Reviews

It's a movie

I was today's years old when I found out this movie existed, and I inmediately had to watch it. As a kid growing up with manga and anime, Saint Seiya holds a special place in my heart and, although I am not a die hard fan, I remember the story pretty well.

Let's start with the positive. Director Tomasz Bagiński has some experience with productions based on myths and fantasy (he as executive producer of the Netflix tv show The Witcher), so the development of the CGI was really well done. The costume design decent and chosen locations for the film to be filmed at, as well the sets, really good. The casting was solid, although I admit I have seen the lead actors give better performances before but they did what they could with the script they were given. And that's really the issue with this live action of the japanese classic.

The negative is definitely the script, it's weak and it deviated too much from the original story; never fully embracing the mythos surrounding these characters or giving them proper development. You have a villain that will stop at nothing, only to have a last minute change of heart which it's incoherent considering this character never had any proper development, to the emotional gut punch falls flat. The sacrifices made in the story also hold no emotion, we never get to meet the characters long enough to care.

Mackenyu and Madison Iseman do what they can but the script never gives them enough material to work with because this is an origin story, which means the film is too busy world building and not giving us scenes with them bonding, so when the plot changes to the supposedly poignant resolution, it's awkward as hell.

Overall, I would recommend this film to have something in the background as you clean around the house or something like that.

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A Bittersweet Poignant Vignette of Magical Realism

Consise, nostalgic, and well worked snapshot of a story. The movie the same sort of poignant impressions afterward as the movie Past Lives, although the latter movie didn't have the same temporal 'trick'. Suspect these kind of narratives would have more positive impacts on older viewers than younger ones. As the FL says (paraphrasing), "timing is what matters."

Well written, well acted, well-paced, even with the jumping back and forth between times. And I throught that waiiting to bring Mu-Nee into the story after the early timeline was well positioned, rather than if it had been at the beginning.

One minor complaint - thought there should have been more elaboration on what had happened to Yong between leaving school and the book publishing, especially with the deliberate touch of showing his wedding ring at the signing.

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FAITH TURNS TO OBSESSION

**UPDATED REVIEW**

Revelations is a gripping thriller that explores faith, guilt, and the consequences of misguided beliefs. The story follows Seong Min-chan, a small-town pastor who becomes convinced that a mysterious new churchgoer, Kwon Yang-rae, is responsible for his son's disappearance. A shocking chain of events unfolds, leading to tragic mistakes and desperate attempts to uncover the truth.

The film expertly builds tension through Min-chan’s escalating obsession. The moment he realizes his mistake, after already pushing Yang-rae down a slope, is particularly harrowing. Yet instead of remorse, another eerie "revelation" drives him forward, solidifying the film’s disturbing take on how people justify their own sins under the guise of righteousness.

Detective Yeon-hui, a woman battling her own demons, is also on Yang-rae’s trail. Haunted by the death of her younger sister, she is relentless in her pursuit of the truth, but her personal grief often clouds her judgment. Her panic attacks and emotional breakdowns add another layer to the film’s psychological intensity, showing that justice, like faith, is often muddied by human frailty. As she pieces together the case, her path inevitably collides with Min-chan’s, leading to a confrontation that forces both of them to confront the true nature of evil.

The film keeps you on edge with its dark atmosphere and intense suspense. As Min-chan struggles with his faith and guilt, the story takes unexpected turns, making you question who the real villain is. The performances are powerful, especially in the emotional and psychological moments. The cinematography also adds to the eerie feeling, using shadows and lightning to create a haunting effect.

But what makes *Revelations* so impactful is its refusal to provide easy answers. By posing the question, "Where does the evil that creates the devil come from?", the film challenges audiences to reflect not only on individual corruption but also on the structural forces that foster it.

The ending is thought-provoking and leaves a strong impact. Revelations is a must-watch for those who enjoy psychological thrillers with deep themes and moral dilemmas. It’s a movie that stays with you long after it ends.

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Whether we like it or not, we can only have one part of our partners

"Why don't you ever kiss me?" Mark asks his boyfriend Li Ting in the short film "Floss," by Chinese filmmaker Fan Popo, known for his documentaries "Mama Rainbow" (2012) and "Papa Rainbow" (2016), which address the experience of parents coming to terms with their children's sexual and gender identities in a society where family and face remain paramount. "I just did it," Li Ting replies without flinching. "No, I mean with tongue kissing".
By then, viewers have already discovered that Li Ting is harboring a strange secret: he's obsessed with teeth, both his own and Mark's, but especially with the delicate floss they use daily to clean them. His obsession even drives him to dive into the piled-up trash to retrieve a floss used by his partner. We soon discover that his paranoia has nothing to do with oral hygiene.
If in 'The Drum Tower', her previous work of fiction, also from 2019, Fan posed a story about the budding connection between an introverted student and a transgender shopkeeper in Beijing, in 'Floss' she explores the abject objects of our desire and the often unacknowledged loneliness of love, seen through the relationship between two young people in the Chinese capital that becomes strained after one of them develops an unusual fetish.
In the short film, the Chinese filmmaker (whose work is compared to that of fellow queer filmmakers He Xiaopei and Cui Zi'en for his "direct queer aesthetic", with a "media-savvy" approach, linked to the global LGBT+ movement and advocating for the acceptance of queer people in a more open and diverse society) introduces us to a pair of lovers: Mark (played by Xiao Ke) and Li Ting (Etsen Chen).
In the eyes of others, the two young professionals live a life no different from any other couple: they go out to dinner at luxurious restaurants, and after returning home from walking the dog, they settle down on the couch to watch movies together. Every night, in the bedroom, they have hot, energetic sex, in large quantities.
But an obsession grows in Li Ting's heart. When Mark, after shopping at the market, shows up at the house with floss sticks instead of the usual dental floss, Li Ting can't hide his Dissatisfaction.
That night, during sex, Li Ting shows no interest in emotional intimacy. Time and again, she offers her boyfriend excuses avoiding much more embarrassing situations. Distressed, Mark tells her at one point, "I don't think you like me at all." And he receives silence in response.
Matthias Delvaux's cinematography soon shows us that the photos of a happy couple decorating the apartment bear little resemblance to the sullen couple who live within its four walls.
From this moment on, things visibly change within the couple. Or have the images shown of the couple at the beginning only exposed a false reality, an illusory world? Have the two protagonists truly been happy? Despite the vigorous sex, is there passion? Don't the two seem to be living in separate, different worlds? Doesn't Li Ting look away from Mark while they have sex? Isn't he later tormented by dreams of being bound by a glowing spider web?
And that's when the viewer begins to understand what Fan is trying to tell us: the line between desire and disgust can be so thin that it can be erased at any moment and by any trigger: for some, it might be sweat, saliva, an unwashed body... For others, it's our partner's semen spilled on our chest during sex, blood, and pieces of chewed food.
The neurotic protagonist of the short film is aware of the abject nature of his own fetish. Expressing his obsession also entails shame and the silence that comes with it. That's why he prefers not to kiss Mark; why he chooses to look away when he meets her gaze; why he chooses to remain silent...
How much of ourselves do we hide from the person closest to us? That's the central question that 'Floss' invites the audience to reflect on, as it uncovers an uncomfortable truth: whether we like it or not, we can only have one side of our partners.
What's interesting about the film is that through the sexual obsession with dental floss, something certainly novel, 'Floss' examines contemporary relationships and the secrets we all have and jealously guard.
The film explores the communication barriers that exist between human beings, no matter how close or intimate we are with the people around us. Li Ting's confusion reflects the loneliness of ordinary people, especially those living in big cities.
Li Ting's obsession invites us to reflect on the intimate and idiosyncratic nature of fantasy and the power it wields, especially when it involves some aspect of reality that is often forgotten or forbidden in everyday life, as the Chinese director so aptly reminds us.
Presented at Palm Springs International Short Fest, Queer Lisboa, and Frameline: San Francisco International LGBTQ Film Festival in 2019, and Inside Out Toronto LGBT Film Festival in 2020, in 'Foss' the Chinese director accepts the challenge of tackling themes and approaches little explored by much of current LGBT+ cinema, to focus on the less attractive aspects of love and lust, in this case a fetish, to question the universal model of the monogamous couple.

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One of the better Condor Hero adaptationns.

Overall I really enjoyed this movie. The music, costumes, sets, vfx, and just overall production was top notch. The story was serviceable but was made up by the performance by the cast. The actor/actress for Guo Jing and Huajun stood out to me in particular. The portrayal of Huang Rong was fine to me. She just felt a bit too passive, looking around alot. I also appreciated that they spoke Mongolian whenever it was present. For a big chunk of the movie as well, not just a few phrases.
But.....this is coming from someone who has seen the other adaptations and knows the story. Which leads to some criticisms.

The movie does not cover the entire first part of the trilogy, but rather a section of it. To catch viewers up to speed on what has happened with our main characters, the film had a 10-15 minute compilation/recap of the story along with flashbacks here and there. I personally thought they were well done, for....someone who is already familiar with the story. If you are a new viewer, you might be a bit lost with all the names, lore, and relationship they throw at you. Even within the movie, the characters act as if the viewer already know of them and their relations. The way the recap and flashback scenes presented also felt like it was taken from or was a part of a previous prequel film. Because this definitely felt like the 2nd or 3rd movie of a longer series.

My last comment is more of a personal preference. When watching wuxia , I like the martial arts to be a bit more hand to hand combat with some fantasy/supernatural elements. In this movie, they went all out on the special effects for the fighting. Almost like Air and Firebenders going at it. At one point I laughed thinking wow they did Avatar the last Airbender better than the actual live action.

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"If she was a boy she could help your papa get out of this"

Polly Shang Kuan Ling Feng donned a wig, cross-dressing as a man in order to bring down the people who had her father arrested on trumped up charges. She’ll have her hands full taking on two different salt smuggling gangs with her little brother in tow.

Smuggler Chiang Piao uses his connections with corrupt government officials to have a policeman framed when the officer tries to bring him in for salt smuggling. Lin Kin tells his young son that it’s too bad his daughter wasn’t a boy, because then she could help him get out of the mess he was in. Lin Jo Nan decides to prove her father wrong and dresses as a man to infiltrate one of the salt smuggling gangs so that she can find a way to exonerate him. She has her little brother dress as a girl and with her kung fu skills soon finds a job with a rival gang.

Polly might not have been as fierce as Angela Mao or as competent as Michelle Yeoh, but on the lower rung of female kung fu stars, she held her own. Perennial bad guy, Kurata Yasuaki, is always fun to watch with his fast fists and even faster kicks. The best fight was between Kurata and the powerful Chin Kang. Addy Sung and Cheng Fu Hung were Piao’s minions who knew their way around fight choreography in fire and mud. Jacky Chen played a salt smuggler henchman with shady loyalties but quick moves both with his fists and in the bedroom. Martial arts directors Leung Siu Chung and Gam Ming created fights that suited Polly’s abilities and also showcased the more talented Kurata and Chin. They even helped little eight-year-old Yeh Hsiao Yee have some good moves.

If the movie hadn’t bogged down badly in the middle, I might have rated it slightly higher as the action was decent and the story adequate. Being a low budget film shot in Taiwan, most of the fights took place outdoors or in a warehouse. The only version I could find was dubbed in English. I don’t take off points for it, but I do dislike the dubbing aspect. While the film is fading at least it wasn’t badly cropped with almost imperceptible subtitles. I have no idea where they came up with the title The Rangers given it was a young woman and a little boy taking on salt smugglers to save their dad but looking for logic in these films is often a futile task. As always, graded on a curve for these films and only for fans of the genre.

18 March 2025

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its was really good

Unlocked (2023) is a film that will make you think about how dependent we are on our phones and how easily our privacy can become someone's weapon. If you like psychological thrillers that are based on reality and everyday situations, this film might interest you.

I liked how the tension gradually builds - it starts out quite ordinary, but soon the ordinary loss of a phone becomes a nightmare. The film works well with the atmosphere of uncertainty and shows how easily the life of someone who becomes the target of a stalker can change. The acting is convincing, the visual style supports the dark atmosphere, and the story is realistic enough to make you uneasy. Maybe after watching it you will start to be more careful with your personal data.

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THIS MOVIE DESTROYED ME

20th Century Girl je film, který vás zasáhne přímo do srdce. Má v sobě krásu nostalgie, sílu první lásky a hluboké emoce, které v divákovi zůstanou dlouho po skončení. Pokud máte rádi romantické filmy, které nejsou jen o sladké lásce, ale také o životních rozhodnutích a emocích, které nás formují, tenhle snímek je přesně pro vás.

Jedna z věcí, která mě na filmu opravdu nadchla, je jeho atmosféra. Dokonale zachycuje devadesátá léta – od hudby přes oblečení až po způsob komunikace. Nemusíte mít s touto érou osobní zkušenost, abyste si tuhle nostalgickou cestu užili. Každý detail působí autenticky a přidává filmu na kouzlu. Zároveň není jen prázdným retro výletem, ale skutečně využívá minulost k posílení emocí a hloubky příběhu.

Další silnou stránkou filmu jsou postavy a jejich vztahy. Nejde jen o romantickou linii, ale také o přátelství, rodinné vazby a to, jak se lidé ovlivňují. Každá interakce má smysl a působí přirozeně, což dává příběhu velkou emocionální sílu. Postavy nejsou jen ploché figurky, ale mají své chyby, obavy i sny, což je dělá skutečně živými a uvěřitelnými.

Líbilo se mi, jak film pracuje s emocemi – není to jen dojemná love story, ale příběh, který ukazuje, že život není vždy spravedlivý a že některé vztahy mohou být krásné, i když nejsou trvalé. Melancholie filmu není přehnaná, ale o to víc působivá. Dokáže vás rozesmát, rozněžnit i dohnat k slzám, aniž by to působilo uměle nebo přehnaně dramaticky.

Vizuálně je film nádherný. Kamera a barevné ladění scén přispívají k celkové atmosféře, ať už jde o radostné momenty nebo ty smutnější. Hudba pak skvěle doplňuje emoce a umocňuje sílu klíčových scén. Díky těmto prvkům je film nejen příběhově silný, ale i audiovizuálně podmanivý.

Důvod, proč by se na 20th Century Girl měl každý podívat, je jeho univerzálnost. I když je zasazený do specifické doby a prostředí, jeho hlavní témata – první láska, přátelství, ztráta a vzpomínky – jsou nadčasová. Každý se v něm může najít, ať už si připomene vlastní mládí, nebo si uvědomí, jak důležité jsou chvíle, které často bereme jako samozřejmost.

Film dokáže být romantický, zábavný i srdcervoucí zároveň, aniž by působil kýčovitě nebo manipulativně. Je to pocta mládí, vzpomínkám a emocím, které nás formují. Pokud hledáte film, který vás nejen pobaví, ale také zasáhne hluboko do duše, 20th Century Girl rozhodně stojí za zhlédnutí.

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Hard Work and Sacrifice toward pursuing baseball goals

The documentary follows one team, coach and his family and looks at the joys, frustrations and consuming passion that surround Japanese high school baseball. The annual summer tournament Koshien is a goal and dream of thousands of high school baseball players across Japan.
This movie doesn't choose to overglorify or to criticize the means and ways the coach works and teaches his players. This does a good job of showing what happens and letting the viewer decide how to feel about it. Another good choice is to follow a program that is good but not an overwhelming powerhouse. Also, a former protege of the coach has gone on to coach a team of his own. It shows that coach's approaches and team to a lesser extent.
This could have easily made a 3 part series that delved more deeply into how baseball shaped the coach, his former players and family. But this provides a good taste and is recommended for anyone interested in Japanese culture or baseball.

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✒Beauty✂Brawn✂Buddhas✂Bypasses & Burials °7.1° °VG°

✂From the start, TB cuts right to it. We cut from an elderly man cutting his last character in a wood tablet, to his gravesite where they discuss how finding the man's estranged family might be a challenge (while the digger is cutting into the earth), to a college prof (Bro #1) explaining that the independence movement was actually started in order to find two golden Buddha☸statues worth billions of won ("That's🇰🇷patriotism!"), while he's cutting off the students' Q&A time, to a group of planners who are looking for a better, more economical way to build a highway after a collapse, while they cut apart their employee (Bro #2) because he has respect for family ⚖rights & 🎑rites - who cares about the family that owns the land that we need? Why haven't you already suggested taking the land if it saves us 💰billions💰? If you can't explain yourself, Lee Joo Bong, you're fired! Those are the legs of the memorial table that is this movie. Big bro, Lee Seok Bong (he's both older and bigger) bought expensive equipment for Buddha-treasure hunting that he can't use, right now, because war has broken out where he believes the treasure is. Little bro is not only in danger of being fired but also being investigated at work for potential crimes because he didn't propose attempting to take private land from a family in order to build the highway. They're both on the highway to trouble, and they also find themselves on the highway headed to their father's memorial.

These bros come from a buddhist family steeped in their own history. They trace their roots to the Joseon Era and they revel in it. 🎎 Historic garb is mandatory for important occasions (I'll NEVER do that!, younger bro, Lee Joo Bong, insists… Who wants to put $ on that?). They adhere to old customs including mistreatment of women, particularly daughter I/Ls. Failing to actually follow the elevated teachings of Buddha, the family is horrible: The oldest, Lee Seok Bong, says his childhood dream was to become an orphan. He later rebels by going to church. Having grown up churchy while watching many kids rebel to become many things, including Buddhists, it makes me chuckle to see this happening from the opposite angle. When it comes to faith, nobody does it perfectly. That's the point. We have to work at these things. Work doesn't mean the external - sitting in a pew, or temple, or saying template prayers; the real work is internal and involves the heart. A handful of weird exceptions aside, there is no belief system on earth that will waive a magic wand and "fix" a person on the spot: You'll not find any group religious, political, or fraternal, where everyone has their act together. It's always a journey, and if we don't walk that journey with humility, we will never stay on the right path. These bros belong to a family that is excessively proud of their institutionalized pride. They don't do humility. That's why their behavior is loathsome.

Our bros got on the wrong path. On the way to the homestead they are talking (not necessarily looking ahead) when the car goes "THUD!" They hit something. They never saw it, but they hit /something/. A quick survey reveals a woman lying in the tall grass. She's breathing, but the ambulance won't get there for hours, they're told, so they decide to take her to the 🏥 themselves. When she wakes up they can see this is no normal person. Did she injure her head in the impact, or was she always looney? This chick gets weirder and weirder, and then she gets outrageous.

The cast is quite good. Ma Dong Seok is big bro, Lee Seok Bong. He has gravitas - hahaha - he's a big man with fantastic presence (he's actually American - represent, 🇺🇸!). Though on the side, his is the character that impressed me the most in Train To Busan-7.8. I have a predilection for teddy bears, so that might be why, but I think there's more to it that that. He has a likable air about him as well as good comedic timing, Lee Dong Hwi is Lee Joo Bong and plays the nervous dweeb well. Lee Ha Nee Aurora must play a somewhat crazy Amnesia victim. She's excellent.

The theme of this film is: Family - Thick and Thin + Legacy. The way we remember our parents may not be 💯% accurate. Most of us have no understanding of their struggles. A family's history is important and it's certainly interesting, but what's most important is the people. If family traditions are making the family miserable, then it might be time for a rehaul. There are many who don't know their family tree. That makes them no less significant and no less deserving of respect. Never forget, scientists and theologians agree: We came from one woman. We are all one family.

TB is 102 minutes and is rated 7.6 on AWiki, so it has been well received. (I find Korean movies are often a little better than their IMDB ratings indicate). Not every attempt works, but TB hits the 😅button plenty. It's an amusing film, and the ending is rather touching. It won't end up where you think it will half way thru, nor will it end up the way it looks at the 90% mark. It finishes stronger than it starts, which is impressive. It's most difficult to stick the landing, and they super-glue it better than mom's orchid pot. So ^before^ you grab any ^hoes^ and rummage for 🗿treasure, pay respects to The ^Bros^ for some light clean fun done right.

〰🖍 IMHO

📣7.5 📝7 🎭7.5 💓5🦋4 🌞6.5 🎨6.8⚡4.5 🎵/🔊6 😅5 😭3 😱3 😯3 🤔4 💤0 🔚8.8

Age + R rated language; no F💣s

Re-📺? If someone put it on I wouldn't complain.

In order of ~lite & trite~ to ~heavy & serious~, you may also like:

Mad For Each Other ~ silly fun
My Secret Romance 7 (too many flashbacks just ff thru them),
Start-up 7.5,
Her Private Life 8,
A Witch's love 7.8,
love to hate you 8.9
Touch your heart 8.2,
Romance is a bonus book 7.9,
Boys Over Flowers 8,
Crash Landing On You 9.1,
Oh My Ghost 10,
It's okay not to be okay 9,
Love Struck in the city 7.3,
Hospital Playlist 9,
My Mister 9,
More than friends 8,
I'll see you when the weather is fine 9,
Something in the Rain 9

If you want some fun in old Joseon, check out My Only Love Song(9), Mr. Queen(8.5), and My Sassy Girl(8.5).

Originally 〰️🖊 9/2023

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Cinema at its most, when it comes to political thrillers

Among the South Korean cinema audience in 2023/24 "12.12: The Day" sure was a great success. Production costs were thus recouped after 12 days already. Even beyond the national border the movie is considered among the bests South Korean films of 2023.

The story takes place in a world of uniformed men where stars and suits call the shots. There is talking, negotiating, and telephoning. There is also shooting, but comparatively little. The action is limited, even as various military units are actually invading Seoul to reinforce Chun Doo-hwan's security forces. However, it is cinema at its most, when it comes to political thrillers. "12.12: The Day" is compellingly captivating and knows how to stir emotions.

It wasn't long ago that the military in South Korea was thus actively involved in politics. Yet, Chun Doo-hwan's military revolt in that particular December night is a chapter that has long been given comparatively little attention. This KMovie now contributes to making these decisive events of the time conscious and helps to not having it forgotten. (Perhaps the right film at the right time... without knowing sort of preparing the public opinion for another momentous December night yet to come at the end of the year 2024…)

In any case, the right actors were in front of the camera – the KMovie is consistently high-caliber and lives from the strikingly concise character portraits. The names of the true historical figures were minimally altered to allow for more dramatic freedom. (It certainly helps as a non-Korean audience to know a bit about the political and historical context. However, the dynamics are outrageous even without this knowledge...)

The film offers an exceptionally candid portrayal of a crucial momentum in South Korea's recent history. Despite its politically and historically almost documentary-like dramaturgy, the KMovie manages to stir the emotions of the South Korean public today. Especially among the younger audience, it quickly became common to post a screenshot of their heart rate captured by their smartwatches on social media during the 141 minutes of the film to document their outraged indignation.

Even though "12.12: The Day" sometimes seems documentary, it is not a documentary film. The KMovie understands itself as historically precise. Yet, at the same time equipped with dramaturgically pointed degrees of freedom it allows itself to further increase the emotional density, too, and thus amplify the intensity of those impactful hours of that particular night.

By the way, the original title "Seoul Spring" subtly refers to the "Prague Spring," in which eventually hopes for democratization were also abruptly dashed by military force – however, in another country and ten years earlier.
















-------------------- HISTORIC SIDE NOTE -----------------------
The era of Park Chung-hee's military dictatorship abruptly ended with his assassination on October 26, 1979. Meanwhile, any high hopes for democracy were quickly dashed by security commander Chun Doo-hwan amid the ensuing turbulences and power vacuum. Together with the so called Hanahoe connection, consisting of his classmates from military academy, Chun Doo-hwan promptly and forcefully seized his opportunity: Having the military intervening in politics again… Thus, the hope for true democracy after Park's death was brutally dashed on December 12, 1979, as the new dictator was already waiting in the wings. The KMovie mainly revolves around those 9 decisive hours: how Chun Doo-hwan managed to win over, persuade, or push key people to side with him and carry out a military coup with a momentous impact for the nation.

In April 1980, he became head of the KCIA (Korean Central Intelligence Agency). In May 1980, he declared martial law. He is responsible for the Gwangju massacre, for the suffering of people in various cleansing camps, and for the torture chambers of the KCIA. On September 1, 1980, Chun Do-hwan officially took office as president and remained a rigorous dictator for 8 years.

It is truly sad, almost outrageous, that in the end, during that decisive night in December 1979 only the commander of the capital guard and a vague 100 of his people dared to really oppose the revolting military commanders around Chun Doo-hwan. Thus, not only the masterminds of the military coup and their Hanahoe comrades are to blame for the coup's success. Unfortunately, many more for various reasons quickly became opportunistic or switched sides out of fear. For 9 hours, a bitter power struggle raged behind closed doors of different operations centers in the middle of the capital Seoul. And on the streets of their own country the military pointed their weapons at each other… (…again).

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A Confusing Collaboration That Fails to Connect

"Co-Love," directed by Jill Singson Urdaneta, is a 2025 Filipino romantic comedy featuring Alexa Ilacad, KD Estrada, Jameson Blake, and Kira Balinger. The film centres around two content creators navigating their messy romantic entanglements while attempting an unlikely collaboration. With themes of love, friendship, and the complexities of modern relationships, the film holds promise but falls short in execution.

From the get-go, the film struggles to establish a clear vision. The editing is haphazard, the lighting inconsistent, and the sound design grating. Ironically, despite the protagonists being content creators, the quality of their "content"—and the film's overall technical aspects—is subpar. Awkward framing, poorly edited sequences, and clunky transitions make the viewing experience visually and aurally jarring.

The plot is equally chaotic. Events unfold without cohesion, with forced scenarios and shallow storytelling that lack emotional weight. The characters repeatedly deliver quotable lines, but without meaningful scenes to support them, the dialogue feels hollow. Attempts to tackle social media addiction and self-discovery are muddled, failing to deliver any profound commentary.

The saving grace of "Co-Love" lies in its cast. Alexa Ilacad shines with her effortless comedic timing and emotional depth, balancing humour and drama with finesse. KD Estrada brings intensity to his role, and his musical performance (the song "Di Ko Pinili") is a standout moment. Kira Balinger's over-the-top antics add a layer of charm, and Jameson Blake's understated portrayal quietly resonates. Despite their efforts, even this talented ensemble cannot salvage the film from its messy script and direction.

"Co-Love" teeters on the edge of satire, almost parodying itself with its exaggerated portrayal of influencer culture. While the concept of juxtaposing social media's frivolity with deeper emotional narratives holds potential, the execution here is far too disjointed. The movie ultimately feels like a missed opportunity—what could have been a bold, refreshing take on modern relationships instead devolves into a forgettable and frustrating watch.

The film's attempts to pander to Gen Z audiences with trendy tropes and superficial romantic beats feel patronising rather than engaging. It’s disappointing to see promising actors saddled with such lacklustre material, leaving viewers longing for a more thoughtful and cohesive story.

In the end, "Co-Love" isn’t a collaboration; it’s a chaotic clash of ideas that fail to connect—both with its audience and within itself.

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Honey, these guys don't use doors!

The Deadly Duo featured the successful trifecta of director Chang Cheh and actors Ti Lung and David Chiang. This time around the deadly duo’s mission was to rescue the hostage Song Prince. The cast of characters was bulging at the seams. The Shaw Brothers tower and bridge even had supporting roles!

Song rebels discover a dilapidated bridge leading to the tower where their prince is being held hostage by the Jin conquerors. Vastly outnumbered the rebels are finally able to find a fighter who has the best chance of leading them across it. The duo may be deadly but their opponents are as well. It will take sacrifice and fast swords for them to succeed.

This was around the 8th film that Ti Lung and David Chiang made together. Ti was the loyal rebel who recruited the featherweight fighter David Chiang to join his dwindling band. While I’m not a huge fan of Chiang, Ti spent the last third of the film shirtless, making up for my disappointment. Tang Chia has never been my favorite martial arts director but this time he was joined by Lau Kar Leung, a choreographer whose work I do enjoy. Most of the fights involved swords and the usual bizarre weaponry like a sword with projectile exploding balls or lethal giant golden cymbals. Villains hid underground and in trees. Bolo as the River Dragon, had a crew that could hold their breath for a very long time and leap out of the water. He was nearly always a baddie but I like the big guy. Chen Sing played the invading emperor with no kung fu skills which was a bit of a shock. Ku Feng was a dastardly leader who enjoyed the execution field and sported comically villainous eyebrows. With Chang Cheh at the helm there would be no women in the cast, most certainly buckets of blood, and bodies stacked high.

The plot supposedly based on a real life rescue was as simple as they come yet the movie held my attention. Because it was a Shaw Brothers film there was the money for fake forests and to burn sets. Most of the characters didn’t use doors, instead crashing through them or the walls. Although they still saved money with bit actor Tung Choi Bo who played an assassin who was killed and five minutes later the head of the guard with a whole new wig and wardrobe! There was nearly constant action which meant you didn’t have a chance to become acquainted with many of the characters as the body count was high. Ti and Chiang would go on to make over 20 movies together, so far, they’ve all been watchable but I have a long way to go. As always, I grade on a curve for these niche movies, and could only recommend for fans of the genre.

17 March 2025

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