having helped with surveying property, Jia Mo can’t figure out how his calculations for property lines aren’t adding up. He has Bao Yu gain him entrance to the official archives to check the records. While he’s researching the books he finds the number 3530 that his deceased father had told him to remember. He discovers it’s in conjunction with a Silk Poll Tax that appears to be in error. When the friends bring this up to the local authorities, instead of being pleased that their tax bill should be shared with 7 other counties reducing the amount the people pay, the 8 county magistrates close ranks casting aspersions on them. “If someone is diligent for no reason, he must be up to no good.” Jail and floggings can’t deter them. Jia Mo and Bao Yu move forward to try and find someone to hear their case.

“The silk is only a cover. The thing wrapped inside is the most valuable.”
The government bureaucracy was the least of Jia Mo and Bao Yu’s “problems”. When the “count(y)” magistrates were “irrational” and refused to listen to “empirical” evidence, it was a “sine” that the 3530 taels of silver held less “value” than what they were hiding. The “algebros” were often in “real” danger from the enemies who grew “exponentially.” Every time Jia Mo was on the “cusp” of success, the people in “power” would try to “point” out flaws in his equations. They were “mean” and seemed to “derive” great pleasure from the “inequality” they had created in their “operations.” Jia Mo also had flashbacks of his parents that he wasn’t sure were “real” or “imaginary”. Bao Yu was a “positive” and “constant” companion on their journey though he had a tendency to fall into “trap-azoids.” As the two “squared” off with their “calculating” enemies,
other players with their own “angles” joined to help “solve” their “prime” issues. Though the “probability” of success was a low “percentage”, the new allies stayed strong in the face of greedy men on a “tangent.”

“If the numbers are wrong, they should be corrected”
Under the Microscope was engaging and though the math wasn’t as easy as “pi,” the “sum” “total” of its parts “added up” to a drama that wasn’t “perfect” but “finite” entertainment with characters you could “root” for. The “common denominators” being strong performances, realistic “sets”, and a story “integral” to the real world where “negative” and “obtuse” people think money “equals” righteousness and honor. Fortunately, every once in a while, “ordinary”, but “significant” people step up and “point” out “solutions” to “problems” that will help society to “function” better.

18 September 2024

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How to write a review on a 3-minute short movie? Make it short as well and hopefully meet the MDL word requirement. She Brought Colour into My World pushed the boundaries of censorship with this story of love and friendship between two women.

A lovely young woman resides in a world of stony black and white. The new neighbor has just returned from studying abroad wearing an ethereal white dress. Dressed in beautiful clothes both traditional and Western, the two neighbors meet and have an instant rapport and the young woman's world is filled with color. The woman in white regales her with stories from outside the walls and gives her a gift. They explore the city, dance and hold hands. In 3 minutes a whole relationship blossoms free from censorship or at least for a while and a choice must be made. Stay in the world of color or return as before to cold stone.

I enjoyed this short film that pushed the boundaries with its open subtext and told how love can bring color into our lives and just as easily take it away.

29 January 2024

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The devil is in the details

As this is a 14 minute short film I won’t say much. You need to be prepared for very graphic talk about sex. It is not for the squeamish.

The premise is a man meeting a school girl to have sex with her thinking she is a virgin. They begin to talk and he nauseatingly starts negotiating the price according to what he thinks her experience is. If you’ve gotten this far and are as repulsed as I was by him, don’t give up, keep going…

For a short film the production values were good as was the acting. The filmmakers packed a wallop of a story in those short minutes.

Again, not for the squeamish.


11/14/22

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Last Samurai Standing is set during the final days of the samurai during a cholera epidemic. Stripped of their wealth and their reason for living, warriors with nothing left to lose sign up for a no holds barred race from Kyoto to Tokyo. The prize is 100,000 yen, enough money to sustain a family for a century. The only catch? The contestants have to capture wooden tokens from the other contestants to pass each check point and to finally enter Tokyo.

Shujiro Saga is a skilled samurai who has been retired after a devastating battle that obliterated everyone on the battlefield with new weaponry. Swords have been outlawed in the new government and the samurai have been shuttled aside. Suffering from debilitating PTSD, he couldn’t use his sword if he had to. To top things off, his family is suffering from cholera and he has no money for medicine. When he hears about a gathering of samurai for a contest with a 100,000 yen prize, he has no choice but to join. At the gathering he finds other desperate people and also samurai desperate to fight, a deadly combination made worse by the conditions of the contest and the ever watchful, heavily armed guards. Along the way from Kyoto to Tokyo, Saga becomes allied with, or rather babysitter for an eclectic group. Aside from the rank-and-file contestants after them for their tokens, is also a shadow from his past intent on taking more than his token.

The comparison to Squid Game was inevitable despite the fact that these kinds of gruesome games have been played out in the movies and television shows for decades. The main thing the two have in common aside from pitting players against each other is that both focus on people who have been pushed to the edge economically and emotionally. I suppose the other is that whenever the camera diverted to the wealthy elite betting on the contestants, the emotional momentum came to a standstill. None of the people behind the game was particularly compelling, in fact, the Big Bad was downright disappointing. The drama was at its best when it focused on the contestants.

Okada Junichi made for an excellent conflicted lead. A loving father and husband, he was also believably Kokushu the Manslayer. I won’t go into his entourage so as not to spoil too much. The acting there was hit or miss. One of the villainous contestants was simply drawn as a mindless killing machine, though the actor chewed through the scenery in the bloody performance. In this contest, aside from Saga, mercy or complexity was rarely a strength.

The Last Samurai Standing was on its way to an 8.5 from me as I was quite enjoying it. For the genre, it delivered on what you’d expect, though no real surprises. The fights were well choreographed and not for the squeamish. The last episode veered into unrealistic territory which was jarring. Yet it also set up huge stakes beyond the contest for our intrepid little band of contestants. Surrounded by powerful enemies, it will be interesting to see how or if the writers can bring this to a satisfying conclusion when the second season rolls around.

14 November 2025
Trigger warnings: The heads rolled in this drama like a macabre bowling match. If you ever wondered what the Yojimbo blood spewing fight would look like in color, well, here’s your opportunity.

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"You need to write it yourself to get the ending you want"

Veil of Shadows was a rollercoaster of pain, death, pain, death, pain, death… Oops! Got caught up in a time loop! If you like for your characters to suffer and cry, be torn between love and duty, and question what is real and a replay, here you go!

What worked for me:
I enjoyed the cast, many of whom were new to me. I’d only seen Tian Jia Rui in Journey to You so the verdict was out on him. I thought he handled his roles well making each distinct, believable, and sympathetic. Yan An did admirably with his multiple roles, even as an evil butterfly. (One member of the family we don’t talk about at Butterfly reunions. lol) He and Tian had great chemistry. Ju Jing Yi and Chen Du Ling as the nine-tailed foxes were at their best when they were in scenes together as tactile and fierce “sisters.” Joseph Zeng did the best he could with what he was given. Honorable mention for Wu Han as the loyal and playful Weasel in his first credited role, at least on MDL.

The settings and costumes were beautiful.

There were arcs that I found compelling and emotionally engaging.

Cdrama characters did more than kiss!

What didn’t work as well for me:

There comes a point when people keep dying and coming back that the stakes and deaths become less impactful. The same with the pain porn dished out in this drama. After numerous suffering scenes, I was like, “Rub some dirt on it, spit up the blood, and you’ll feel better, honey.”

In the first story arc, it appeared that the mains were on equal footing narrative-wise. But that didn’t turn out to be the case. Much of the drama focused on Ji Ling and Lu Wu Yi’s tortured romance, as well as Ji Ling’s past. It gave the drama a lopsided feel, especially when it was revealed that Wu Shi Guang was a “Very Important Character.” He ended up being a VIC that got bumped down to a supporting character along with the 1000-year-old fox, Wu Wang Yan. And the little Weasel was often banished to WSG’s purse.

Much was made of Ji Ling’s man pain and loneliness, but I’d put the dragon speared to the ground for 100 years right up there with him. At least Ji had a bevy of handsome helpers and demons that called upon him often.

The fights were awful. Stunning, but much like the 10th dragon--useless. Lots of posing and CGI. There were also numerous slow-mo shots of pretty people with wind machines blowing their hair and clothing accompanied by overly dramatic music. Way too many hero walks with the team gearing up to face a challenge. Like death and torture, if they are overused, they become redundant and meaningless.

Speaking of overuse---time travel.

When I was enjoying this drama, I was really enjoying it and planned on rating it much higher. The drama was beautifully styled and featured beautiful people. I actually liked most of the characters and found myself invested in the secondary demons (Bai Ze!) and demon fighters. Then it hit a wall with repetitive deaths and agony which actually numbed me to the characters instead of ramping up my sympathy for them. When the pain porn began to feel sadistic, the ick factor started overwhelming my desire to finish the drama. The time travel issues didn’t help either. I’m not sorry I watched the drama, and it was a good average drama, at times more than that. Sometimes, less is more.

21 April 2026
Trigger warning: A snake was featured in one of the story arcs. : /

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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.




*Spoiler Comment Below






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*******Spoiler directly below







* 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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"Hope is the beginning of calamity"

The King of Pigs is another drama focusing on South Korea’s national trauma---school bullying. It is hard to peruse very far when looking for a Kdrama or Kfilm to watch that doesn’t touch on bullying—in school, the work place, or in politics. “Know your place” is a well-worn phrase straight out of the Joseon Era. The King of Pigs showed how the emotional damage to two young boys was internalized and then realized in a complex gory and deadly revenge plot played out on both sides of the law.

Lt. Kang Jin Ah is called to a possible suicide scene when a message is found scrawled on the window mentioning another officer she has worked with-Jung Jong Suk. She calls Jung in to help her and it’s not long before Jung’s ties to the killer are revealed. After a gruesome discovery, Jung becomes as much suspect as witness, complicating the case further.

The vicious revenge plot played out well. These types of dramas and films throw me into my own existential and spiritual crisis as I find myself rooting for the killer. Adults who as children had been subjected to what amounted to torture developing psychological breakdowns was not much of a surprise. What was surprising was the calm, methodological manner Hwang Kyung Min planned his vengeance even while hallucinating. For Jung Jong Suk, as the memories flooded in, his mental stability flooded out, causing him to act less rationally as he struggled to deal with the past. Both had basically been POWs, trapped in a cell with their tormentors with no escape and no help coming. For the tormentors it was all fun and games.

The class divide raised its ugly head inside and outside of the classroom. Teachers bowed to money and power and turned a blind eye to the bullying. The homeroom teacher lamented not being able to physically abuse the young men in his class. One wealthy father felt perfectly comfortable beating a student and striking a woman in a public place with no repercussions. The vulnerable had no one to turn to and no one seemed to care about their suffering. The bullies were too cowardly to act on their own but hunted in packs like wolves. Yet if the classmates who did nothing had banded together with the victims, they would have outnumbered the bullies. Instead of pigs, which can be dangerous, they acted more like sheep.

Kim Sung Kyu gave a strong performance as the slowly unraveling Jung. Kim Dong Wook endowed Hwang with a powerful determination to accomplish the tasks set out before him. The flashback scenes worked particularly well because the drama actually utilized teenage actors instead of trying to paste on more makeup and make the audience pretend thirty-five-year-olds were playing middle school students. All of the teens played their roles well. My biggest problem was with Chae Jung An as Lt. Kang. If the writers were going for a loner who liked to work alone and who didn’t always play by the rules, then she better make a difference and better be charismatic. Unfortunately, neither happened. The character vacillated too much, didn’t accomplish anything meaningful, and came across as petty and bland. And dear goodness, she had a bad habit of holding her gun pointed at her own head-gun safety people!

The King of Pigs traveled at a break neck pace, never letting off the pedal of death and mayhem. While the investigation aspect of the drama had weaknesses, the psychological thriller delivered an onslaught of emotional punches. One more drama warning people that extreme bullying can break people down, break them so badly that a glimmer of hope could lead to calamity.

“Dogs are loved for their very existence. But pigs could only have their worth acknowledged when they are torn to bits to become food for the humans.”

3 July 2026

Trigger warnings: SUICIDES, abuse, sexual abuse, smoking, drug use, gory torture, animal cruelty

Traffic notes: Another drama where car chases took place on empty four lane highways. People were constantly laying down in the street. Have they never heard of The White Truck of Doom???

Homeroom Note: Why are teachers never in the classrooms, especially with bullying being an issue?

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"I gradually lost my sense of time"

Buenos Aires Zero Degree: The Making of Happy Together was an interesting if overly long documentary. There were tantalizing “what could have been” storylines and deleted scenes. The film was directed by Amos Lee and Kwan Pung Leung attempting Wong Kar Wai’s style.

*What worked for me:

The early clips of Tony Leung Chiu Wai and Leslie Cheung practicing the dance scenes made me want to watch the film all over again. Their intensity, even in rehearsal, was mesmerizing. When the documentary focused on these two whether in outtakes, deleted scenes, or rehearsals, just like the film, you can't take your eyes off them.

There were snippets of interviews with Tony. He told of his desperate homesickness while they were stuck in Argentina hanging out when Leslie had to return to Hong Kong for his concerts. The six-week Argentina film shoot turned into four months putting pressure on everyone. Tony wondered if Wong had done it purposefully to drive them to the edge for the film.

Wong Kar Wai only knew he wanted to tell the story of Ho Po Wing and Lai Yiu Fai in Argentina and little else upon their arrival on the other side of the world. He proffered several story concepts, including Leslie playing both characters and dressing in drag among other ideas. Deleted scenes were shown and a much different ending was discussed. Crew members gave a tour of the various locations used in the film and told of the troubles they encountered.

*What didn’t work as well:

Initially, the interviews with crew members were insightful, but then it faltered as fewer compelling stories were shared. The last third of the film lapsed into a musical montage featuring supporting characters and their story possibilities.

The shaky, out of focus camera style was more annoying than intriguing.

*Was it worth watching?

Yes, with caveats. The first half of the documentary was well worth watching to hear how the director cobbled the story together and abandoned creative conceptions that would have carried the story in very different directions. As much as I loved the film Happy Together, the narrative was thin. Tony and Leslie made the film as they threw themselves into their roles. As their presence dissipated from the screen in the documentary, it quickly ran out of steam. Would recommend for anyone who has not read about the difficulties in making the film, but otherwise it was skippable. (7.25 bumped up to 7.5 only for the scenes of Tony and Leslie burning up the screen with their amazing chemistry and presence, even in short clips)

“…in a land of zero degree, with neither east nor west,
has neither day nor night, which is neither cold nor warm,
I learned the feeling of exile.”
-Wong Kar Wai

30 May 2026

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