3
13
1
3
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1
Compelling -- until episode 42.
Was it good?It was one of the better adaptations for the DaoMu BiJi novels, and well-shot. It's all a bit overdramatic, and tropes have their place, but that's true for all of the Grave Robbers stories. However, the writing (or the editing) made it fall apart in the last episodes.
Did I like it?
Yes, especially the interactions between Ba Ye and the lieutenant. But I wouldn't watch it again.
Would I recommend it?
Yes, if you like action and mystery and also don't mind some romance or if you want to collect all you can from the Lost Tomb Universe.
If they'd stopped after episode 42, this series would have earned a solid 9 from me. As it is, the last story arc was crammed into 4 of the last 6 episodes, with the last 1.5 episodes dedicated to flashbacks and battle scenes. That last story arc had scenes cut, which made it almost incomprehensible. I wish they'd cut some of the romantic flashbacks, of which we had entirely too many, instead.
Other grievances:
* The show is, like all of the Lost Tomb series, quite misogynistic. All of the women are only there to serve the men's plot, one of them is even a classical case of fridging. At least they put the female characters in less revealing clothes, but that was probably because of the historical setting.
* Clichéd depiction of non-Han, "tribal" minority groups. Why would you think that they all dress the same? And what's with the face paintings? (Although, tbh, C-Dramas tend to be Han-nationalist, so it's not every surprising.)
* I would have liked to see more of the other families. Why is the drama called "The Mystic Nine" if we see three of them only in few short scenes?
But:
* The sets are better than some C-Dramas, the acting is superb, the mysteries are compelling -- all in all a great watch. If you liked the other Lost Tomb dramas, you'll like this one.
* Ba Ye and the lieutenant held the story, they are hilarious together.
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This review may contain spoilers
Excellent drama with one flaw
THE STORY:I started this thinking that we'd get to see detective stories, where I could solve cases together with the heroes. The cases were, although interesting, not of that sort. They all made sense, but the audience often only got to see the clues at the time Li Lianhua or Fang Duobing revealed them to their co-characters. The cases themselves were overshadowed by the overarching plot relatively early, so for me, they did not have too much merit by themselves, and only served as a vehicle to move the story forward.
The overarching story wasn't that complicated, we got to guess the main villain quite early, and some of the plot twists weren't that twisty for me.
(Also, the main plot point -- evil people from a defeated foreign country try to overthrow the mighty and just and overall better [China] and fail -- is typical Chinese nationalist fare.)
What makes the story interesting, is the journey of Li Lianhua, both in the past, which is revealed to us in increments, and in the present -- Li Lianhua, who is terminally ill and is pulled into the Jianhu after ten years of solitude, whose journey is one of finding closure, of forgiving or avenging, of finding meaning in life and death.
A plus, for me, is also that the series has little romance -- most of it finds it conclusion within three episodes or so around episode 20 (they decide their romance will stay in the past only). Unfortunately, most female characters' motivation still circles around love, more on that see below.
The story unfolds over 36 episodes, which never drag or feel rushed. The series kept my interest throughout -- the pacing was always just right.
THE CHARACTERS:
Li Lianhua is a wonderfully human character. He is flawed, he lies, he deceives but still seems to be a person who has his values he lives by. He is a miracle doctor and a horrible cook. He is someone who pushes others away, and it's never quite clear if it's to protect the other person or himself. He is selfish in his last decision, and at the same time sacrifices his life (essence) for others over and over again. Li Lianhua is world-weary but can still find solace in the little joys in life and seems to believe that most people are ultimately good.
Li Xiangyi was young and inexperienced. He trusted wholeheartedly -- but also judged hard. He thought he was the most important person in the sect -- and died because of it.
I also loved the other two main characters -- loved their banter, of course. They both had their distinct personalities and unique goals. Fang Doubing and Di Feisheng had good character development -- more time to show their personalities and their inner life would have been even better.
The one thing that irked me for the most part of the series was the portrayal of the female characters. Their motivations mainly circled around "love" (or a version thereof), and usually, they had no agency without a man. Let's look at the four most prominent women:
Jiao Li Qiao: Her motivation for anything is to get Di Feisheng as her husband. That's it.
Qiao Wan Mian: She is important as the past love interest of Li Xiangyi, who waited for ten years for him. Later, she gets a bit more agency, but it remains half-hearted. Has she left Zijin or not? Why does she take his Sect leader token but does not take on the role herself? (He is obviously still the sect leader later.)
Master He (Fang doubig's mother): She's the only woman without an interest in pursuing another man; the only one who is shown with significant skills who can contribute to the fight. She is also the only married woman, and the only middle-aged woman, so it's probably just that she's "too old" to be a potential love interest who can be heroically disregarded.
The princess: Her interest in marrying Fang Doubing is somewhat understandable -- as a princess she lives a highly regulated life, and probably knows that the only chance to get a bit of freedom is as a married woman. (Of course, her interest has to take a backseat next to her fiancé's desires.)
There's also the young girl who we first meet when she disguises herself as a man -- she could have easily been a cunning woman with a network of informants or a vast library. But no! She always gets her information from her grandfather and she is allowed to bring Li Lianhua to her brother for treatment.
That's enough of a rant for this review. Let's close with another excellent aspect:
THE ACTING:
I did not find one actor unsatisfying. The minor characters were all right throughout.
All three main characters were portrayed incredibly well. Especially Chen Yi (Li Lianhua) who needed to show his multi-layered personality without words had excellent micro-expressions. Di Feisheng is probably more interesting than the script itself has provided because Xiao Xun Yao manages to hint for underlying emotions of his character from the first second we get to see him on screen.
And a special mention has to go to Rain Wang (Jiao Li Qiao), who, despite her single-trait character, shows how chillingly deranged Jiao Li Qiao has become over the course of the series.
OVERALL:
This is, despite the one flaw, a series that tells a story about friendship, betrayal and revenge -- and a man who just wants to have a quiet death.
Recommended!
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This review may contain spoilers
This is so short, it was possible to watch it to the end, without getting too annoyed.What I liked:
* Jang Eui Soo's (Chef Choi) acting. He did what he could with his script.
* The waiter and the sous chef were not just there but had their own characteristics, at least as much as they could within the short time.
What I did not like:
* Almost everything else. Examples:
* Empty scenery: Empty restaurant, empty beach, empty luna park... Where are the people?
* Overexposure does not make scenes romantic if there are no feelings. Same with montage + music.
* I think the main problem is that the script was faster than my emotions while watching. We have the rivalry / antagonistic beaviour in the beginning, that's okay. But when chef Choi acts like an arse during the first meeting and is shown to be the one who will maybe end Chef Yoon's employment, we, as the audience, need something to empathize with Chef Choi. We did not actually get it. I still don't know why Chef Yoon would fall in love with him.
* I have no idea why Laura (the restaurant's owner) wants to get rid of Chef Yoon. She says she wants to expand (he doesn't) but he's the one whose dishes people like?
* There's not enough restaurant and kitchen scenes -- show us how they work together, how they get closer doing their work.
* If the restaurant's so busy that Laura wants to expand, why are there no customers, why do the two main leads have enough time to hang around beaches and amusement parks and so on?
Both the world building and the relationship building is severely lacking in this movie. If I can empathize with the waiter and the sous chef more than with the couple, then something is very, very wrong.
It wasn't bad enough to stop me watching, but there wasn't anything to like it either.
Not recommended.
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Making the world a better place by lovingly preparing one dish at a time.
There's not much plot, apart from the last two episodes. But that doesn't matter, it's just about people cooking, serving and eating different, mostly Japanese dishes.Really, if you're waiting for an explanation for why there's a connection between the worlds, or how the owner can buy things in our world with currency from the other world, you'll be disappointed.
The whole thing is a thinly disguised food appreciation show, with some loveable characters who do the appreciation.
I was reminded of Wakako Zake.
Bonus points for the German, the texts that were readable had actually decent German. (If I wanted to nitpick, I'd mention that the Fraktur font needs a "long s" at the beginning and in the middle of a syllable instead of the "round s" (only used at the end of a syllable), but I won't.)
The isekai the tavern connects to has elements of different centuries -- for example: references to a northern God whose name sounds a lot like "Oden" (early middle ages, maybe around 6th cent.) or the buildings in the town (late middle ages to early renaissance, so ca. 14th to 16th cent.) or the clothing (somewhere in the 17th and 18th cent.) or the mention of Kartoffeln as main staple of food (late 18th and 19th cent.) and the Fraktur font (mainly late 19th and early 20th cent.) -- so it's not medieval, but firmly in the realm of fantasy.
If you just want to see how some Japanese-style food can make a society a bit better, and want to relax watching people enjoy this food while bickering a bit, then this might be for you.
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Who is it you love?
Do you really love the person as they are or is it just an image you have made of that person in your head?What I liked:
* I loved the development of the author's character. He went from very much self-assured, narcissistic, and someone who is sure that his love story will finally come to the end he wished for three hundred years ago to a very much shocked, insecure person whose world has been turned upside down, and at last to someone who is starting to learn that there are always two people in a relationship with their own thoughts and feelings.
* The author's actor showed all of these emotions well, sometimes dramatically, and completely unashamed to be seen. I can hardly believe that this was Jin Gun's first drama.
* In contrast to the author, Ha Yeon knows what he wants very well and he is not afraid to go for it. This makes for an interesting dynamic.
What I did not like:
* I wish we would have got to see more of the second life. It was always flashbacks to the same scene. How long had they known each other then? How did they meet? What was their relationship like?
I think if we knew more about this time, the question the modern Ha Yeon asks -- Which Ha Yeon do you love? -- would have made more sense to more people in the audience.
I suppose that, in both of their lives, they did not have much time together in mundane situations (it was obviously a time of strife and struggle in their second life, and in the first they did not even get to speak as someone else than slave and lady), and that's why Yeon Seok had this image of "Ha Yeon" of someone who is not goofy, but rather refined -- who knows how the first two Ha Yeons really were?
Is it love if you only know the other person's facade that they show to the public?
It would have been nice if the show had more time to explore this question in greater depth.
Still, the story we get to see is cute, well acted, and we get to see some character development.
Recommended!
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Why I gave ten points:
* The main character was quirky, energetic and enthusiastic, without being annoying. These traits were balanced with a grounding earnestness to understand and to grow.
* Overall, the show has a positive outlook on life and work, it is a Japanese-typical "ganbarimasu"-type of story. This, too, is balanced with scenes of failure, of darkness that lives within people, of sadness and introspection. Not everything is roses here, just like in Real Life.
* During the unfolding events, we get to grow close all of the characters, mangaka and editors alike. Some are more multi-faceted than others, but they all have their individual characteristics. Many of the characters get some chance to grow, sometimes in subtle ways -- which is an accomplishment to show for so many characters in such a short time.
* I liked that different sub-storylines connected to others, sometimes just for a few moments, sometimes longer.
* No Romance! It's about the characters and their journey, their interactions as colleagues and/or as editor-and-mangaka. (There is one scene when one character sends some glances in another character's direction which could be seen as some kind of romantic interest, but that's never acknowledged, and it's only the one time.)
* The struggles in the storylines were all either internal struggles of a person or issues of the publishing industry. There were no external conflicts, no "evil" people -- in short, no unnecessary drama.
* The length of the drama was just right for the storyline. It doesn't need more, but if it was shorter, the atmosphere would probably suffer.
All in all, I recommend the series, which has an overall optimistic tone balanced by darker and more sombre parts, which make a well-rounded story, with a small plot twist in the last episode.
[This is a very slightly edited version of my review on Viki.]
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This show is NOT: A romance drama. And NOT: A baseball drama.
Why not a baseball drama? Well... It's about the time between seasons, so there can't be any games played. We actually see only bits of a game at the start and pieces of two practice games. That's all.This drama is more about the politics and management side of professional baseball in South Korea. If you are not a fan of strategic machinations and emotional development of characters, you might want to give this show a miss.
I liked that the drama does not insult its audience's intelligence. It does not spell out every little thing, it does not repeat the same information endlessly, and there are several times when little throwaway comments or actions make an impact in later episodes. This is not a drama to watch while doing other things.
I especially liked how realistic the actions of (almost) every character was. In systemic coaching (which I'm starting to learn for professional reasons), two of the main theses are: "Every person's actions make sense for that one person within the current situation, always." and "Every decision has a prize and a price."
Even if some things are only hinted at, or not fully explained, there's this feeling that every character has their own motivation for their decisions. There is no pure good or evil, just people.
The actors did a terrific job in bringing their characters to life.
I'm also glad that the writer did not try to force a romance into the plot. The dynamics between the two main characters were of the profesional sort, maybe with a hint of a possible friendship, but nothing more.
And one last thing I loved is the ending. This is not a 100% happy, team-spirit-has-overcome-everything ending, but an ending which rather shows that even though you might have grown, things will probably not work out like you would have wanted them to. For me, that was absolutely satisfying.
[this is an updated version of the review I posted on Viki]
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This review may contain spoilers
The story, just like Death itself, is quite simple and could be told in a few sentences.What makes this movie amazing is how script, settings, nature, music and acting make a whole that is more than the sum of it parts.
The script itself - a journey to self-discovery, a story about leaving and letting go --has some rearkable lines that could sound cheesy but the way they are spoken, feel like profound truths of life. The acting makes as much use of silence as of speaking. The ritual of nokan has few words spoken, but the body language of the nokanshi and the bereaved speak volumes.
The music with it's leitmotif of "the Traveller" bridges the gap between what we see and what we feel.
And nature itself follows the flow of the story. The ending of the dream happens in late autumn, the winter storms accompany the lowest point of Daigo's lfe. Spring brings new hope and new life.
Similarly, the houses tell the stories of their owners: The bath house is run-down but lovingly maintained, Daigo's house where his mother lived is full of her own life and the memories of Daigo's father, and last but not least, the Nokanshi's living space is full of green and flourishing plants.
All of this is done with lovingly attention to detail: The ritual itself, of course. But have you seen that when Daigo washes the bath house owner's body -- the bowl Daigo uses is one of the bath house's?
When so much of the movie relies on silences, on the music and on the settings themselves -- what use is a review that uses the written word? Go, watch for yourself and feel what you see and hear.
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What is a family?
Six aspects I loved most:
* No romance! Yes, it feels like a BL at points, but it's not. This is about people who have found a place and people they belong to. If you consider all the families that are shown -- the four Rokuhoudou men, the chef, his daughter and the young man from the Italian lunch place, the brother and his patissier, and all these people who only appeared in one episode but found each other in the café -- none of these are what you think of when you first hear the word "family".
* The locations, the food, and the way both were filmed.
* Although this is a manga / anime adaptation, the producers made things look realistic -- no strange wigs, coloured contact lenses. The acting definitely shows the heritage, but it's not too over-the-top, and doesn't distract from the message at all.
* The intimacy between the four men in the café -- I loved that they don't shy away from expressing their feelings by touches, hugs, etc.
* As a bonus, they managed to include the Covid-pandemic as a plot point to underline the message on how integral their little family is to the Rokuhoudou guys.
* Nothing ever felt rushed in the story telling, it was slow where it should be without letting things drag. After all, this café is all about finding a place to enjoy good food, good drink and good company.
Overall, a lovely story about family, and where to find it, with a lot of tasty food.
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Down-to-earth but with introspective tones
The cases as they are, are not that complicated, it is much more about the characters themselves, their story, their motivations and how they deal with grief and danger. There a quite a few scenes where it seems as if "nothing" is happening -- those scenes show the characters, what they think, how they (re)act. Sometimes theyare there for the atmosphere, to allow for some introspection.As such, the pacing can feel slow at times, but in my opinion, there is not one scene that's superfluous ar dragged out. Everything has its time.
This, and the fact that nothing is glittering or modern in this drama, make it exceptional. The main character is linving in a small neighbourhood in a house that doesn't even have an indoor toilet; the police in Shangta have their quarters in an old cinema, where there's no heating and the walls are crumbling. The whole town looks more or less run-down -- as do the actors. There are no airbrushed, beautiful people in colourful clothing here. Everything feels real (and very, very cold).
I love how down-to-earth the police are in this drama. While I certainly don't expect any real criticism of the system, the way the police officers make the best out of their limited ressources, how they grumble a bit about them but basically take them with a bit of humour; how they plod along and try to find the girl, but as humans, fail again and again -- this also makes the characters relatable.
And after the cases are closed, they all return to their daily lives; they live on as before, but something in them has changed.
Another point that I loved were the female characters, few of them as there were:
* The girl, of course. What a great actress! And what a strong and resourceful character! This is not a pitiable and helpless victim.
* The karaoke bar owner. She lost her family at an early age, is clearly jaded -- and still finds humanity and love in herself.
* And last but not least, the fire watcher ("bear lady"): She was beautiful in her love for the forest and the creatures living there, but was very realistic in her approach to life and death. She lived alone and was happy with that. She felt very solid and grounded.
One last mention goes to the music -- both the songs for the opening and closing credits are beautiful and fitting for the rest of the series.
[Cross-posted to Viki]
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There are stories that push their message, whichever it might be, on their viewers/readers.
And then there are stories that try to do both -- be entertaining for those who just want to relax after work and still convey messages that go beyond the moment.
"Let's Go Karaoke!" is one of the few films (and series) that really manage to balance the two without one overpowering the other.
The plot itself is engagingly narrated with a clear arc of development for the story -- a viewer can just sit back and be entertained. And yet, the film clearly also talks about the first steps into adolescence: Both the physical changes and the way these changes force children to adapt their own lives and the way children, now teenagers, step into the adult world, and start to understand that adults are not less quirky, not less insecure, not less searching for the right path -- not less human! -- than the children. They start to think about love and friendship. They leave their childhood behind.
I am quite sure that there are also some thoughts about masculinity and machismo to be found.
In "Let's Go Karaoke!", the viewer doesn't have to consciously search for these themes, and neither are they forced unto the viewer.
The unlikely friendship between the Yakuza, who wants to learn how to sing to avoid punishment from his boss, and the middle schooler, who has always sung as a sporano but whose voice is about to break, is the scaffold with which these themes are built. Their power dynamics -- the adult is physically stronger and even dangerous but he still submits to the perceived superior knowledge of a fourteen year-old -- provide an interesting, and often humorous, frame for the story. When Oka Satomi steps into the adult world, he also leaves his childhood pursuits behind, ingeniously symbolized by choir member "Wada" who feels betrayed by Oka's leaving.
Of course, if JFF Theater includes a film in its line-ups, I'll expect high quality regarding the actors' performances and the technical execution; and I was not disappointed here. I was not only impressed by the actors' overall performance -- especially Narita Kyoji who is convincing both as a dangerous Yakuza and as a vulnerable man -- but also by the quality of singing in this film: you have to be very good to sing *that* badly.
The film mostly focuses on the two main protagonists, so the supporting charaters remain mostly quick sketches, but their actors also give them some personality -- for me, it's very clear that Wada, Nakagawa, Izawa and Hyena all have enough backstory that they could easily have their own film.
There were a very small amount of characters' action that only made sense in a "because the plot needs it" way, but these were very easily ignored.
Was it good?
Yes. Not only was I entertained but there was also a not-small amount of depth.
Did I like it?
A lot!
Who would I recommend it to?
To those who love coming-of-age-stories.
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Consequently, the drama asks: What do you want in life? Where are you going? Why are things important? Or if not, why not? Are you good enough -- and for whom? Who are you, and who do you want to be?
Both Err and Mawin will have to find their own way of navigating interactions with their peers and expectations of adults -- and in the meantime manage their first romantic feelings.
Despite the slightly ridiculous set-up of a maths camp in a hotel, I'd call this drama slice-of-life-adjacent.
Both main actors performed well -- which surprised me in a good way because Sea ("Mawin") was still rather stiff and unexpressive in his first role in "Only Boo!".
The romance took a backseat in favour of the coming-of-age, which I did not mind one bit.
Actually, I think this little drama would have worked as well, if not better, as an ensemble piece. The supporting characters -- the other students at the camp -- seem to have interesting backstories: The perpetually grumpy Mangpor, the boy with the broken arm, sunny Mhee. I am sure they would have added more depth to the themes the series touched upon.
Alternatively, the focus could have been tightened to the two main characters, that would have worked too.
But overall, I feel that the writers and the director made exactly the story they wanted to tell; I felt that there was a good attention to detail both in the screenplay and in the execution of the drama (unlike in other recent cash-grab GMMTV BLs).
However, for what it is, this short drama did what it wanted to do, not more and not less. The themes might not be exactly new, but they are certainly relevant to most teenagers.
Was it good?
It was a well-executed short coming-of-age story. I didn't feel it lacked anything there; viewers focused on the romance might feel that it didn't get enough time.
Did I like it?
I liked it well enough. I usually don't feel too strong about coming-of-age stories nowadays.
Who would I recommend it to?
To those who don't mind a story that is not that focused on the romance in favour for a more slice-of-life-leaning plot.
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However, this is not all there is to this drama. It surprised me with a goodish amount of emotional depth and a light touch of social issues. Also, it has a ghost as a main character, it's a Thai drama, after all.
Contrary to the first impression, this is not an exact imitation of those 1980's action comedies. For one, the rampant sexism and machismo is missing. Yes, the men are all *very* heterosexual, and there are quite a few jokes about that, but mostly not at the expense of a woman. Actually, despite there being only two female characters versus more than ten major male characters, these two women are the ones that have the strongest and best developed personalities.
Bam seems to be a stereotypical sex worker at first glance -- who is killed and literally fridged; but during the course of the story, she is the one character that gets the most emotional depth of all. Phing, is a woman who doesn't take anything from men -- she is the strongest character of them all. And even the men, who go out to have a party with alcohol and sex, are always respectful towards *actual* women.
(Although, on second thought, maybe it is more sexist than I feel it is? I expected much more misogyny and machismo, so I might be biased here.)
Large part of the plot relies on the childhood connection between three characters; as well as a love triangle quadrangle -- but since most of the jokes are rather tropey too, this didn't impact my enjoyment. Actually, the romance was quite well done, usually not at the front of the story, and also a bit open-ended. Something I enjoyed was how the script ties in social issues with the comedy -- it usually lightly touches upon them, and then dances away immediately. The script also is not high-energy all the time; when needed, it gives the character time to show us their personality and tells us their backstory, and it lets the emotions breathe, which is what gave the characters the needed depth to keep me engaged for the whole eight episodes.
The actors fit their roles well, and are delightful in their overacting. A special mention goes out to Pearwah Nichapat (Bam), whose character had the broadest range of emotions to show, and whose ghostly Bam I loved to watch.
Was it good?
Overall, it was a light action comedy with a lot of silly jokes; and while it made fun of certain characteristics and tropes, I never felt that it laughed at groups of people in a mean way. On the contrary, most characters are very sympathetic, even some of the baddies.
Did I like it?
I did! I was looking for something where I could just pass the time with a bit of sillyness, and then I got surprised by emotions.
Would I recommend it?
It's something one neeeds to like, and I am sure not everybody will get on with the comedy violence and the over-the-top everything.
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Combined with the artistic way of filming, the style of acting I am used to seeing in modern theatre plays , and the stage-like one-room set, "Maybe it's Love" is not easy to follow or understand.
I believe that this is one of those short films where the viewer is supposed to understand what is being said implicitely, and that we need knowledge about gay life in general, and gay life in Taiwan specifically, to really get what is not being said.
The repeated mention of "Cat"'s age ("a mature man", "an old fart") might play a major role in it. "Dog", who has a boyfriend but still goes out cruising, maybe even starts affairs with more people than just "Cat". The boyfriend, who seems to be absent for long enough that "Cat" has lived with "Dog" for a while.
In the end, both men seek to escape loneliness. But at what cost?
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This review may contain spoilers
A visual delight!
As many shorter K-BLs, this is a snack for in-between; light, without much substance but well-executed for what it is.What I liked:
* This movie is a visual delight. The actors are cute, the lighting at night is bright and fits the mood, the sets look comfy.
* The background music confirms the light-heartedness of the story.
* The story does not pretend to be anything but what it is: A light and simple love story.
* The straightforwardness of the younger guy was refreshing, I loved how he made it very clear what he wanted, without pressuring the chef.
What I did not like:
* I wish the plot would focus on either the chef's inner journey from "Is it possible I find another man cute?" to "I want a relationship with him, even if my friend wants it too!" or the love triangle. Doing both means that they couldn't do either enough justice within the time frame they had.
* Why the timeskip at the end? It did not add anything meaningful to the plot or the character development, and it took away from the emotional impact that the couple had their happy ending. Maybe it was supposed to be a set-up for a possible sequel? It would explain why the usually more stoic chef would cry so hard during the hug.
* The realist in me is pointing out that a rooftop restaurant with comfy chairs and sofas is not a sensible thing: If it rains, everything will get wet. And what about winter?
Overall, like some other Korean BL-movies, a nice way to spend an afternoon if you need something where everybody is beautiful and nothing hurts (much) -- but you won't miss anything if you skip this one.
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