The Butterfly

"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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And the thunder rolls...

Had I Not Seen the Sun P2 continued the story of pain and retribution which began in P1. Questions were answered, monsters were destroyed and created, and justice was once again slow and ineffectual.

Li Jen Yao is out of prison and working for Big K as a cleaner amongst other jobs. More than anything he is searching for Chiang Hsiao Tung who has seemingly disappeared. One night he helps a blind woman who has Chiang’s butterfly tattoo on her hand. Is this the girl he has been searching for? How could she look so different? Somehow in this town of over 2 million people other interested parties from the past also bump into the damaged pair.

Sun P2 did some things quite well. The romantic parts sizzled and scored. Chiang’s brokenness, not only from the attack by her rapists but by society’s lurid need for despicable videos, and people’s trained response to blame the victim, resulted in her mind’s answer to an unanswerable question to her problems. Alice Ko may have been too old for her role, but I honestly enjoy her performances and was grateful for her screen time in P2. The drama highlighted how Chiang felt trapped in that one horrific moment, not only her, but the boy who loved her as well.

What didn’t work for me as much: The villains became even more cartoon-like completely going over the top, perhaps to justify their gruesome deaths more. Li sinking into monsterdom wasn’t a shock, we knew from season 1 that he would go on a killing spree, but his bloodlust spilled over onto people who didn’t deserve it. His last murder was almost comical, it felt like the old saying, “In for a penny, in for a pound.” “I’ve murdered this many people so, why not?” While Chiang’s mental state was the focus of her story, it would seem the writers underwrote Li’s. His most monstrous act didn’t seem to faze Chiang which was also problematic for me. Li was always portrayed in a simple binary. There was Chiang, his sun, and everything and everyone else in the darkness with him. While I enjoyed watching the romance blossom, it was at best a female wish fulfillment of a guy who would do anything, anytime, anyway for his girl with few thoughts and desires of his own. Finally, after all the angst and mysteries, the drama took a shortcut in the healing of a truly complex mental illness that was jarring.

There was a public service announcement with a number to call “if you need someone to talk with” at the end of the drama, not how to get justice, which just showcased that rape is a part of life for many women. Women who will never see justice. Women who must deal with a patriarchal society that blames the victim, shames the victim, and oftentimes turns on the victim. With the advent of the internet, their pain can be on full display for seemingly all time with few recourses because the silent monsters in the dark feed on it. There were so many important things this drama touched on, not least of which was how abusive parents cause terrible brokenness in their children and society. I was prepared to give Had I Not Seen the Sun P2 a higher score as I was watching it until Li went completely off the rails. A romanticized monster is still a monster.

13 December 2025
Trigger Warnings: Sexual assaults, slicey and bone crushing murders, self-harm, suicide

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Love is a battlefield

The Prisoner of Beauty was uneven and had a thin plot, but it was also quite entertaining and humorous at times. Despite a bloody beginning and ending, the vast swath of it played out like a Shakespearean marital comedy.

The Wei family led by resting grumpy face Wei Shao have it in for the Qiao family in Yan for failing to come to their aid during a terrible battle leading to the deaths of three generations of men in their patriarchy. Fourteen years later, Grandma Wei and Grandpa Qiao decide the two families need to mend fences and match their grandchildren in marriage. To say that the bridal negotiations and first days of marriage between Wei Shao and Qiao Man were rocky would be an understatement, not including a battle over a city, raging fire, and near genocide. Nothing a couple of princess carries and a piggyback ride couldn’t cure. And a prolonged discussion of and implementation of… canal systems. Outside forces don’t like the Weis and Qiaos cozying up or the idea of better transportation options and drought/flood control and set to breaking up the couple.

The newlyweds not only had to work through old family grudges and loyalties, they also had to deal with other family problems that arose. Despite being a cold, military man with very little, actually no, practical information about or experience with women or relationships, Wei Shao was mostly respectful of his despised wife until he learned what a valuable asset he had in her. Being spoiled with head massages, afternoon sweets, and proper fitting footwear began to soften his heart and mood. Aside from her annoying habit of whispering while everyone else spoke at a normal volume, Qiao Man Man ended up being his not-so-secret weapon. She kept her promises to her grandfather to restore the Wei family’s fortunes and to take care of Shao. She faced few problems her wits could not overcome, benefitting not only herself and the Qiaos but most certainly the Weis.

The strength of the drama for me was in the relationships. The four generals had a fun camaraderie, especially Qu and Liang. Shao and his men suffered through figuring women out together. I loved the teasing, blossoming relationship between Liang and Man Man’s maid, Tao. Advisor Gongsun not only had words of wisdom, but humorous quips, too. The women weren’t left out when it came to friendships. Man Man had a strong bond with her maids and also with her cousin. Grandma/Lady Xu was one wickedly smart dowager who loved her grandchildren and knew when to put her foot down. Little went on that she didn’t know about.

Just a note for their fans who have not seen this drama: Xuan Lu and Liu Duan Duan are currently listed as mains which is stretching things. Their characters didn’t show up until 10 eps in and disappeared for large amounts of time. While their characters may have been important to the wonky plot, other supporting characters had a lot more time.

Things I learned: 1) At 49, Peter Ho still has some of the best guns in Cdramaland. Yowza! 2) Just like bullets, a sword will go through two as easy as one.

Public service announcement from your old auntie Butterfly: Historical Cdramas love MLs to choke the FLs for some perverse reason. For young ones who do not know this and think it’s sexy, a man using strangulation to control or frighten a partner is a clear sign to pack up and leave. He is a considerable threat to your physical and mental safety. Unrestrained jealousy is also NOT attractive and a glaring, clanging warning sign. Wei Shao may have straightened up and turned into a heart-eyed puppy but real-life men do not change so easily or ever. Okay, off my soapbox.

A Prisoner of Beauty may have begun and ended with horrific deaths, but as I said much of it played out like a marital comedy. It did something few dramas can do, it literally made me laugh out loud numerous times. If I had magical editing powers, I would have cut the episode count and tightened several plot points, but overall I enjoyed this drama, largely due to the relationships mentioned above.

“I would love to be your spear and shield, to fight for you, to guard your path, and to make your every wish come true.”

5 August 2025

Trigger warning: A prominent character sustained a “flesh wound”. Two suicides.

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"Running into a storm is actually better because no one dares follow you there"

Mad Unicorn was inspired by Thailand’s first unicorn-Flash Express in 2021. A unicorn is a startup business that achieves a valuation of at least $1 billion. The names of characters were changed as well as the business name and other conflicts were added, but the drama is said to have hit many of the main challenges Komsan Saelee faced in his rise to fame and fortune.

Santi Saelee is working in a sand mine and too poor to mail his mother a tin of cookies. After being rewarded for helping his boss keep the mine afloat, Santi takes his earnings to Bangkok to make it rich. He tries different ventures and is completely undeterred from asking people for money to invest. After being taken advantage of numerous times, he finally finds the right group to work with and begins a delivery service, hoping to not only become wealthy but also to take revenge against one of the people who swindled him.

Mad Unicorn kept a frenetic pace from beginning to end, scarcely letting the viewer catch their breath. Santi had to deal with sabotage and betrayal. He was also confronted by numerous economic hardships and challenges as he tried to secure funding and not lose the majority stake in his own company. Santi not only thought outside the box, sometimes he folded the box into an origami chicken in order to push his business ideas through. Quitting was never an option for him. The wildly creative and wild CTO Rui Jie, often ran afoul of his tech crew as he worked them relentlessly. CFO Xiao Yu was usually the voice of reason and the right person to hold the purse strings. The team’s nemesis was Kanin with his deep pockets and political influence. Kanin and his son Ken were willing to play dirty in order to drive the rival delivery service out of business.

This drama was raw with even rawer emotions as Santi fought hand, tooth, and nail, willing to risk everything to succeed. Having lived on rats and whatever birds he could kill as a child, Santi refused to go back, and obsessively pushed forward even when success seemed far out of reach. Mad Unicorn was a dream fueled by desperation and desire. I’m not a big fan of business dramas, and this one could be uneven, however, it was compelling from beginning to end.

“I have a big appetite because I am poor.”

8 July 2025


Side note: Ek Thaneth Warakulnukroh was stuck in either a hideous wig or terrible hair and eyebrow powdering.

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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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"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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"I drink upon occasion, sometimes upon no occasion." Don Quixote

Ozu is one of my favorite Japanese directors/writers, but he missed the mark with What Did the Lady Forget for me. Not dramatic enough to be a drama and not funny enough to be a comedy, it languished in a dull middle ground somewhere lost in a mathematic word problem.

I knew I was in trouble when for the first 20 minutes of a 70-minute film we were treated to a university lecture on Salmonella and junior high school boys dealing with mathematic word problems. I found myself wondering where Ozu had found the props and how hard the staff worked at polishing the sets to a shine as he required.

The premise of the story was a domineering housewife and a docile professor husband-a classic Ozu gender role reversal. Tokiko, the wife, insisted that her husband play golf each weekend which involved an overnight stay outside of town. The problem being, he didn't like to play golf, so he was always figuring out ways to make it look like he'd golfed but hadn't. Most women balk at a husband taking an overnight trip every weekend instead of encouraging it making this a very foreign concept. Maybe she wanted some peace around the house, but she wasn't doing anything interesting while he was away except gossiping with her friends.

In walked another of Ozu's standard story upheavals-a modern niece, Setsuko, who wore western clothes, smoked, drove, and drank. She and Komiya, the husband, became co-conspirators when he was staying with a male student during his aborted golf trip and they both showed up at the same bar. They had to hide where they had both been to Tokiko who was furious when Setsuko came home drunk after midnight and was brought home by Komiya's student. It actually sounds more interesting than it was, even a night out at a geisha house became a drag.

Setsuko began to berate Komiya for not being masculine enough and not wearing the pants in the family which after a fight between the three ended up with Komiya slapping Tokiko. Instead of throwing fuel on the fire, Tokiko was thrilled and felt like it showed her that Komiya loved her. She bragged about it to her friends and the role reversals were reversed and everything was put back into its proper patriarchal relationship. The cutest scene was at the end when Tokiko made a sweet move on Komiya which led to a night of bliss. It would have meant more to me if he hadn't slapped her to get it. That Setsuko was just as domineering as Tokiko and ordering Komiya about never seemed to occur to her or him. I'm guessing the title refers to Tokiko and how she had forgotten that Komiya was the head of the household and that is what would lead to harmony in their home.

This was supposed to be a comedy, but I didn't get it, if it was funny, it was far too subtle for me. I get that it was a classical farce set up, the situations just didn't come across as very humorous. Slapping Tokiko to put her back in her place ruined this film for me and for the most part I found it lacking in any emotional depth to begin with. The sets, costumes, and frames were attended to with the greatest care as is to be expected with Ozu, it just didn't feel like he developed the story with the same care.


10/3/22

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The 8 Diagram Pole Fighter or Does Anyone Know a Good Dentist?

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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"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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"I'll call the firetruck" Better call a fleet of them!

Chow Yun Fat and Leslie Cheung teamed up again for Once a Thief. It was a farcical heist film with a high body count because as everyone knows it’s all fun and games until people start literally going up in flames.

James, Cherie, and Red Bean Paste/Joe were once orphans taken in and trained by Mr. Chow who runs a crime syndicate. The three grown thieves are now in Paris and targeting a painting in a museum. When things go wrong on a second mission, the trio is split up.

The story was simple and nonsensical. Two guys liked the same girl. They grew up together and knew no other life than thieving. Cherie wanted them to quit but the money was too good, until a robbery mission went wrong. They have an angel on one shoulder who has tried to help them go straight and looked the other way since they were children and the devil on the other shoulder pushing them to steal who might also bring about their deaths. The robberies were decidedly unrealistic. Leslie Cheung and Cherie Chung mostly played their roles dramatically. Chow Yun Fat went overboard with a broad comedy rendition for his role. Cherie was stuck with the worried girlfriend role while the boys had all the fun.

Phillip Kwok (Lizard Venom!) was the action choreographer and he went all out. Leslie’s character used acrobatic tricks while Yun Fat’s brought the kung fu. Nothing was off limits-Gambit style throwing cards, plastic explosives, grenades, a wide array of guns, wheel chair fu and dancing, electrical traps, and massive car chases and pileups! If you are a John Woo fan and expect bullet ballet, you won’t be disappointed. There was a new scenic background for the fights and thefts as the first part of the film was shot in Paris before it moved to Hong Kong.

Once a Thief’s story wasn’t the strongest but Writer/Director John Woo took that shaky scaffolding and with Phillip Kwok’s wild action choreography made an entertaining film. Leslie Cheung and Chow Yun Fat’s chemistry was solid as always which papered over the bumpy plot holes. Close enough to 1990 that I gave it a small ratings bump.

4 November 2026

Trigger warning: CYF smacked gum throughout the film. I desperately wanted to play a mom role and tell him to spit it out.

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"Stop whimpering"

Kim Ki Young’s The Housemaid is considered a classic and is often included in the top South Korean films of all time. Evidently, I do not have a great eye for classic films. I was disappointed in the over-the-top melodrama and utter stupidity of the characters, not to mention the underlying misogyny.

Mr. Kim is reading about a man arrested for having an affair with his maid. Mrs. Kim finds this repulsive but Mr. Kim thinks it sounds reasonable as the maid caters to their needs and is the first person to greet a man when he comes home from work. (This children is what we call foreshadowing.) Kim is a choir director of sorts at the local factory where the women work and live in the dormitories. He’s given a love note by a young woman in class which he reports. Her best friend also has a crush on him and begins taking private piano lessons from him. Kim then asks her to find a housemaid for his family as his very pregnant wife is working two jobs to help pay for their new home. The new maid smokes which means nothing good can come of the situation.

What I learned:

If a woman smokes, it’s all downhill from there.

Kim Ki Young must think that women are all a bag of cats crazy and liable to do anything to land a man whether he’s married or not. They do not respect the sanctity of marriage. They are also so unstable they will commit suicide or threaten to commit suicide if thwarted!

All men according to Mr. Kim are thoughtless hound dogs, especially those of a certain age and only have young women on their minds.

A wife desiring a house is guilty of all sorts of negative qualities. She should be happy with a cramped, run-down apartment. And if the horrid woman works extra hard for a television set, well, that’s the final straw of bourgeois society and feminine greed. It doesn’t matter that she’s beautiful, kind, hard-working, supportive, gladly bears his children, and a willing, loving bed partner. Bitch.

If a woman takes her clothes off, a man HAS to have sex with her. He has no control over Mr. Winky.

Regardless of a person’s heinous, murderous acts, the family’s reputation must be upheld above all else. Even if more family members will have to die. And Mr. Winky has no problem having sex with such an unstable, violent person.

Women are willing to cry rape to get a man so never believe a woman. But do ask her to return for her piano lessons.

Repeatedly slapping women who get out of line without taking responsibility is fine.

If you have an unstable, murderous person calling the shots in a household be sure to have rat poison on hand where everyone knows its location. And if you are the director, cut to the box at least a dozen times. Goes beyond foreshadowing, more like fore-nagging.

If you are unsure if the audience understands how to feel during scenes, add overly dramatic loud music that breaks the mood.

The Housemaid was a wildly claustrophobic psychological horror film. In its own strange bat sh*t crazy way it was entertaining. Despite how angry the film and the ending made me, I gave it a generous score.

30 October 2026

Trigger warnings: Suicides. A rat is shown being killed by poison. Death of a child. Infidelity.

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