Celebrity 
4
17
1
5
1
1
1
The romance starts off strong -- and then comes to a complete standstill for six episodes. In that time, the series discusses how workplace dynamics (in particular hierarchies and the concept of seniority) influence the quality of work and of work life. It also picks up themes like bossing, the culturally significant concepts of "saving face" and เกรงใจ /greng-jai/ (the feeling of not wanting to burden people who have seniority/authority with your own needs or wishes), office gossip and others. We follow Pat in his first months at the office, and how he learns to find his own place in this world. The difference between his coworkers (who expect the Thai way of doing and saying things) and his superior, who is, even by my German standards, extremely up-front and blunt with his feedback, is striking; and I expect this might hit a nerve with Zillenial Thai viewers.
We also get to see how his friends go through things: getting prgnant, breaking up, living through unrequited love ... all of the things many young people in their twenties experience.
"Step by Step" is also the first Thai BL series I've watched that takes work issues seriously and not just as pretty background for a sweeping romance. The inter-office work as well as the lingo and the workflow felt quite realistic -- I'm not sure if it actually is, but if there was any nonsense, I didn't notice it. It certainly was better than whatever they did in "Bed Friend" or "A Boss and a Babe".
After episode six, the focus pivots towards the romance -- and while I liked how they gently re-introduce it at first, the whole thing takes a nosedive near the end of episode 8. It recovers slightly in episode 10, when the same-sex relationship between boss and employee becomes known and thus an issue (but only for this episode), and then never fully recovers again. Here are some (hopefully non-spoilery) examples of things that went wrong:
* The timeline went wobbly -- what we get in time stamps, doesn't make sense.
In the beginning, Pat is 25, his friend knows she is pregnant (and in the third month of pregnancy), and Jeng gets a year to turn the department profitable.
Sometime later Pat has a birthday, then his friend gives birth, then we get a small time skip of three months. But then there's almost tow quarters left of the year Jeng had?
After that, there's a time skip of two years, another of birthday of Pat's -- and in the last minutes of the series, he says he is 26 years old. Sigh.
* The secondary pairing doesn't get a resolution at all, after a lot of dramatics between episodes 5 and 10 or 11.
* Some supporting characters are important in the first half, and then never come back. One supporting character has a 180°-turn with her characterization.
* Jeng has a breakdown in episode 8 because of his feelings -- there was never any hint before that he was that deep in love. Overall, the progression of emotions was uneven; especially just before and after they got together, there seemed to be a jump in attraction/love; which could have been prepared better.
* Let's just forget the lakorn-ish birth scene, which happened in a public bus with onlookers filming, and which had never any impact on anything else.
* The conflict between Jeng and his father never gets resolved. Jeng even says "this was too easy" at one point, but there's never any follow-up. (The father was also a severely underutilized character. And maybe all the more jarring because his actor was good enough to give him characterization where there was none in the script.)
* In episode 12, which is overly long already, with 1 hour 49 minutes, instead of resolving the remaining conflicts (e.g. the secondary couple's story), the last 30 minutes were spent on Pat and Jeng being domestic together in unrelated scenes. Also, Pat was ukefied in these last scenes, which, for me, made all his character growth kind of pointless.
And it's really a shame that the writing falls apart to that extent. We have this really well-introduced office and its work dynamics. We have a diverse friend group, that even has a token het couple, with interesting romantic and platonic relationships. We have a discussion about social issues about society and workplace politics. And then nothing of that is used to the fullest, and in some cases, not even resolved. I wished a ThaiPBS writer would take the same premise and run with it -- to think that they could do another "The Summer We Met" with this? I would love it. The potential for something special was there.
It's strange that despite these issues, I ended up liking the series anyway. Maybe because the first half was so strong for me. Maybe because I really liked both Pat and Jeng, and they did make me feel all aflutter when they were together.
Was it good?
In regard to production qualtiy and acting, it was an average Thai BL. It could have been a perfect ThaiPBS lakorn, if the romance had been reduced to a minimum and the social commentary about working as a young adult and issues of nepotism and class had been more developed.
It's also really unfortunate that the ending just fizzled out.
Did I like it?
Despite the issues the series had, I liked it fine, strangely enough, especially the first six episodes. I might even rewatch it some day.
Who would I recommend it to?
To be honest, I don't think I would recommend it. I would not advise against watching it, for those who like to watch a story that's slow to unfold and focuses on work relationships.
Was this review helpful to you?
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.
Was this review helpful to you?
Too much and not enough, no middle here.
I understand why fans of "Bed Friend" were angry about "The Middleman's Love". This might be set in the same universe as the dark-ish "Bed Friend", but the genre couldn't be more different. What's more, the series isn't even very good as a stand-alone comedy.If you have read enough fanfics, you might be familiar with a specific type: A fan decides they want a fluffy feel-good happy-ending with some elements of crack for their "fav charrie" -- and why not throw in some cross-over characters or OCs in there as well? -- and then to their own astonishment the fic suddenly has plot? And they don't quite know what to do with it, so they decide to throw in another few comedy scenes and a sex scene or two and call it a day.
This is what "The Middleman's Love" feels like.
We get the OOC scenes of a ghost hunt and a "company sports day" with children's party games; we get the catchphrases and the OTT humour, we get a lot of snacks, we get a "workplace" that is a joke and has no bearing at all on the story, and so on and so forth -- and then, suddenly, character backstory and angst? Which breaks the style and the established rules of the story.
What doesn't help is that director Cheewin Thanamin wasn't able to create a vision from the mess of a script. He re-uses elements from his previous dramas; for example the animation from Why R U? or the over-acting from YYY or Toh's character design from Secret Crush On You or the background music from Bed Friend, whether it fits or not. But he does not manage to make it a cohesive whole. In the beginning, he chose to use elements of parody and over-done narration, like when Jade and Mai "ride" in the obviously parked car or in the day-dream sequences, as well as the use of the "mandee" logo for the company. But then he switches the style to that of an average rom-com later on, while he still tries to keep Jade's over-the-top character.
That the sex scenes neither have any kind of narrative function nor round out the characters' relationship dynamics (on the contrary, they break them completely) is only the over-ripe cherry on top.
I wish that both the screen writers and the director had committed to one singular vison and style for this drama. Either go completely overboard with everything and make something unique or follow the title of a "คนกลาง", "a middle/mediocre man", and make Jade really an absolutely ordinary, unremarkable and middling man. The latter also would have had its own potential for a good and special story, be it comedy or serious drama, in its own right.
One positive thing that can be said is that Yim, who plays Jade, does his utmost to fill the role. He doesn't hold back and obviously is not afraid to look ridiculous, which is a must-do for his role. Unfortunately, he is neither directed with good vision (see above) nor coached well enough to use his whole body for the comedy; and it does not help that (for whatever reason) he doesn't move all his facial muscles to the extent needed, so his Jade doesn't reach the kind of physical comedy that would have been required for the series to work.
There is not much to say about the other actors -- none of the roles required much acting skill, even for a romance.
Was it good?
It had some good elements for a crack fic or a parody but didn't dare to go all the way. Both the script and the style of direction muddied any potential vision.
Did I like it?
I didn't think of dropping the drama, so it wasn't that bad for me. But I also would not say I enjoyed most of it.
Who would I recommend it to?
I wouldn't.
Was this review helpful to you?
Young Love with three Sweethearts
Oh, what sweethearts these three teenagers are! This is a love-triangle done right, and the film hits all the highs and lows of a first love.And this is a story with one of the narratives I love: The "ugly duckling" doesn't change.
Takeo is, while well liked by guys, shunned by girls at every turn. His appearance and his deep voice -- the first image that came into my head when I saw him was one of a middle ranked yakuza -- is definitely not what teenage girls look for in their next crush.
The film makes is very, very clear in the first minutes, however, that this boy is a complete sweetheart, a loyal friend, and a gentle soul. From his many rejections in the past, his confidence regarding love is non-existent and he thinks his crush on Yamato is hopeless; and still he puts on a smile and tries to make his friend and his crush happy.
And this is why the film works so well; the three main actors convey the feelings with apparent ease -- when their characters smile with a broken heart, when they try to stay calm but would rather break down and cry; it's all there to see.
The humour is over-the-top as for most adaptations of comedy manga, but sprinkled throughout, and never laughs at the characters.
One little thing I loved a lot was how the writer let the mother causally accept the possibility of her son dating a man. Progressive mums, yay! Also, I love how they hinted that Suna's feelings might be not quite the platonic friendship he would like us to believe. I hated the after-credits scene though, it broke the style of humour and the characterizations of Takeo and Suna, so if you see Suna's characters the way I do, you might want to give the after-credits scene a miss.
Was it good?
Yes, both actors and writers knew what they were doing, and they told us a beautiful story about young love and friendship.
Did I like it?
Absolutely.
Who would I recommend it to?
People who want to watch a different kind of coming-of-age / young love story.
Was this review helpful to you?
This review may contain spoilers
This series swings wildly between "meh", "heart-rendering" and "horrible", unfortunately. Overall, the actors were decent to excellent, the music was so-so (not that good for a series about a singer-songwriter), and the whole vibe felt distinctly Korean. The last point means that I feel already a basic disconnection to the story and its characters, so the not-so-good aspects weigh much heavier than they might in a Japanese or Thai production.The series can be divided into three parts, which all have their own level of quality.
It starts out slow and average, with a meet-ugly and a rejection, and then two young men who grow into a friendship with a one-sided crush. It's all terribly predictable, and really nothing to write home about, but done well. Only Baram's reaction to the rejection felt overdone -- which might be because we don't have a connection to the young boy yet. The worst point is when we get an undefined time skip from high school to -- when? The two other band members, a woman and a man, call our couple oppa/hyung, and the woman has her own bar. So, how old are they supposed to be, exactly? Somewhere in their mid to late twenties, I guess?
From episode 3 or so, the quality of the screenplay increases significantly, and the story gets more captivating: There's plagiarism, extortion, the fear of being outed, the heartbreak of being rejected: This is where both main actors shine; they show their feelings in subtle movements of hands, eyes, lips. Even if the reasons for the second heartbreak are a bit cliched, the execution tugged on my heartstrings and the resolution felt perfect.
Alas! The drama doesn't end here, and takes a deep dive. Our couple regresses into 12 year olds who can't even say the word "kiss" and ponder if they are "really" dating. For two men in their twenties, this is not believable at all; and whenever this happens in a (BL) romance, I am taken right out of the fantasy.
Luckily, it gets resolved relatively fast, but the quality never recovers from that in the last sugary episode.
Was it good?
It would have been okay to quite good if not for the last one-and-a-half episodes.
Did Iike it?
Hard to say, with the wild variation in writing quality.
Who would I recommend it to?
To those who generally get on with K-BLs, and who don't mind if their main characters occasionally behave like 12 year olds.
Was this review helpful to you?
This film is not a rom-com. It's a rom-com parody.
And the film makes very, very clear from the first few minutes in that it is a parody -- the "heroine" looks at herself and the people around her as if they were in a story. The exaggerated acting in the typical Japanese comedy style paired with stereotypical extras (like the thuggish bullies or the canteen cook) as well as the constant fourth-wall-breaking are another clue -- and then the story tones the physical comedy down in the second half but still proceeds to follow every single beat of an average rom-com: With a light twist, like when the "summer" date is filmed in the middle of winter. And they follow this concept until the very last scenes, with the hundereds of lanterns and the kitschy snowfall, and then tie it up with an uplifting message.And yet, they somehow smuggled in some very real character growth. The aggressive playboy, who pursued the heroine "just because" and initiated a sudden and unwelcome kiss, learns to let go. The shy and awkward girl learns to stand up for herself, not with lies and deceit but with honesty and integrity. The "hero" learns to make a decision and commit to it. And the "heroine"? She learns that love doesn't just happen because she wants it to.
Maybe the writer and the crew were too good at that, so that MDLers caught real feelings and thus don't understand that this is supposed to be a parody?
Was it good?
Yes! It starts out as a physical comedy where absolutely everything is exaggerated, and ends up with real feelings.
Did I like it?
I did! I was hesitant to watch another youth focused het romance but I am glad I did.
Who would I recommend it to?
To people who get on with the exaggerated Japanese style of comedy. And to those who are able to understand how a parody works.
Was this review helpful to you?
Neither the character dynamics (excitable puppy vs. cold cat / country mouse vs. city mouse) nor the backstory (controlling father, betrayal by lover, thwarted dreams) are in any way new. The setting is an appropriately romanticized village, complete with stereotypical overly friendly villagers and out-of-season fresh fruit and vegetables. Wounds heal quickly without scars; the surroundings don't change with the progressing in-universe time.
And yet, it works.
The story, tropey as it is, takes its time to develop Seon Yul's character from being closed-off and exhausted to a confident young man who has found his own way of life. Events around him fit neatly into the narrative, and everything resolves without becoming too cheesy.
Ye Chan's antics are the eye-catcher of the series (and another proof why you should hire actors who know what they are doing -- according to MDL, the actor Yoon Do Jin is a stage actor in SKorea), and the main aspect that elevates this rom-com above the average. Yoon Do Jin gives his character an endearing quality, child-like but not childish, with unexpected words of wisdom, delivered with perfect innocence. In contrast, Do Won ("Seon Yul") gives us a subtle performance of a jaded man that you need to look closer to see. Both of them balance each other quite nicely.
Technically, I find this to be a solid production; I am not a fan of the sung OST but overall the background music fit well with the rest. I wish they had used the countryside to more effect -- most of the time it was just there -- but we all know that in reality, country life looks nowhere near as idyllic as on screen.
Was it good?
It was a solid, if predictable, rom-com with well delivered performances.
Did I like it?
Yes, and I even have rewatched it a few times.
Who would I recommend it to?
To someone who is looking for a rom-com with comedy elements, with a relatively short runtime.
Was this review helpful to you?
I am not quite sure what the film is about. Is it about gay life in the year 2000, with all that it entails? Is it about heteronormativity, and its consequences for women and queer people alike? Is it about lonely people who try to find comfort in a harsh and hectic society?
Is it about he question what a *family* is?
And I'm not sure if they put too much into the script (there are several scenes and side stories that don't advance the main plot at all, the scene where they try to mate two dogs in front of a kid is still burnt into my brain), so it's core theme isn't clear -- or if it's done intentionally, because, well, life is messy and everything is intertwined. I tend towars the latter reading, especially with the more than hectic beginning and the parallel telling of the story lines of the three main characters.
Whichever it is, for me, the most intriguing thing was not the gay couple -- their story is interesting as well -- but the three women who encounter the restriction of society's expectations in their own way.
There's, of course, the film's main character: Asako. Who has had different sexual partners in her life (not always by choice, as the film makes very clear; cw for an on-screen non-con sex scene), and is shamed by medical professionals for it. Confronted with the possibility of infertility, she tries to take desperate measures to become a mother -- outside of society's norm of marriage.
By contrast, we meet Katsuhiro's sister-on-law Yoko, who tells us that her marriage was arranged and she didn't have a choice in it. That her mother-in-law expected a grandson. Yoko has resigned herself with this kind of life, and has started to identify with it. She, like her mother-in-law, perpetuates the toxic ideas of a "good woman" and of "family". Because if she didn't, her whole life would be meaningless.
And this comes to head in a climactic scene, where both women meet and their views clash. One of the exchanges stayed with me:
Asako says: I wanted to choose a family the way you choose lovers and friends!
And Yoko replies: You don't choose your family, they are just there.
And in addition to their contrasting worlds, there's a third woman, a co-worker of Katsuhiro's, whose attempts at pursuing him become more desperate over time. She suffers not only from the expectation to marry and start a family -- her disability also makes it much harder to find a partner at all, so she latches on to the only man who treats her kindly.
Core themes aside, the film is gloriously messy. No single character is perfect here, no motivation is "green" -- even Naoya, who is a sweet man, chooses his partner not because he is in love with him, but because Katsuhiro is the one who stayed. There are many things that stay unsaid or unresolved, some character arcs never get what I would call a stopping point.
The cinematography and the side stories give the film a hectic and disrupted feeling -- and occasionally this will be contrasted with slower scenes.
While there are light-hearted scenes, which are occasionally very funny, and while the film gives us an overall optimistic outlook about three people who carve out their own space in this world, this doesn't make the film gentle or light -- it's more that we find laughter and happiness *in spite of* reality, not because of it.
I'm not sure if I *liked* the film, but it certainly stayed with me for weeks now, and that is always a good thing. If I ever have another chance to watch this again, I will definitely do so.
Was this review helpful to you?
Sometimes, less is more
... and this short film is a prime example.You don't need much if all people involved know which story they want to tell and have the ability to craft a good screenplay and to execute well it with everything they have.
In less than ten minutes, we see a love story from the first shy glance -- Is this feeling real? -- to an answering touch -- Is what I see real? -- until we know: Yes, it is.
The intertwining of fiction / acting and reality / genuine attraction in this short underline this uncertainty we feel when we make our first steps towards the possibility of a relationship, and even moreso for two people of the same gender.
Both actors, the director and the person behind the camera very obviously know what they are doing, they use their limited resources ingeniously, and manage to quickly connect audience and characters, build up a good amount of tension, and resolve it with great satisfaction.
Was this review helpful to you?
This is a story about an old man, who refuses to change.
This is a story about a father who loves his daughter.
This is a story about two survivors.
This is a story about gently supporting each other.
This is a story about expressing love.
This is a story about life.
This is a comedy. This is a simple slice-of-life story. This is a film that moved me to tears.
Expect a mostly slow-paced slice-of-life film, in the style that's typical for Japanese films of this genre. It has more than a few layers of story, see above, and those who get on with the style will surely find their own reading.
For me, what was most poignant, and maybe not easily accessible for the younger generation, was the way the two older people lived their life and how they looked back on it. They are, I think, almost exactly as old as my own father, and I found much of him in theses characters. All of them have lived through the horrors of war in their early childhood -- they saw the bomb falling on Hiroshima, my father lived through air raids in cellars; all of them have had to go on with life and rebuild a society they did not destroy, and even though there was no one to talk with about these experiences, this generation shares a silent kowledge about their traumatic childhoods and a quiet acceptance of what is that later generations don't. And in this film you can see exactly that -- and also how freeing it is for both to finally talk about it, to acknowledge the pain and to share their values with each other.
Other viewers might rather focus on the father-daughter-relationship or the tofu making process, or the scenery of Hiroshima, or maybe the two love stories -- it's all fine; I think this is what the writer wants us to do -- and this is what makes the film a great example of a good slice-of-life film.
The overall quality of the film is excellent, as it is usually the case with films shown on JFF Theater; the only thing I would have liked to be different is that Fumie's actress, while outstanding in her portrayal of the character, is about twenty years too young -- and because of that, I was unsure about the character's age for most of the film; even though that is an important fact to know about her, that she was a child in 1945.
Was it good?
Yes. Except for the one aspect I mentioned, it was well-written, and well-executed.
Did I like it?
I did. This is one of the kind of films I need to be in the right mood for, and I'm glad I found the time at the right moment for it.
Would I recommend it?
Definitely. Especially to those who like the Japanese style of slice-of-life films.
Was this review helpful to you?
Now, this is only the fifth documentary from Japan that I have watched, so I might be hilariously wrong here -- maybe they were the exceptions, and this is the norm -- but something felt off.
The other documentaries all had a certain sensitivity to them for the mastery of the craft, for the people living it. And for those about specific people, "The God of Ramen" and "Sumodo", I was moved by them because the directors managed to get very close to them -- so close that we saw the men filmed not only in their high points, but also at their lowest, at moments when they were exceptionally vulnerable.
All of the other documentaries, whether they were about a specific person or a group of people, never shied away from the hard facts of life, and from the pain life can bring -- on the contrary, this is when they leaned in even harder, got even closer, focused even more on them -- because only then the good things can really shine.
And even though "Come Back Anytime" follows Ueda-san for a whole year, I never felt that closeness to him, nor that sensitivity for his craft. It felt much more curated, maybe even staged at times. It felt superficial.
It might also feel more distant because in "The God of Ramen" and "Sumodo" the director was there with us all the time -- both of them commented on what we got to see in the films, and even brought in some of their own thoughts and feelings; and I could see how they themselves had grown closer to their subjects during filming. Here, however, the director is only heard posing questions two or three times, probably because he couldn't edit himself out. This director didn't take us on a journey nor did he offer his own perspective, even though the film itself *is* his perspective, so there's no reason to pretend it's objective.
Another thing that bothered me was the Western / European piano music -- it felt wrongly placed in some scenes, when silence would have been preferable; and during some of the talking head interviews, the music was almost louder than the words of the customers.
Maybe the reason why this documentary feels so different and "off" is a very simple one: The director, John Daschbach, is US-American, even though the producer is Japanese.
And still, even with all of this, there are times when the Japanese perspective shines through. When Ueda is humble about his success -- but still takes pride in his craft. When the customers speak with such love about the simpleness of a good ramen soup. When Ueda and his friends handle food and ingredients so gently as if they are their own grandchildren.
So, overall, watching "Come Back Anytime" wasn't a complete waste of time, and I wasn't bored or confused -- but in the end, I have to ask myself, what was the point in showing us this man's life?
Was this review helpful to you?
The first part is funny, fast-paced, and manages to integrate the message into an engaging plot. Unfortunately, half of the second part is a more elaborate repeat of the first part's last 15 minutes, so it felt a bit repetitive. However, the cast is more than enough to make up for it; even when they do nothing but sit around a table to plan their scam -- told in classic heist-movie fashion -- all five of the cast give their characters life and more depth than is provided by the script alone, so much so than I genuinely began to root for them and was most anxious for their plot to succeed. (A result I am not sure the writers intended.)
For me, I found the writing a bit *too* heavy-handed in their message and the ending a bit too simple; to the point that I asked myself who the intended audience might be -- the plot and the direct informative monologues about how scammers work felt appropriate for 10 to 13 year olds. On the other hand, this age-group is possibly not the target for ATM scams or fortune telling scams, which would be adults.
Given that the drama is part of a programme called "Drama for All", I suspect that they tried to make something that appeals to people of all age groups and all education levels, so it makes sense to do it that way.
And, well. It worked! I was entertained and got a refresher course in the subject.
Was it good?
It was a bit heavy-handed in the message, but overall both extremely entertaining, not in the least because of the cast, *and* it was educational.
Did I like it?
I did. Loved the interactions between the gang members. (And I still want to hear Gle's story.)
Who would I recommend it to?
To fans of the actors, and to people who want to spend two hours being entertainingly informed about scams.
Was this review helpful to you?
They had a great idea and strong imagery, but too many episodes for it
I seek out dramas with an unusual premise, and a penguin turned human is as unusual as it gets.I loved the first half of the drama, how the unsual premise at first seemed to be nothing but a simple high school drama, complete with school bullying, an odd group of friends and a ghost -- but then turned out to have strong imagery of cages vs. freedom, of staying in the seemingly safe present vs. going out into the wild and unknown future. I loved the metaphor of school and teenage years as prison, which liberally used striped pyjamas with numbers, high walls, guards in uniforms and so on, where school is a prison / a cage that provides a safe space but at the same time, stifles growth -- versus the wild, and maybe dangerous woods, symbolising the unknown, in which you can get lost, but also be found again.
The metaphor gets spelled out in a medically induced dream and subsequent dialogues between Junior and Sun -- what will the future bring? What will we do when we grow up? Will we be brave enough to step out of our cages or will we go back to what we know? I think the animal-turned-human is also part of this imagery; as a human, we have much more freedom, we don't rely on instincts alone, we can be who we want and be with whom we want, even if it's a black panther.
Overall, this first part was a very good metaphorical coming-of-age comedy.
I loved Junior's character in these first episodes; he didn't know much about the world, but he did know what he wanted and went to get it, he was able to stand up for himself, even when he was betrayed by someone he had trusted his whole life. And he did all that while being an adorable penguin.
All of this was supported by good choices of sets and wardrobes; and the main actors portrayed their characters and their quirks and thoughts well (especially considering that they are newbies!). More than a few times, Junior really acted like a penguin in human skin, which was lovely to see.
In my opinion, the drama should have ended somewhere in episode 8, when Junior makes his decision whether he wants to go back to his cage or to live in an uncertain future but together with Sun.
Because after that, the writing falls apart. Sun and Junior change to a stereotypical top/bottom couple (with a whining bottom, and a sexually experienced(?) top), the side couple's development stalls completely, even to the very end, the narrative starts to feel redundant and made of ill-fitting pieces, leaving some plot-holes. Especially the last episode, with its weird time skips, and all too sweet ending that somehow tries to give even the minor characters a happy ending, is a huge let-down.
My theory is that the writer had a fantastic idea for a plot -- and then discovered that it wasn't enough to fill the standard 12 episode format, so they had to add more filler, and this is what we got.
Was it good?
There were a few highs, and some great imagery, as well as some good acted scenes. Unfortunately, the last three and a half episodes were weak.
Did I like it?
I loved the first two thirds, so much so that I thought the drama might become a new favourite; and didn't dislike the last third. It was just less than it could have been, so I don't think I'll ever rewatch it.
Would I recommend it?
I don't know. Maybe to someone who likes their BLs on the cute side and doesn't mind some fantastical elements and doesn't expect great writing.
Was this review helpful to you?
Go in completely blind, let the narrative lead you, it's brilliant!
It's not possible to write a review for this film. Whatever I could say about the acting, about the camerawork, about the directing, about the script -- it would all be a spoiler.Instead, I'll share some of my notes I made during watching:
* Oh, "one cut" means "one take"!
* Just enjoying the ridiculousness of the C movie horror zombie film :)
* Wow. This zombie film was taken in one single take.
* Things are not what they seem
* The Japanese dedication to art is always impressive
* Ending credits: Two for the price of one!
* How did they *do* it? HOW?
If you can, please go into the film without prior knowledge and just follow along. If you love zombie movies, especially of B or C movie quality, you'll have a great time, I promise.
Was it good?
Yes, [redacted]!
Did I like it?
I loved every minute of it! As a C horror movie, as a comedy and as a [redacted].
Who would I recommend it to?
To everybody who enjoys a good spoof of C movies about zombies, who loves their layers, and who can watch the same movie several times.
Was this review helpful to you?
PWTP -- Porn With Travel Promotion
"Kiseki Chapter 2" consists of three elements: Travel promotion, Drinking, and Soft Porn.There's no plot, except for a bare bones "four young men meet and spend a few days together" to loosely tie the three elements together.
Theres nothing wrong with either travel promotions or soft porn, and I don't even mind both of them in one drama.
The problem is that the quality is somewhere in the basement:
Both the travelling (especially the food) scenes and the sex scenes feel as if the makers wanted to imitate Japanese food centred films and Pink Films. They failed spectaculary at both.
My theory is that the director showed up only for the sex scenes, because they were the only scenes that seem to have a script -- and even so they can't reach the (dubious) quality of Pink Films when it comes to creatively hide genitals, show more sexual acts than tab A goes into slot B, and position body parts correctly for realism.
And everything else? I think the team gave the actors a vague "This is what should happen in the scene", left the camera equipment with the intern, and went to get some delicious Japanese food.
In the end, I jumped forwards through the outings and the drinking (which I usually don't do), watched the sex scenes and really didn't mind when it was over.
Was this review helpful to you?
