Reviews

I wanted to love this film as much as I love the actors in it, I really do.

Okay, I've read the manga—and I loved it. That probably explains why I wanted to love the film too. But don't get me wrong. There are things that I loved about the film too. Yes, the actors. No doubt. I am in love with both Nana Komatsu and Masaki Suda and to me, they are the perfect Natsume and Kou. It seems like, in an hyperbolic way, that Komatsu was born to be Natsume, you know.

The cinematography is just stunning and breathtaking. And the OST. Oh god, the sounds. The sounds are of absolute brilliance. There was a scene where Suda is doing the fire ritual and I felt like the cinema was going to collapse because of the raging and roaring of the fire. The cuts are done in many angles, some in slow-motion to be more melodramatic and sentimental. Which would be fine if not for the major problem.

But get this. The film really really failed in establishing one very important thing from the beginning: Natsume and Kou's relationship.

I've read the manga so the narrative itself is pretty clear to me but honestly, if I were someone who didn't read the manga, I doubt I'd understand. Or worst, I doubt I'd believe the authenticity of their relationship.

The manga establishes their strong bond, their strong connection and their strong (almost drowning ironically) feelings for each other. But the film...okay, I get that there is so much manga material to cover in 111 minutes running time and it did feel draggy towards the end—but it wouldn't have felt that way nor would it raise eyebrows if their relationship was properly established.

What I see when I watch are just two 15-year-olds who are trying too hard to cling to each other without any strong feelings—it seem like something de factor being the both good-looking, mysterious and popular. And I felt that was wrong. Very wrong.

That is why ultimately, this love story is doomed from the start. What salvaged it is Komatsu and Suda's chemistry. Or even Komatsu and Daiki Shigeoka's chemistry. And the amazing cinematography and roaring OST. I felt like there was so much more to these characters, to Natsume, to Kou, to Otomo, to Kana—and it felt like they were just discarded.

Even Kou and Otomo's friendship just got ignored and it's such a pity because the friendship plays a major part in how the love triangle shapes itself. Kana plays a bigger role later in the manga and the film just makes her like a stock character. Otomo gets discarded after his use. And the ending is very open-ended (which I would probably not mind if they fixed the crucial element of their relationship).

I feel like roles like this fit Komatsu well. But it's truly the first role where she's done the most drama. I love her (very much) and I have a bias but I will also be honest and say that she still lots to improve because Suda overpowers her. It's not BAD deadeyefish acting, it just needs to feel...stronger, more foreful. This me saying because she has worked with a lot of Japan's top actors (like Yamaken, Kamiki, Takeru Satoh; heck she even act alongside Andrew Garfield).

Though I guess, her timid, almost suppressed acting here works well for her character because her character has to be beautiful and calm and poised even while crying...it's not heavy drama but similar to what I said to Hirose Suzu before, just because you can cry doesn't mean you need to forget how your eyes show the emotion. And Suda's eyes remind me of my chameleon actors Shota Sometani and Fumi Nikaido—they act, they speak.

But I don't know why Suda looks so malnourished here. Honestly. There are times when it's so uncomfortable to watch him because I'm so afraid he'll break because you can literally see how skinny he is (yes Kou is in the book) but it looks unpleasing. I see a lot of potential in Daiki Shigeoka and the up-and-coming Mone Kamishiraishi.

Ultimately, Drowning Love (a title that actually holds a lot of significance which the film KIND OF touched on but not properly though the original Japanese title is Oboreru Knife which translates to "Drowning Knife") does try to remain a faithful adaptation but it really fails in establishing the leads' connection and relationship. It started off right away, very direct (though the dialogue is very poetic and that didn't work well because it felt like youngsters sprouting wishy-washy words) without much context or at least shape it properly later—which they didn't. It felt like a film with no goal which as romance wouldn't be a problem if you're telling a narrative though here, it felt...directionless with no clear intention. But still, I'll tell you that you will still feel some *feels* because the sounds and visuals would keep you there.

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A Romantic Story with Couple Goals!!

If you're looking for a series that has lots of romance with less dramatic moments, this is the series for you.
It's really a feel good drama that leaves you feeling all warm and fuzzy inside after finishing the series.
I think we all need a lover like Khabkluen or Daonuea after watching this series.


•❅✧❅✦ Story •❅✧❅✦

Daonuea has been crushing on Khabkluen since freshman year in highschool. However, it's a one-sided love on his end as Khabkluen has a girlfriend he is very committed to. After leaving to study abroad for his senior year of highscool, he returns to Thailand to start college. On the first day of the Star and Moon Competition Practice, Doanuea is reunited with Khabkluen. Daonuea hasn't really gotten over his crush, but has to room with Khabkluen during the duration of the competition. As they room together, Daonuea and Khabkluen start to getting closer together. Khabkluen is and has always been the epitome of kindness, that Daonuea can't stop his feelings even though he knows Khabkluen has a girlfriend... Or does he?

One of the best things about this series is the "Will they? Won't they?" tug of war that Daonuea and Khabkluen have throughout the series. It's not so dramatic and unrealistic that sometimes you end up shouting "Just kiss already!" at the screen. It's a light-hearted and romantic series, so there isn't any frustration while watching. Just pure romance.


•❅✧❅✦ Characters •❅✧❅✦

Daonuea x Khabkluen

Daonuea is you typical normal guy. He's adorable and funny. There isn't anything really special about him aside from his undying loyalty to Khabkluen, so there isn't much to comment on him aside from gushing over his cuteness.

However, Khabkluen, on the otherhand, is a little more stereotypical with the hot and kind popular kid troupe going for him. He also falls into the anti-social, can't really saying my feelings well, troupe that the male leads tend to have. However, something that makes Khabkluen different from the others is his his undying loyalty to Daonuea before and after their love confession. Also, his personality isn't as masculine as you would expect those types of leads to be. You can really see Khabkluen's real self after he starts dating Daonuea and I love the 180 shift in how he acts around Daonuea and other people.

On a side note, the actors who protray Daonuea and Khabkluen have so much chemistry. If someone told me they were a real couple, I wouldn't be surprised. Nothing looked fake or awkward. These two need to have more acting work, be it together or separate, because they are really great actors. I honestly would like to see them do something more dramatic just because I really think they are amazing and really need the opportunity to prove themselves as great actors.


•❅✧❅✦ Overall •❅✧❅✦

The series was amazing. I feel in love with Daonuea and Khabkluen from episode one and I never got bored as the series progressed. If you are looking for a drama-filled series, this probably isn't for you. But if you are looking for a feel-good romantic series then this is a must watch!

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Starting with a big explosion at the heart of Hong Kong, this film is such a respectable crime thriller that deserves the watch if not the praise.

Hong Kong has been producing some cool action thrillers these years. Although most of them have been trying to unsuccessfully outclass Infernal Affairs but they merit great encouragement. Cold War is one of those films.

The directors Leung and Luk didn’t waste much time in building the thrills, ever since the first minute we get a badass explosion then the five cops were kidnapped triggering the beginning of the war. What I highly appreciated about Cold War is showing the ugly relationship between the higher-ups, some real life situations such as the greed for power and the corrupted systems. Rescuing the five officials became a war to both vice commissioners and those surrounding them. But then, a sneaky conspiracy comes to light making you suspect every single character that appears on screen.
However, that doesn’t deny the weaknesses contained in this film. Unfortunately, the film became quite heavy at the middle; pacing problems made some obvious flaws to ignore. It’s mainly related to the suspense part, it didn’t make the film dull but it’s bound to make the viewer impatient to what’s going to happen next. It was a somewhat long phase to ignore it. Moreover, the ending could have been better than that. The way they ended things implies a sequel that may never come. It would’ve been smarter if they cut things cleanly.

The acting department was downright penetrating. The versatile Leung Tony Ka Fai rocked so badly as M.B. Waise Lee, nothing less from such a high-profile Hong Kong actor. On the other hand, Aaron Kwok, who matured so well in recent years, did a marvelous performance as Sean Lau. The bickering scene between Lee and Lau at the first half is an absolute memorable piece. Charlie Yeung, Rahman Lee and the cameo of Andy Lau made this film such a good ground, acting wise.

Considering the fact that this is an action thriller, the action scenes weren’t always that well-made. But the shooting scene at the highway definitely got me; it was probably the best action sequence in the whole film. The cinematography was good enough. However, you have to keep in mind that this was Leung Lok Man and Luk Kim Ching’s debut film as directors and screenwriters. We all know how hard it is to write and direct an action thriller so both of them deserve all the encouragement.

Watch if:
-You’re in the mood for a watchable action-thriller.
-You like politics and higher-ups bickering inside crime thrillers.
-You want to see great performances by Leung Tony Ka Fai and Aaron Kwok.

Do not watch if:
-You’re expecting a great masterpiece.
-You want a flawless action thriller.

Despite its flaws, Cold War is a brave piece of work that’s bound to make you interested. It’s one of those films which make you feel that Hong Kong’s crime thriller genre is still vividly alive.

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Love Destined By Fate

This might be a long-ish review, so bare with me :) for I have a lot to say about this amazing drama. While the leads are well-known and have gained popularity over time, this drama to me still feels underrated in the long term.

Story:
The story progressed well in terms of introducing all the characters within the show in the beginning and seeing each of theirs unfold towards the end and how they contributed to the overall story. I really enjoyed the relationship between Myung-hee and Hee-tae and how two were each other's 'love at first sight.' The lessons learned throughout this show is another reason as to why the story is well written and how beautiful this drama is. Myung-hee's persistence and compassionate attitude into helping others really shows how strong of an individual she is. She saw the importance in her family, but the cry for help for others and decided to help those who couldn't help themselves during a time of despair which is why I really loved Myung-hee. Hee-tae risked his life for the one he loved and showed how far love can someone to, his bright personality and strong will is a reason why he deserves 'best boy' <3.

Acting/Cast:
I am so glad they casted Lee Do-hyun and Go Min-si as the leads because of their great acting, you can really see the chemistry between the two and how well it was portrayed in the show. With the other leading and supporting roles such as Lee Sang-yi and Geum Sae-rok, their amazing acting really shines in the roles and we hope to see them star in other dramas. We can't forget about the iconic Kim Won-hae (Kim Hyun-cheol) for taking a role in this drama.

Music:
The OST for this drama was really nice, for a lot of the songs were just vocals and instrumentals.

Overall:
This is amazing melodrama hopefully continues to reserve the hype it deserves. From the beautiful cinematography to the outstanding chemistry between the leads, this drama will leave you with a bunch of emotion; for it definitely did for me. From gushing over the cute romance between the two, to crying over the tragic scenes that left me heartbroken, this drama really left an impact on me. I would highly recommend this drama to someone who's beginning to watch K-dramas, for the length of the drama is perfect and has a well written story overall. This would definitely hit home if you enjoy melodramas. Lastly, I would like to acknowledge the event that took place during this time. I know many friends and family lost loved ones and suffered during this time, with many victims still going missing till this day. Sending all the love towards these families that suffered the most from this event, for you will never be forgotten.

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Who is right? Who is wrong? OR RATHER (Should I say) What is right? What is wrong?

Centered on the battle of each of the characters’ “Sense of Justice”, the film created a very disturbing aura from which people without very strong stance on “what is right or wrong?” might be drawn to the one of the characters’ beliefs. That is how this film had been so persuasively good in delivering the intent of the story.

The story has a lot of potential to become a series since there are a lot of rooms to be explored. However, that doesn't mean that the movie was incomplete. The film per se successfully established the roots of each of the characters stance. Why and how they become like that. The storyline had been well sequenced including how each twist had been placed and the timing of unraveling the mysteries.

Superb acting from the cast can be expected. The feeling of anger, hate, disgust and pity can be thrown to the characters due to the actors’ outstanding convincing performance in delivering consistently the roles they are portraying.

In the end, the movie will leave you the questions “Who is right or wrong?” OR “What is right or wrong?” – questions that will only be answered depending on your personal “Sense of Justice”.

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"When looking at someone, you should look at the other side, where the shadow is deepest.”

Hiasa disappears amid the devastating 3/11 Tohoku earthquake, and tsunami strikes Iwate Prefecture, of which Morioka is the capital city. During Konno's search for him, the truth starts to unravel, revealing Hiasa’s other side and the deepest part of his shadow. Years later, Konno seems to conclude that his friend Hiasa himself was perhaps a fish swimming in the wrong waters, unable to conform to the world around him. In the end, it felt alright for him to remain a mystery because a mystery was what he was.

The characters convey their true thoughts in such complex and subtle expressions. Along with the symbolic connotations portrayed through things such as fish, plants, and fire, there are many hidden implications in the words that the characters choose to express, their gestures, actions, and reactions. It was very engaging to grasp the various subtle meanings weaved behind their lines. And I greatly appreciated the many symbolic connotations presented that allowed a lot of room for interpretation.

The detailed cinematography handles the aspects of perspective and tone very well as it uses that factor to convey complex emotions and moods during each scene. The soundtrack and lack thereof are very fitting and add to the dismal and the tranquil atmospheres throughout the film in a very subtle yet evident manner, making each scene even more compelling.

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The father, the son and the holy sheep.

After a long hiatus, Young Blood 2 picks up right where Season 1 left off with the team heading to Western Xia to rescue Zhao Jian's father. There they get embroiled in a plot to assassinate Yuan Hao, aka Emperor Jingzong of Western Xia. Yuan Hao was a formidable general and founder of the Tangut dynasty, which lasted almost two centuries. This narrative largely respects history so if you do not want to be majorly spoiled as to how this ends, resist the urge to Google him.

Initially, Season 2's somber, pensive tone took me aback. But it is fitting for the desolate, rugged, mystical Helan Mountain terrain. It also ties well with the personal losses, betrayals, and disillusionment the team experiences at the end of Season 1. While screenwriter Wang Juan's humor and clever dialogues are evident in the writing, the difference in the directing team is noticeable. Character shots and comedic moments are not as well captured by the camera. Many of the people shots are not filmed at interesting camera angles and the main cast's humor does not flow naturally. The actors may be trying too hard to convey that some of their joie de vivre have faded after all that they've been through. Their energy often seems lethargic and their banter is lackluster despite the witty dialogue. What still shines is their unspoken affection and trust in each other which seems more mature, time-tested, and unbreakable. The "new" Yanei integrates well even though he unavoidably looks younger and is missing the swagger. Su Xiaotong's acting has most visibly improved and I enjoyed Pei Jing's growth this season.

In terms of comic relief, the antagonists steal the show in Season 2. The humor in their dialogues, the bald-faced lies traded with deadpan expressions among the Western Xia royal family had me in stitches. But it is the oddly gullible, absurdly superstitious, and unexpectedly sincere Yuchi Yuan that made me laugh hardest only to cry hardest when he admits he is someone that just needs to believe in divine intervention. Many supporting roles like Yuchi Yuan, the heroic Section 8, and the antagonists are so well written and dimensioned that they are the show stealers. Not only does Section 7's banter seem to lose its mojo, they also don't get to do the important tasks in the mission, other than show up for the finale. Indeed the main architect or spymaster is not from Section 7.

This season, most of the main characters grapple with the kind of person their father is, what he expects of them, and whether that is compatible with who they want to be. To different degrees, each parent and child take a measure of one another and don't quite like what they see. Yuan Zhongxin's dad may be a particularly nasty, cold-hearted, and misguided sociopath with questionable methods; but ultimately he wants his son to survive. This is not the case with Yuan Hao, who is the biggest, baddest, daddy of them all. Thanks to Hai Yitian's intimidating screen presence, Yuan Hao is a terrifying freak of nature, a giant rock formation that must have been hewn out of the sacred mountain itself. Just his menacing, diabolical appearance made me break out in cold sweat. Yuan Hao knows exactly what his son is up to and he gives him every opportunity, practically dares him to succeed. The dialogue within the dialogue and the dark humor behind barely veiled threats that petrifies poor Ningling Ge out of his wits is signature Wang Juan. I never felt more sorry for such a vile and duplicitous character; an apple that falls far, far from the tree. He seems diminished and less smart in Season 2, over-shadowed by the larger-than-life Yuan Hao. Father and son are both oddly pitiful to me as their story as recorded in history is already wildly dramatic and treacherous.

The plot is tighter and more focused than Season 1 because there is only one mission that spans several years with a time jump that interrupts the momentum slightly. The sub-plots are cleverly structured around the interplay of recurring themes around the father, the son and the holy sheep. At the time, the Tanguts practiced folk or natural relgion steeped in mysticism with shamans, and many spirits or gods. Like many ancient cultures, they believed that the ruler is divinely blessed but in times of chaos or natural disaster, can lose the mandate of heaven. In planning the mission, the yummy Wen Wuqi of Section 8 infiltrates Western Xia by assuming the identity of a sheep deity's envoy come to anoint Yuan Hao's regime. There are many allusions to fēngshén/封神 or the creation of gods, which is the underlying strategy the Song spies use initially to elevate and then subsequently to undermine Yuan Hao. Wang Juan's well researched and superbly written script clearly draws inspiration from Fēngshén Yǎnyì 封神演义 or The Investiture of Gods one of the great vernacular novels about Chinese history, mythology, folklore, fantasy and legends.

The ending will not come as a surprise to anyone who knows the history (or used Google). Even then, the finale delivers an epic showdown that the entire season builds up to. The fast paced and thrilling action choreography is one of the highlights of Season 2. The desperate, bloodthirsty and stunning final fight had me squealing, jumping up and down and bouncing off walls with adrenaline fuelled fear and excitement. I personally would have ended the story at the mid-way point of the final episode, where the ending credits roll. It is fitting and exactly the kind of irony, cynicism and dark humor I expect of Wang Juan. But that would have resulted in an outcry of gargantuan proportions and I equally enjoyed the final message that a father does not have to explain himself to his son. Despite the fantastic writing, I still wish the original team's chemistry worked a bit better. So for me, this was mostly tracking just a bit better than an 8.0/10.0 but I think ending a drama well is super important and I like the ending so much so I am happy to bump this up to an 8.5/10.0.

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"Inside Us Lives A Killer" is the perfect tagline to describe this picture; I could stop there but it won’t do the film justice. “Killers” is a fine example to prove that gory productions can be made in a stylish elegant way despite its heavy content of disturbing bloody scenes.

There are no twists to follow in here, the film kept a steady pattern as it unravelled the complicated human emotions between two killers and their surroundings. While it’s not so common for Indonesia and Japan to co-produce a film, I must say that it turned out quite well. The Mo Brothers previously caught my attention through another gory film. I love directors who go through all the trouble of inserting a deep meaningful plot into their gory productions. Although that may affect the brutality of the picture but it’s still way better than a gore for the sake of gore pictures.

Just like it was co-produced by the two countries, Killers’ plotline was divided between Indonesia and Japan. The film took its time to become interesting, it tried to start with a blow but it was unbearably slow until it finally picked interest. Generally speaking, the film has its own pacing problems that are hard to ignore. However, it still succeeded at conveying a meaningful message. The psychological take on serial killers had a deep effect in the main characters’ development. At some point, you would understand the directors’ aim of bringing those conflicts into an open showdown.

The narrative pattern was inserted with short sequences of dark humour that brought me to laughs. I always thought that black comedy was one of the better elements of gore productions. Talking about violence, the amount of bloody killings wasn’t exactly that high and the methods weren’t extremely brutal. I know that most people find this type of gore sick, disturbing and over the top but it’s definitely not, and I am speaking from the point of view of a splatter gore fan. This wasn’t hard-core enough but it was acceptable and enjoyable.

The acting was spot on. Kitamura Kazuki was extremely good as a professional serial killer; his aura and unique vibe made him portray the character in a perfect manner. The Indonesian male lead was also convincing but Kitamura owned the show for me. The characterization was quite deep, it was clear that the screenwriting worked its way to build a controversial relationship between two different types of killers. Their dialogue was one of the most entertaining phases throughout the whole picture.

The cinematography and directing were fine. Nonetheless, I found trouble to cope with the camera-work in the Indonesian part of the story; some shaky camera and close-ups didn’t come out right. Other than that, the whole atmosphere was rather catching.

Watch if:
-You like films about psycho killers.
-You like gory pictures with meaningful plots. Be warned however, this is not hard-core enough.

Do not watch if:
-You dislike gory productions or you can’t handle them.

“Killers” is a deep take about the surreal psychological side of serial killers. It has its own weak points but it was successful at depicting a stylish type of gore in a brutal gripping manner.

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Cop out.

Despite a strong start, Who is the Murderer? deflates into yet another over-hyped and ultimately mediocre production in the 2021 Mist Theatre (soon to be known as Miss Theatre) lineup. This kind of simple and straightforward plot around the hunt for a long hidden serial killer relies heavily on good execution to impress. I don't know if it is an indictment of the competence of the Chinese police force but practically every Chinese crime thriller revolves around a stone cold case and the lamentably long road to justice.

The lives of the three main characters collide when young Xiamu's foster mother is murdered by a serial killer. A fatal moment of weakness by then newbie cop Leng Xiaobing enables the murderer to escape with collateral damage. Teenage Shen Yu's father disappears without a trace after appearing near the scene of the crime. Seventeen years later, the revival of this cold case entangles Shen Yu, Xia Mu and Xiaobing, united by the scars from the past yet divided by different and at times conflicting agendas. Without a doubt all three leads deliver stellar performances as characters who all experience a shattering personal loss from this common event which shapes them in very different ways. Overall I found Xiao Yang's portrayal of the gruffly amiable but subtly guilt ridden Leng Xiaobing most natural and convincing. While both Zhao Liying and Dong Zijian delivered intense and very well acted portrayals of Shen Yu and Xia Mu, they erred on the melodramatic side with excessive posing.

One of the big issues with this drama is that the suspense does not arise from the plot itself but is heavily contrived, induced by background music that accompanies angsty and heavy dark posturing by both Xia Mu and Shen Yu that goes absolutely nowhere. While compellingly acted Xia Mu's PTSD is out of proportion to the trauma he experienced and after a lot of build up and suggestive behavior, this character just gets side-lined and he is bafflingly short changed in the final showdown even though he is on the scene. While Zhao Liying's impressive portrayal of the cold, creepily inscrutable and sociopathic Shen Yu exceeded my expectations, the plot again simply fails to rise to the occasion when it comes to her story either even though she hogs the final confrontation. At the end, I feel both characters led me on a merry chase, teasing with suggestive dialogues and actions that ultimately never fully plays out. It is very frustrating because this setup and the story could have gone down many more intriguing paths with thrilling and shocking outcomes but after setting it all up, the writer pulls a much bigger cop out on us than Xiaobing's pivotal gun shy moment.

Reminiscent of The Pavilion, the plot gets hijacked by character explorations that not only don't advance the plot, they distract from it with artificially induced suspense. This led to my greatest disappointment in the way the murderer is introduced and revealed. It completely violates the unspoken bargain of giving the viewer a sporting chance of identifying the murderer. The murderer falls far short of that lurking evil presence that creates an aura of danger around the main characters and their motive is a big yawn. This does not by any stretch of the imagination qualify as a whodunit, it is at best literally a spoiler homonym of a whodidit. Bottom line, this is little more than a very unremarkable investigative crime thriller so if you were looking forward to playing armchair detective, look elsewhere. The further extension of the mundane plot with non substantive filler episodes that introduce unnecessary characters further irritated me when I would have preferred to better understand what happened to Xia Mu's foster mother as well as Shen Yu's father. The fact that the only character I cared about was Xiaobing's (hot cop) friend at the beginning says it all about how big a fail this is.

I can only rate this a generous 7.0 out of 10. I waited to write this review because right after the ending, my very incensed mother was leaning on me not to rate this better than a 5.0.

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Satisfying & Beautifully Shot

I'll be honest, I started watching purely because Hani was in it and I like her. However, it's a solid drama and definitely can stand on its own, all bias aside. The plot is simple to follow but entertaining and really rewarding—it's a nice, compact little story that doesn't have many huge twists, and everyone gets what they deserve in the end.

It's short (10 episodes of ~25 minutes each), but I feel it does as much as it can with such a limited run. The characters aren't super fleshed out, but this doesn't detract much from the plot. The little we know about the characters is all we really need to be invested in them/their stories, and that works for me. I honestly did not care about the romance whatsoever, but it was sweet. Hands down the best part was the female leads and their volatile dynamic—Hani and Hwang SeungEon have great chemistry together, and it made for a lot of intense scenes. For me, they were really what made this drama worth watching.

All in all, the acting is great, the costuming is good, the music is decent (Sunmi's OST really sets a "revenge" mood, though I felt some of the background music was odd at times), and the cinematography is surprisingly fantastic. Visually, it's a beautifully shot and produced drama, especially considering its budget and scale. I thoroughly enjoyed watching it, and probably will watch it again. Though it can feel rushed (particularly near the end), it's a great length for casual viewing and has a story that's easy to get into each time.

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This is sixth or seventh lakorn I have watched and I have to say it was really unique and entertaining. Totally refreshing compared to typical lakorn. Of course there's typical instruments for thai drama like revenge because of jealousy or that female lead is often misunderstood.

But the story is great and male lead is eye candy (actually reminded me a bit of taiwanese actor Aaron Yan). Leads have great chemistry and side roles were enjoyable too.

The plot at first seems to be your typical bad rich girl turned good but because of the fantasy element in it, every episode was entertaining and I kept watching without getting bored. Well, in first like two episodes I was wondering if this is going anywhere but if you're going to start this lakorn, I advice you to watch at least the first five episodes. The story unwraps itself only in the last few episodes so it keeps you guessing all the time who is really the bad guy.

Overall, if you're looking for something different compared to usual lakorns, this is your drama.

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