Reviews

Play stupid games, win stupid prizes

Just finished the movie, and I’m wondering about the title: Project Y. If “Y” stands for “Youth,” then this movie presents a very bleak portrayal of today’s youth. Unfortunately, there is some truth in that. The younger generation, like the two female protagonists here, often destroys their lives through partying, drinking, gambling, prostitution — all of what we could call nightlife.

I felt conflicted while watching this movie because I couldn’t really care about the girls, as they never showed any kind of sympathy or morality. By the end of the movie, maybe something changed, but for me that was the biggest disappointment — the good guys are basically the same as the bad guys.

There are many elements in the movie, and I also found it confusing at times, especially as a non-native Korean speaker trying to understand what was going on. The subplot about illegal betting on fixed matches was interesting, and there are some really gritty scenes that place this movie in the noir-thriller genre. It is rare to see a female-led crime thriller of this kind in Korean cinema. The girls reminded me of Mel Gibson in his darkest roles, but overall, the plot was uneven and the movie felt messy.

Read More

"I wish I could paint myself over again"

Kurosawa Akira wrote the script for The Portrait and to quote Sally’s shocked line in When Harry Met Sally, “Well, that's just so optimistic of you, Harry”. Kurosawa wasn’t known for movies about women or stories this positive and heartwarming. The film was deftly directed by Kinoshita Keisuke with strong performances by the cast.

Kaneko and Tamai agree to purchase a house together for 200,000 yen and then flip it for 400,000 splitting the profits. The only problem is that there are tenants living in it. Kaneko decides to move his young mistress into the upper room which the family doesn’t fight. Midori is temperamental and not pleased with the move. The family occupying the house is poor but happy. The father, Nomura, is a painter of some renown but not terribly successful. The family automatically assumes that Midori is Kaneko’s daughter and treat her as a treasured guest. Midori isn’t used to positive affirmation and her guilt is made worse when Nomura asks her to sit for him. The woman revealed in the portrait is not who she believes she is.

Nomura with his magical artist’s eye saw deep into Midori, who she really was. This vision stood in stark contrast to who Midori believed she has become in order to survive after the war. The cognitive dissonance finally erupted as the young woman had to decide the person she would choose to be. Could she really paint herself all over again?

The family was almost too good to be true even seeing blackouts as a gift to dance in the moonlight. The one member who grasped that Midori was not Kaneka’s daughter cast no judgment, offering only acceptance. Kurosawa’s social commentary was muted but the blackouts were a bit of reality creeping in as well as the young women resorting to sleeping with old men to make a living. Nomura’s oldest son had been missing since the war with no word, as they hopefully awaited his return. Then of course, there were the realty vultures hoping to turn quick profits as they turned tenants out of their homes. The Nomura family’s impenetrable loving-kindness shield the only detriment to the current flippers’ plans.

The Portrait was a lovely little film showing a family’s and a young woman’s resiliency in the face of social upheaval and financial strain. Each person had to decide who they were and who they wanted to become, even when their options were few. And the greatest mystery of all, would Chiba the cat return home? An easy recommendation for people who enjoy these old films.

13 February 2026

Read More

Soft, sweet, and calm, but maybe a bit too light.

I watched this mainly because I’m a sucker for best friends to lovers stories and TikTok sold it to me well enough to raise my expectations. I have not read the manga, so this is purely from a casual viewer perspective. I enjoyed it, but it is the kind of movie that feels nice while watching and fades from memory pretty quickly after.

I still do not fully get where the "Stella" in the title comes from, at least from the movie alone. Maybe manga readers or those who catch more of the language nuance will understand it. But for me, it did not land anywhere as a strong symbol or theme in the film itself. I'm guessing it's because stella means star if derived from Latin, but that feels a bit random and out of place.

If I had to nitpick on appearances, it would be that they do not look like high school students at all, but I got over that pretty fast. Acting was okay, though I'd say the female lead actress carried the movie all the way.

Overall, the tone is gentle, easy, and calm. Not very deep and not very layered either. It is very straightforward narratively, which makes it an easy one sitting watch. If you like best friends to lovers and very (emphasis on very) low stress romance, this might work. But if you want more emotional weight or complexity, this will probably feel too thin.

The setup is simple and very familiar. The leads are childhood best friends who are slowly growing into different worlds. The male lead, Subaru, is a rising model and actor. He is a bit aloof, but it is something I'd expect from a high school male lead lol. On the other hand, Chii, the female lead, sees herself as average in looks, ability, and presence. She acts exactly like a girl with a long-time crush, supporting him quietly and tries not to get in the way. Awkward, sincere, and sometimes a bit harsh to herself.

The story runs on that classic "you never look at me" versus "I have always looked at you" narrative. And how they set it up was pretty much predictable. The film does not build ̶a̶n̶y̶ much external conflict, so most of the tension depends on the male lead’s mixed signals. The writing relies on the classic push and pull behavior that happens in friends to lovers tropes, except I never felt the yearning that it would have supposedly fueled.

The second male lead was present, although I questioned if he was actually a second male lead. Even as a plot device, he didn't do anything to make Subaru jealous enough to spark action. He was supportive of Chii, and he was aware that he will not be even a choice. He did not overstep boundaries, does not create forced rivalry, and did not turn bitter. He was a very very chill guy lol. He even helped move the plot forward literally through his motorbike lol.

It's an okay watch, but it was closer to boring than the comforting vibe they tried to sell. I would not have chosen to see it in cinemas.

Read More

The family drama I did not sign up for

Just off the bat, I want to mention that the one-shot camera action made me so dizzy, but I'm quite impressed.

Not with the story though, god! What in the messy, dysfunctional family genre was this? Watching it, I had only one thought throughout - they're all terrible people. It wasn't really funny (or I didn't get the toilet humor they relied on for half the plot), none of the characters are relatable and even when you think you start to understand where they're coming from, another piece of information that's more awful than the last comes out.

The entire movie spans at the most, 24 hours, and we get to watch the six Sevilla siblings unpack their entire lives on the anniversary of their mother's death - which they've rescheduled for their convenience by the way - retrospectively, that should have told me everything I needed to know.

There's no redemption arc, no point where the story picks up positively, it's just terrible people being terrible for two hours. We just get to see their first conversation as a group in who knows how many years. Maybe they were meant to be terrible throughout and there's no real point to the story but at this point I do not really care, I'm just glad it's over.

There are much better movies with this trope - I would assume, I haven't watched many like it but even then I can tell this wouldn't be the standard.

Read More

"We are connected. I'll be seeing you in hell!"

Sword of the Beast was one of Gosha Hideo’s earliest directorial efforts. While it could feel clunky at times, there was enough action, betrayal, revenge, and double-dealings to fuel a film twice as long.

Yuuki Gennosuke is on the run after he killed his clan’s counselor. Hot on his trail are the man’s daughter, her fiancé, and a gaggle of samurai. A petty criminal he helps joins him as they head toward the mountain where gold has been found. The only trouble? Aside from the posse on his trail, panning for gold is a crime punishable by execution. Along with the shogunate’s patrols, there are bandits and also a samurai guarding a pile of gold like a dragon. Gennosuke has his hands full, sometimes literally, as nearly every woman throws herself at him.

“I’m a cornered and wounded beast. I can’t afford to live by my conscience.” The funny thing is, aside from the initial murder, Gennosuke was the conscience of the film. Set during the twilight of the samurai era, Beast highlighted the corruption running rampant through the clans, and how poorly some of the samurai were treated. Gennosuke had hoped to see reforms implemented in his clan that would have provided men like himself with a path toward promotion and a livable wage. He and the other low-level samurai discovered that their superiors demanded unquestioning loyalty and honor from them, while those in charge had zero qualms about lying, betrayal, and being utterly duplicitous. Low ranking men and women were expendable, especially if it meant promotion or gold for the more nobly born.

The sword fighting was average for 1965 with poor Gennusuke being outnumbered most of the time. The hunting party told him to die like a samurai, but he told his friend in the deadly group that they weren’t planning a death befitting a samurai---they were planning butchery. Much of the film was shot in a beautiful mountainous and forested region, a stunning backdrop for betrayal and revenge. Gosha knew how to get the most out of each frame. The story flowed well for the most part, but felt underbaked at times. I will never understand the male movie fantasy of women meeting a man and instantly start trying to take their clothes off. Because that's just what women do. Really should have been a clue Gennosuke was being set up whenever it happened.

Sword of the Beast was fun and Hira Mikijiro did a fine job as the least beastly of the characters. I enjoyed Gosha’s first film, Three Outlaw Samurai more, but this film kept my attention with each new person Gennosuke saved or threatened. Numerous characters discovered the hard way that the wealthy get that way and stay that way by not sharing the wealth. If you enjoy these old samurai films, this is certainly one worth trying.

14 February 2026
Trigger warnings: Sexual assault and attempted sexual assault. Nothing overtly graphic, just disturbing.

Read More

Worth the watch…

Magical and beautiful and wonderful and all of that. But… the ending just didn’t give enough. For such a forced distance for the MLs throughout, I just wanted more than what was given at the end. I’m left hungry for more (not in a naughty way, that’s not my point). I couldn’t feel the happiness the ending could have brought because I don’t know those actors/character representations.

I will have to preface this by saying I don’t think I’m smart enough for this film, which is a rarity because I can usually follow along well enough to figure out timelines and storylines, but this had my brain flipping around un-endlessly and always questioning what version of exactly what it is that I was watching. My BL Olympics brain did not fare well, but I still got the whole gist of it.

Basically, I’m happy by the ending, but not happy because of it. If you can make sense of that.

It is a good enough watch though and I do recommend watching.

Read More

Chaos in Song Joong-ki land

Bogotá: City of the Lost is gritty, tense, and soaked in ambition. From the very first scene, there’s this cold, calculated atmosphere that instantly reminded me of Vincenzo. Not in a copy-paste way, but in that morally gray, strategic, slow-burn intensity that keeps you watching every move carefully. It has that same “power is a chessboard” feeling.

The biggest highlight for me was Song Joong-ki. He carries the film with a controlled, restrained performance that feels mature and layered. His character is not loud or flashy, but you can see the ambition building beneath the surface. There’s a quiet sharpness in his eyes that screams strategy. It honestly felt like watching a darker, more grounded evolution of the charisma he showed in Vincenzo.

The supporting cast adds weight and realism to the story. The dynamics feel tense and unpredictable, and every interaction feels loaded with underlying motives. No one feels unnecessary. The ensemble makes the world of the film feel lived-in and dangerous, which elevates the overall experience.

Visually, the film leans into its setting beautifully. The atmosphere is heavy, almost suffocating at times, which works perfectly for the story.

Overall, Bogotá: City of the Lost gave me serious Vincenzo vibes, but in a more grounded and cinematic way. It’s darker, slower, and more realistic, yet still driven by power plays and ambition. If you loved the strategic intensity of Vincenzo, this film will absolutely pull you in.

Read More

*Swing Kids* is a 2018 South Korean musical drama film that was based on the Korean musical *Roh Ki-soo*. The film takes place in the Geoje prison camp during the 1951 Korean War, where North Korean soldier Ro Kisoo (played by Do Kyungsoo) falls in love with tap dancing when he witnesses Sergeant Jackson (played by Jared Grimes) holding auditions for a dance company at the prison camp.

The plot was done well! As someone with little to no knowledge or understanding of the Korean War, I still enjoyed the film (although I do think viewers would better understand it more if they knew the history). At times, I did think the pacing and flow of the plot was a little unsteady, especially at the portions with the US Army officers stationed at the camp and the captured North Korean soldiers. The political scenes of the film felt slow, taking away from some of the upbeat and/or tense moments from the dancing scenes.

The choreography obviously stood out to me the most. I wasn’t expecting to be so good! The music and the cinematography really amplified every percussive strike the tap shoes make on the floor.

I felt that the film’s purpose was to entertain, yet also bring to attention the overlooked side of war, which is the people caught in the middle, trying to live and love life in the new conditions that war brings. This made the film much more thought-provoking and more nuanced than an atypical war movie.

The film gradually built up to the climax. There’s tension between the Americans and the North Koreans, as depicted in their respective scenes, as well as the internal struggle Roh faces with his identity as a pro-communist and a lover of American tap dancing. The culmination of the plotting and dancing happens the day of the Christmas performance, and how everything went down did not disappoint!

Watching this film made me read up on the Korean War for my context; maybe I’ll rewatch the film afterwards!

Read More

They had me until the last 40 minutes

I rather liked how the 1st half of this movie tackled the plot largely surrounding these two girls. From the struggles of identity, parental bullying (looking at you, Jane's mom), to the very difficult realities of friendships with large socioeconomic differences. I thought they did that so well. The acting was also good, and that underlying tension that was always present in the girls' friendship... Loved that.

However, once we get to those last 40ish minutes, they lost the plot, and me.

1. Tong - When he is 1st introduced, specifically when the badminton birdie gets stuck at his window, we get a sense that perhaps Ann likes him. That scene made me get this pit in my stomach. I really REALLY did not want the story to go that way. And for a while, they make you believe that they won't. Tong acts decently. He hangs out with the girls and Ann's siblings as an older brother figure would.

And then Jane sees them that fateful morning, misunderstands, tells her mother, and Ann & Tong say nothing....??? Why? Why did they decide that the plot of a teenage girl still in high school and the 35-yr-old man needed to be a part of this plot? Ann's mom tries to basically sell off her daughter to this man, and no one in the apartment says anything?

Are underage marriages an issue in Thailand? Because that's the only reason I could see for them to add this plot twist. It felt so random, out of place, and kinda just there for shock value. Like 'hey, Ann doesn't have quite enough to deal with, let's add this on there'. WTH??? To me, Tong never gave that predator vibe either, so... I'm disappointed that the story went that route.

2. Ann's conclusion (or lack thereof) - Like the scarf she was about to hang to dry, Ann left and was never heard from again. I understand why she ran. With a life like hers and especially a mother like hers, I don't blame her. However, my brain cannot stop wondering, "Where does a teenager go?" "Where does a young, beautiful, teenage girl, with no money, no relatives to turn to (that we know of at least) go in the Bangkok streets?"

At 1st I thought she jumped, but upon realising that Jane and the rest of the passengers would have at least heard the splash or seen her do it, I scrapped that thought. But where did she go? What became of her life? Did she even manage to survive out there on her own? The story just abruptly cuts off her story after that cruise ship scene, never allowing us to see her again. I don't understand the 'why' behind that decision.

3. Jane's dad's infidelity - Man, I'd even forgotten that Jane's mother was married. That's how little her parents' marriage was highlighted in the show. But I guess they felt the need to pick up that one detail they sprinkled back in the 1st half when they were having that neighbourhood party. I didn't see the point of that whole mini side plot. To show us that Jane could go through problems, too? You know, aside from her mother always insulting her and calling her fat? That her family (her mother, really) could be poor too? I cannot wrap my head around this

Other thoughts:
a. I hope Ann's mother rots in some very lonely type of hell. I hope her remaining children grew up, supported each other, and left her. Left her alone and never looked back. Seeing Earng become the new Ann and learning that her mother never tried to find a job but went back to gambling broke my heart.

b. I'm not sure I quite like what the story insinuated about Tong. Despite that random side quest with the relationship, perhaps not the relationship with Ann, I did quite like him. But that statement right before the end. The statement about being the lookout while the person off camera took the bet... I really don't want to think that he became a corrupt cop. Or perhaps started gambling like Ann's mom

Conclusion: I think had they just stuck to Ann and Jane and the navigation of their feelings, identities, communication styles, and socioeconomic differences, I'd have rated it higher

Read More

Produced by Mandark Graphics and released between the end of 2024 and the beginning of 2025, Baka's Identity is an animated short film that quickly became a visual phenomenon, blending elements of existential science fiction with a vibrant cyberpunk aesthetic.

🤖 The Plot: Who is Baka?
The narrative revolves around Baka, a "low-caste" maintenance android in a hyper-industrialized futuristic metropolis. After a system error caused by an overload of discarded memory data, Baka begins to manifest something forbidden in his programming: individuality.
The film follows Baka's desperate escape through the city's lower levels as he tries to understand if the memory flashes he sees are his own or just "digital junk" from dead humans.

🎨 Aesthetics and Art Direction
Baka's Identity's greatest asset is its unique visual identity.
Neon-Gothic: The color palette makes extensive use of contrasts between the deep black of industrial areas and the vibrant neon of shopping malls.
Character Design: Baka isn't the elegant robot from films like I, Robot. He's clumsy, asymmetrical, and visibly worn, which generates immediate empathy in the viewer.
Fluidity: The animation mixes traditional 2D techniques with 3D (CGI) layers, creating a depth of field that makes the city seem infinite.

🧠 Central Themes
The short film addresses classic philosophical questions through a new lens:
Planned Obsolescence: Baka struggles with the fact that he was built to be discarded. It's a powerful metaphor for the modern working condition.
Memory vs. Identity: The film questions whether what defines us is what we live or what we remember (even if the memory is implanted).
Failure as Evolution: Baka's "failure" is, in fact, his consciousness. The film celebrates error as the starting point of life.

⚖️ Verdict
Baka's Identity is a "sensory experience." Although the script doesn't reinvent the wheel of the cyberpunk genre, the technical execution and the protagonist's quiet charisma elevate it to a must-see visual work of art for fans of adult animation. It's short, impactful, and leaves a bittersweet "I want more" feeling at the end.
Fun fact: The short film gained notoriety for its synthesized soundtrack, which uses real sounds of industrial machinery recorded in disused factories.

Read More

Tzu-Hsuan Hung, known for The Scoundrels, solidifies his reputation as one of Asia's most promising action directors with this film. The premise is simple and deadly: a high-speed train is turned into a time bomb by terrorists, and the passengers have exactly 96 minutes to avert catastrophe.

🎥 Tzu-Hsuan Hung's Direction

Hung utilizes the confined space of the train with impressive technical mastery. His direction focuses on:

Close-Space Fight Choreography: The action scenes in the aisles and between the seats are choreographed to appear claustrophobic and brutal.

Real-Time Tension: The film uses time almost literally, increasing the viewer's anxiety as the clock ticks.

Visual Aesthetics: There is a clever use of emergency lights and shadows, giving the train a feeling of a moving "metal prison".

🎭 Plot and Characters

The film stars Lin Po-hung and Wang Po-chieh.

The dynamic between the protagonists is what anchors the film. One of them plays a police officer (or security guard) who must deal not only with the terrorists, but also with the growing panic of the civilian passengers.

Unlike a pure action film, Hung dedicates time to showing the moral dilemmas of those on board: Who should be saved first? How to maintain humanity under extreme pressure?

⚖️ Verdict

"The 96 Minute" is often compared to Train to Busan (for its train setting) and Speed. It's a technically flawless film that showcases the maturation of Taiwanese genre cinema. If you enjoy thrillers where the environment is as dangerous a character as the villain, this film is a must-see.

Note: The film was a landmark for using the largest studio-built train set in Taiwanese film history, guaranteeing a realism that CGI often fails to deliver.

Read More

The Plot
The story revolves around Mara (played by Karen Lopez), a sales agent who leads a seemingly stable life until she discovers that her fiancé, Marco, is cheating on her with a coworker, Regine (Allison Ross).
The unique aspect of Sulutan (which in Tagalog refers to the act of "stealing" someone's partner or interfering in a relationship) is how Mara reacts. Instead of just suffering, she finds solace and a dangerous connection with a new colleague, Lena (Astrid Lee). What begins as a friendship to overcome the pain transforms into an intense and forbidden romance that puts their careers and safety at risk, especially when a blackmailer enters the scene.

Strengths
Cast Dynamics: The chemistry between Karen Lopez and Astrid Lee is the highlight of the film, delivering a vulnerability that goes beyond the provocative scenes.
Pacing: The film works like an office thriller. The tension comes not only from the romance, but from the fear of being discovered by malicious colleagues. Aesthetics: Following Vivamax's visual style, the film features saturated, urban photography that matches the atmosphere of secrets.

What to Consider
Genre: As is common in Vivamax productions, the film contains scenes of nudity and explicit sex. If you're looking for a purely conventional or family drama, this isn't it.
Script: The blackmail plot (involving Mark Dionisio's character) is somewhat predictable for those who have already watched other "Vivamax Original" productions.

Is it worth watching?
If you enjoy revenge dramas with a touch of erotic suspense, Sulutan delivers on its promise. It's a story about how betrayal can push a person down unexpected and sometimes self-destructive paths.

Read More

Bagong Tukso (2026) takes us to a completely different universe: that of modern Filipino erotic dramas on the Vivamax platform. Released in January 2026 and directed by Rodante Y. Pajemna Jr., the film is part of the new wave of productions from the "VMX" brand, focused on stories of seduction, forbidden desires, and high emotional intensity.

🌹 The Premise
The title, which roughly translates to "New Temptation," already sets the tone. The film follows a group of characters whose lives intertwine through secrets and infidelity.
The plot revolves around the idea that repressed fantasies, when given the right opportunity, can destroy stable relationships. It's a study of the boundary between loyalty and carnal curiosity, set in a well-crafted visual aesthetic, typical of recent Vivamax productions.

👥 The Cast (The "New Temptations")
The film is primarily sold on the charisma and beauty of its leading ladies, who are the channel's new bets:
Margaret Diaz
Apple Celso
Allison Ross
Heart Fox

⚡ What to expect from the film?

1. Aesthetics and Atmosphere

Unlike older, more raw erotic productions, Bagong Tukso relies on stylized lighting and art direction that attempts to elevate the material beyond a simple "adult film." There's a strong focus on psychological tension before reaching the explicit scenes.

2. The "Vivamax" Style

If you're already familiar with the platform's catalog (like Selina's Gold or Silip sa Apoy), you know what to expect: a mix of melodramatic drama, melancholic music, and choreographed sensual scenes. The film doesn't try to be an "Oscar," but rather delivers exactly what its loyal audience seeks: adult entertainment with a touch of Filipino drama.

3. Short Duration

At about 1 hour and 10 minutes, the film is straight to the point. It doesn't waste much time on complex subplots, focusing entirely on the dynamic of "temptation" between the protagonists.

⚖️ Verdict

Bagong Tukso is a niche film.

For those who like it: It's a treat for fans of Asian erotic dramas who appreciate the aesthetics and new actresses of Vivamax.

For those who don't like it: It may seem empty or excessively focused on visual appeal at the expense of a deeper script.

Note: As it is a Vivamax production, the content is strictly for viewers over 18 years of age, containing nudity and explicit sex scenes within the cinematic context.

Read More

If you're looking for a film that defines the "chaotic and wonderful" era of 1990s Hong Kong cinema, Future Cops (1993) is the pinnacle of that craze.

Directed by Wong Jing, the film is an unofficial (read: copyright-free) adaptation of Street Fighter, mixed with a plot that feels like a collective meltdown between Terminator and Doraemon.

🥊 The Plot (Or the lack thereof)

In the year 2043, a crime lord named Bison is about to be judged. His henchmen travel back in time to 1993 with the goal of eliminating the judge before he delivers the sentence. To stop them, a group of police officers from the future—the "Future Cops"—also travel back in time.

The problem? They end up in a high school, pretending to be students and staff to protect the young man who will become the judge.

🌟 The All-Star Cast

What makes this film a cult classic isn't the script, but the incredible cast. Seeing the "crème de la crème" of Hong Kong dressed up as video game characters is a unique experience:

Actor Character Based on...
Andy Lau Vega (Ti-Lung)
Jacky Cheung Guile (Broom Man)
Aaron Kwok Ryu
Dicky Cheung The protagonist (half Nobita, half hero)
Chingmy Yau Chun-Li
Simon Yam Dhalsim

🔥 Why watch it?

1. The "Mo Lei Tau" Humor

The film is steeped in Mo Lei Tau-style comedy (total nonsense). The jokes are fast-paced, physical, and often break the fourth wall. Expect bizarre transformations, low-budget special effects that have their charm, and completely absurd situations.

2. Pop Culture References

Besides Street Fighter, the film throws in references to Super Mario Bros. (there's even a sequence inspired by the game), Dragon Ball, and other anime from that era. It's a time capsule of early 90s Asian pop culture.

3. Fight Choreography

Despite the silliness, the fights are coordinated by Ching Siu-tung. Even with the ridiculous costumes and excessive wire-fu, the action is fun and creative, capturing the "arcade" spirit well.

⚡ The Verdict

Future Cops isn't a "good movie" by traditional filmmaking standards, but it's a must-see. It's vibrant, funny, visually crazy, and possesses a contagious energy that modern blockbusters often lose in their pursuit of technical perfection.

Reality Note: If you're expecting a faithful and serious adaptation of Street Fighter, stay away. But if you want to see Andy Lau with metal claws fighting a generic villain while someone dressed as Mario runs around in the background, this is your movie.

Read More