Reviews

Xiao Zhan has reached the status of Legends.

Up, imma need everyone to stand, so we can applaud this masterpiece. Y’all can’t even spell epic. Anyway, this is a review from an international fan who definitely, no lies, fingers crossed, watched this movie with their own two eyeballs. Source: dude trust me. I watched it. My words are as true and real as my auntie’s church wig. I super watched this movie. I swear on my ancestor’s goat.

Okay I lied, I didn't watch it before, but I finally got to see it with my own eyeballs after its online released and it was amazing. The whole production was so grand, the fight scenes with the martial arts had me on my seat. Xiao Zhan was amazing of in this role course, and I loved the two female characters. After Guo Jing I liked that venom villain character, he was so dramatic and funny. That final show down fight when he barrel through the Mongolian army was really cool.

The story was great, though I was sitting behind the screen going 'fight fight fight' in the final fight scene waiting to see a showdown between father and son and was disappointed, Sure, talking it out peacefully was nice, but I wanted to see Guo Jing do more martial arts stuff. In the romance department, I was so frustrated when the chief of the beggar's kept hiding from Guo Jing but I understood, cuz at least in the end they got their happy ending. That sword chicken lightning scene when they finally met was amazing, I was like awwww romance, love, hugging, rain, where is my kiss?

Overall, an amazing movie with lots of epic scenes, and really good plot. The actors played their characters well, and I wished it was longer.

***Below my review before I officially watched it***

Listen, Xiao Zhan as Guo Jing is hands down, the best decision a production team ever made. He was amazing in this movie. From the opening scene where he said that line about the…stuff with words, to the ending scene where he did that thing with the…the other thing in that one place, everything about this movie screamed masterpiece.

From the cast, music, location, cinematography, direction to the script, the team behind this movie understood the assignment, and the end result was an epic movie that is going down in China’s film industry as one of the best movies ever made. The movie have already broken so many records it’s in a league of its own.

I feel blessed just being able to watch this, and seeing how talented Xiao Zhan was. He embodied Guo Jing to perfection, and did great bringing him to life. Bare faced, yet not only did he serve face, he served talent. The way he delivered his lines, making us feel every emotion his character was going through. Those martial arts moves alone made every minute of his movie worth it. What a talented young man.

My favourite scene was the one where Guo Jing was at that place, you know the one with the sky and the earth, and he was wearing clothes, and there was definitely air, cuz he was breathing, and he said… words with his mouth. Yeah, that scene was amazing, I super loved it. And that scene with the bird and the horse, and the one with romance and the girl. Oh and the one with the soldiers and the fighting and the martial masters, and all the element wielding. Those were amazing. Hush your face, I’m not lying, I saw the movie with my own eyes in the cinema, in that one town in China, you know, the one with people and roads, and buildings. Yeah, that one. I had a seat at the back, and eat popcorn with fish sticks. Real stuff.

Anyway, don’t ask me the name of the cinema where I watched this, or the price of the ticket. Just trust me, I definitely watched it. I know haters gonna say I didn’t watch this, but they jealous, cuz guess what, I watched it.

One day, I will get to watch this movie and… (not that I have not watched it. I have. I’m just saying, I’ll watch it… one day. ^^ ) and my review would remain the same. Cuz, Xiao Zhan is in this drama and that dude is allergic to making subpar projects. Plus, I hear director Tsui Hark is a legend, so what do you get when you put two talents together? A masterpiece! You’re welcome.

I’m looking forward to XZ’s next work, Zang Hai Zhuan looks epic already. Real talk though, when would all international fans get a win? We couldn’t even get WM on streaming platforms when it dropped and had to listen to it illegally on the tube. I waited years for him to give us an album. I’m not complaining though, I love Xiao Zhan forever and a day, so imma still be here, but please throw us something… anything!

Anyway, yeah, so, from someone who definitely super watched this movie, I’ll highly recommend it to everyone. Rush to the cinema and watch it now. Take your family, your friends, that one uncle you don’t like, heck bring your ancestors too, everyone needs to watch this incredible adaptation. Also Xiao Zhan is in it… so, enough said.

Wishing everyone a healthy and prosperous new year. (that's when I wrote this review) May we all get to see Xiao Zhan in person one day.

AN: In case you didn’t get it, this is my place-holder review (not that I haven’t seen it already, I have, trust me.) until my eyeballs get bless as well. I’ll be back with a full review when that happens.

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Never saw a marriage in there?

Summary: This would have been a great concept as cultural/language crossover romcom but it missed the mark in some ways. I found the storyline a bit exaggerated and annoying in the beginning with foolish yet unfunny characters who seriously lacked boundaries. The ending was sweet but also seemed a bit rushed, wish there was more build-up that led to their romance. Also, where’s the marriage in the movie like the namesake states? I realized at the end it was an actual movie and not a show, which was nice not have to keep starting a new episode. It’s an easy watch but the some of the plot development seemed disjointed to me.

Details: The beginning scene setting seemed a bit over-processed, showing the female lead to be incompetent at her job. I was disappointed at the way the filmmakers wrote her: an aggressive, overdramatic, and impulsive nuisance. Even though this is common character behavior for females in many Chinese dramas, I still tǎoyàn zhège. I didn’t think it was funny seeing her make a fool of herself in multiple scenes, which is what led to her downfall in the first place. Her plan for revenge (via online bullying) made me super sad thinking about how that stuff has led people toward taking their own lives in real life.

I do like that Fang Miao Miao wasn’t a pushover and had some fighting skills (able to subdue a grown man with one punch) but was so immature at the same time, blaming everyone else and not taking responsibility for her own actions which led to her getting fired, beaten by Hou Zhan’s fans, losing her housing, etc. She could have just taken a regular office job to get to her goal of becoming a novelist, like most normal people do, but for some reason was holding on to that toxic workplace. On the other hand, Hou Zhan had some anger/trust issues and was super mean to the Fang Miao Miao, even egging her on at times and nearly putting her life in danger (crowd stampede). When they started getting close, I didn’t understand why Fang Miao Miao would still consider betraying him. Also, I didn’t understand why she went back to the workplace that betrayed her in the first place, which also led to a huge misunderstanding.

Side Notes:
- Something that is pet peeve of mine is people wearing glasses without lenses in them. C’mon people! At least make it look real (you can make it prescription free)!
- How does Fang Miao Miao not know Korean in some scenes then suddenly understand it in other scenes? Wish writers double-checked their story development.
- Why would Fang Miao Miao just leave her laptop lying around? Don’t most writers take their laptops everywhere with them?

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Shin Si-ah’s Breakout Carnage -The Witch: Part 2 is A Brutal Ballet of Power and Pain

When The Witch: Part 1 - The Subversion dropped, it was a sleeper hit that caught people off guard with its brutal action and intriguing premise. But The Witch: Part 2 - The Other One? This one cranks everything up to 11. Bigger budget, bigger action, bigger blood splatter—it's as if the filmmakers looked at the first movie and said, "Yeah, but what if we went absolutely feral with it?" And they did. But amid the carnage, there was an unexpectedly heartfelt core: a story about a girl learning what family means, only to have that warmth ripped away in the cruelest way possible.

At the heart of this chaos is Shin Si-ah's Ark 1, an entirely different beast from Kim Da-mi's Ja-yoon in Part 1. While Ja-yoon was cunning and calculating, Ark 1 is a blank slate, a newborn in a grown woman's body. Shin Si-ah nails this duality, oscillating between wide-eyed innocence and horrifying destruction like it's second nature. There’s something oddly endearing about watching her experience the world for the first time, from discovering junk food at a supermarket to quietly bonding with Kyung-hee (Park Eun-bin) and her younger brother, Dae-gil (Sung Yoo-bin). But then, the switch flips, and suddenly, she's making people explode just by thinking about it. Her performance carries the film, and for a debut role, that's no small feat.

Speaking of family, Park Eun-bin’s Kyung-hee is the heart of this movie. If the first film was about Ja-yoon reclaiming her stolen life, Part 2 is about Ark 1 getting a taste of what life could have been—briefly, beautifully. Kyung-hee and Dae-gil become the emotional anchor that keeps Ark 1 tethered to humanity. Unlike Ja-yoon, who had years to mask herself among normal people, Ark 1 was thrust into the world with no memory, no knowledge, nothing but raw instinct. Kyung-hee stepping in as her adoptive sister and protector? That was the closest thing Ark 1 had to real love. And that’s what made everything that followed hit so much harder.

Because the moment that fragile happiness was shattered, Ark 1 didn’t just seek revenge—she grieved. And her grief manifested as pure, unfiltered annihilation. Where Ja-yoon’s rampage in Part 1 was a calculated act of vengeance, Ark 1’s was almost involuntary, like a force of nature reacting to a world that had wronged her one too many times. Her final act wasn’t revenge; it was mourning. And that difference is what makes her so compelling.

The action? Oh, it delivers. If you thought Part 1 had stylishly brutal fights, this sequel takes it to another level. The film leans heavily into wide shots and large-scale destruction to emphasize Ark 1’s godlike power. Ja-yoon could levitate small objects; Ark 1 casually manipulates matter at a molecular level, warping space and creating sandstorm vacuums that turn enemies into mist. Her power isn’t just stronger—it’s terrifyingly absolute. By the time she truly lets loose, it’s less "fight scene" and more "divine smiting." The escalation in power levels between her and Ja-yoon is undeniable, and the film makes sure you feel that gap with every clash.

But it’s not just about Ark 1. The movie is packed with super-powered factions, each with their own agendas, leading to an all-out brawl in the final act. While some of the superhuman fights rely on sped-up shots (which might make them a little hard to follow), the sheer spectacle makes up for it. Limbs fly, walls crumble, and bodies pile up. And yet, despite all the high-energy clashes, the film never lets you forget who the real monster in the room is. Because while others fight with skill and tactics, Ark 1 simply wills her enemies out of existence.

Now, onto the gripes.

First, the pacing. Much like its predecessor, Part 2 saves most of the action for the end, which means the first half leans heavily on setup. And while the family dynamic between Ark 1, Kyung-hee, and Dae-gil is strong, the focus on the gangster subplot feels like a distraction. I get that it was necessary to set up the inevitable tragedy, but man, I wish we had more quiet moments of Ark 1 just existing within that newfound family. Seeing her learn, grow, and attach herself to this small slice of normalcy was the emotional core of the film, and it deserved more breathing room.

Then there’s the sheer number of side characters. The first movie kept it relatively tight, but here, we’ve got multiple factions, foreign agents, and returning characters from Part 1 all vying for screen time. It’s easy to lose track of who’s who, and some plot threads feel rushed because there’s just too much going on. Like, why was Kyung-hee’s father even killed in the first place? Some things get glossed over in favor of keeping the momentum going, but it does leave a few holes.

The violence? Dialed up to an extreme. Now, personally, I love a good, bloody action film, but for those with a weak stomach, be warned—this one does not hold back. Bodies are torn apart, heads explode, and the sheer savagery of Ark 1’s wrath is something else. It’s brutal, but never gratuitous. Every blood splatter serves a purpose: to remind you that Ark 1 is not someone you can fight. She’s someone you survive—if you’re lucky.

And then there’s the ending. It’s clearly setting up for more sequels, leaving us with more questions than answers. We know Ja-yoon is still in play, and Ark 1’s journey is far from over. But if you’re looking for a self-contained story like the first film, you might find this one a bit frustrating. It’s more of a stepping stone to the next chapter rather than a fully wrapped-up arc.

Verdict: The Witch: Part 2 - The Other One takes everything great about the first film and supercharges it. It’s a visual spectacle of carnage and chaos, balanced by fleeting moments of warmth that make the inevitable heartbreak all the more painful. Shin Si-ah proves herself as a worthy successor to Kim Da-mi, and the escalation in power levels is both exhilarating and terrifying. While the pacing and sheer number of characters could have been tightened, the core story of a lost girl finding, and then losing, her family hits home in a way I wasn’t expecting. It’s not just about revenge; it’s about survival, grief, and the cost of power. And for that, I respect it.

Score: 8/10—slightly less than Part 1 due to some pacing issues, but still a fantastic watch for fans of stylish action and super-powered mayhem.

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Horror comedy - light and fluffy

Cutesy little thing. Look at the poster!!

It might not be the best if you are wanting something grand, bone-chilling or a cinematic marvel, but if you mean to turn your brain off, have something light, lively and predictable on your screen, this one's a winner.

It simply came up when I was planning to watch something else, but it complimented my mood and I am happy to have found it.

I put the usual worry of how they would end up in the back of my mind, and went in with no expectations (after-all in this case I couldn't expect the heroine to have been in a coma all along). The ending was warm and understandable.


Rating explained--
STORY - 7.00 (my average) like another review mentioned it's simple, not much complication and no plotholes I can think of either.
ACTING - They are good actors, but the parts I find worth mentioning is how possessions were acted out well, even when for short moments
MUSIC - the main song was alright, I quite like Test Me by 4Eve (just featured in a scene)
REWATCH - I am not uge on rewatching ANYTHING but this can make the list, if I ever do
OTHERS - good set, cinematography, main actors are so cute 🥹

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✂ Sticks and Stones Got Nuthin on Words °9° °whoa°

0 $h!zzyl.

What do I want to write about this $h!znit?

Gimme hypnosis so I can forget this $h+.

Watch OB with someone you love. You'll come out of it closer together due to the trauma-bonding.

I don't want to forget the performances, though. The acting is insanely good. The script is just insane. OB is a 2003 2hr release that is rated 83/94 on RT, and 8.3 on IMDB and MDL. I need to watch it another time or two to pick up on the details and connections, but I'm not sure I can handleit. Maybe I'll just read about it.

We'll see a person fly off of a bridge and another off of a building. We all want to fly away from our problems. Dae-su's wings are clipped in the opening moments - they were a present for his daughter. He had just made a call when everything went black. When he wakes up, he's imprisoned. He's not in a jail cell. He's in a seedy motel room and he has no clue where. Everyday he's fed the same dumplings from (he presumes) a nearby restaurant. No one ever talks to him or gives him any answers. This goes on for years. More than a dozen of them.

OB is the Anti-Matrix. He's in a physical prison and he's very aware of what's going on. Like The Matrix, there's lots of head games in play, but OB is the opposite of hi-tech. When Dae-su escapes, his family is gone. He decides to get revenge on his jailers. Mido serves him one of his first dinners as a free man. She puts her cold hands on his and promises to help.

They start with the dumplings. They methodically eat dumplings at new restaurants daily. Dae-su will know the taste of what he was fed for 15 years, without question. Once he narrows down the restaurant he's able to investigate the area for the building that had become his prison. His fists are hardened from years of punching the wall. So, when he finds his captors, can he take on 25 guys in a hallway with a hammer? No problem /even with a knife in his back for half of it/. He's dancing as much as fighting. The hallway fight scene is hailed as one of the best and it is the most famous scene in the movie. It reminded me of Super Mario Brothers or some other video game. There's something very flat, linear, and fanciful about it. It is unforgettable.

The acting is superb. Choi Min-Sik (I Saw the Devil) is ML, Oh Dae-su. OH MY! What a performance. It's one for the ages. Yoo Ji-Tae (Healer, Different Dreams) plays Woo-jin Lee. I'd only seen him in When My Love Blooms-7. Oh my, again! He isn't the same person at all as the MLin WMLB - unrecognizable. OB requires him to be a splintered and agonized person, and he is up to the challenge. Kang Hye-Jung (Lady Vengeance) portrays the beautiful and fragile Mi-do. Ji Dae-Han (Chicago Typewriter) is No Joo-hwan. Oh Dal-Su (Miracle in Cell No 7) plays Park Cheol-woong. Kim Byeong-Ok (Secret Mother) is Mr. Han, Seung-Shin Lee (Lady Vengeance) is Yoo Hyung-ja, and Yoon Jin-Seo (The Royal Gambler) plays Lee Soo-ah. Park Chan-Wook (201, The Handmaiden) is the Director. OB is based loosely on a Japanese manga "Old Boy", by Nobuaki Minegishi and Garon Tsuchiya. It makes more sense that this story came out of Japan, which is not as conservative as Korea and there's a large swath of anime that is bent in the same manner that OB's plot is. If I say anymore I'll be in spoiler-zone.

OB is a serious and carefully composed film. It showcases brilliant visual juxtaposition for laughs - so many non-verbal scenes made us laugh. It's also gripping, horrifying, and shocking. Some of its themes are the nature of isolation, loneliness, imprisonment, and freedom. It is a deep dive into what constitutes our loves, our decisions, and ourselves. Are we even us without our memories? OB demonstrates how loose lips can sink ships: Gossip destroys lives. Beyond all of that, OB is one massive exercise in blame-shifting.

The really lonely people she knows “all hallucinate about ants,” Mido reflects. “They move in groups.” OB asserts that none of us are free. “How's life in a bigger prison?” Dae-su is taunted after he's freed. We'll see a rich dude who has “everything,” but he has imprisoned himself. Music is used effectively to compliment the mood. Classical music is most heard. One bad guy sings Rudolph the Red-Nosed Reindeer; maybe nobody ever feels like they fully fit in. The backdrop is heavy with dark blacks, greys, industrial colors, and reds. The lighting is low; everything looks dirty - until the end - which is blanketed with pure white virgin snow in an eternal sunshine of the spotless mind manifestation.

Dae-su is separated from Mido. The bad guys got her. He confronts his captor in a penthouse. Dae-su learns how his carelessness led to heartbreak that will never be resolved. Before he has a chance to process this information-dump, an even more painful truth is revealed to him. It splits him in half, emotionally and mentally. The acting in this scene by the two male leads is G.O.A.T. stuff. It's absolutely epic.

AS OB fades from our sight, we are haunted by yet another type of prison. The one that we choose. The limits we put on our own consciousness so that we can live in a way that we want to is also a prison - one of lies. We exist in lies, and we lie to ourselves first. They blanket our landscape like bright white snow, but snow must melt one day. What then?



〰🖍 IMHO

📣9.6 📝8.5 🎭10 💓1 🦋1 🎨7 🎵/🔊7.5 🔚7 ▪ 🌞4⚡7 😅5 😭8 😱6 😯4 🤢7 🤔6 💤0


Age 18+ nudity, violence, gore, torture, se×ual content; Language: F💣 @$$h0le; Rated R - restricted

Re-📺? I probably will, but there's no rush

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A bit rushed and incohesive

I came for the sapphic storyline and stayed for the child welfare aspect. All storylines besides those should have been gutted. This movie had a lot of potential to be more straightforward, cohesive, indie, and cinematographic. But it fell short of what it aimed to accomplish with too much going on.

Still, there are nice aspects to the movie. The acting was good, and the characters were interesting. One of the things I liked was, oddly, the winter city vibe throughout. It felt like every person Horigai met was a warm respite from the cold outside world. Overall, I'd recommend to watch this if you want a sapphic movie that is slightly indie and ambiguous.

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Unwatchable - Some Things Simply Aren't Funny

Listen, I grew up in the 80s/90s. I remember the action comedies of yore with their off-color humor. I remember with fondness the chaotic leading men in those movies (Lethal Weapon comes to mind) joking about hot women or making tasteless asides while the more dignified cast members rolled their eyes. I remember when we could joke in movies about damn near anything. Those were good times. Incredibly, however, I don't remember ever being expected to find pedophilia funny. There's a line you just don't cross. And people used to respect that line, even with their off-color humor.

This movie is not a blast from the past, it is not a throwback to a time when raunchy action comedies had R-rated jokes. No, not even close. This movie is VERY MUCH a product of current times. Making the hero a guy who has a clinically unhealthy obsession with sex is maybe, MAYBE a little funny. And I'm fine with flawed characters, of course. But attempting to normalize thinking a minor is sexy and heavily suggesting that the adult male main character intends to masturbate to a photo of said minor (a minor HE referred to as "a kid") is deeply, deeply disturbing. I was willing to overlook all the ludicrously overblown "sex humor" that felt like it had been written by an eleven-year-old. But I draw the line at attempts to normalize pedophilia.

Not at all surprising for Netflix.

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Kim Da-mi’s Breakout Carnage - The Witch’s Subversion: A Masterclass in Controlled Chaos

Some movies throw you straight into the action, but The Witch: Part 1. The Subversion does something different—it lulls you into a sense of normalcy before yanking the rug out from under you. At first, it feels like a touching story of an amnesiac girl, Ja-yoon, raised by kind farmers after a traumatic childhood incident. But then it flips the switch, transforming into an absolute bloodbath of a superpowered showdown. If you walked in expecting a slow-burn thriller, you’re in for a ride—because once this film kicks into high gear, it does not let up.

What makes The Witch so compelling is how it carefully builds Ja-yoon’s world before shattering it. There’s a quiet charm in watching her navigate normal life—worrying about money, caring for her ailing mother, and even auditioning for a talent show. But then there’s that creeping feeling that something’s off. When she casually levitates a microphone on live television, it’s a moment that shifts everything. And that’s what makes this story brilliant—it plays its cards slowly, keeping the audience in suspense about what Ja-yoon is truly capable of.

Then we get to the action—oh man, the action. If the first half of the movie was a ticking time bomb, the second half is the explosion. Kim Da-mi goes from soft-spoken farm girl to cold-blooded killing machine in a way that’s both terrifying and exhilarating. The moment she reveals she never lost her memory and was in control the entire time? Absolute chills. Her transformation is flawless—one second, she’s meek and frightened, the next, she’s delivering death stares that could freeze hell over. And when she finally unleashes her full abilities, it’s one of the most beautifully choreographed action sequences I’ve seen in a long time. The stop-motion filming technique during the fight with Nobleman was mind-blowing—something I didn’t expect but absolutely loved.

Kim Da-mi carries this film on her back, effortlessly selling both sides of Ja-yoon. The naive girl playing along in the first half and the ruthless warrior in the second half feel like two different people, yet it all fits seamlessly. Her performance is nothing short of mesmerizing, and the moment that switch flips, you realize she was never the prey—she was the apex predator all along. And that final grin? Haunting.

Visually, The Witch is a feast. The cinematography is sleek, the action sequences are intense without feeling chaotic, and the use of practical effects mixed with CGI is top-tier. There’s no shyness when it comes to gore—broken bones, flying body parts, and heads literally exploding. It’s brutal, but it fits the film’s tone perfectly. This isn’t some sanitized action flick; it’s raw, visceral, and unrelenting. The final battle in the lab is easily one of the most satisfying action climaxes I’ve seen in years.

That being said, the film isn’t perfect. Even with a two-hour runtime, some plot points feel rushed. The secret organization behind Ja-yoon’s creation is barely fleshed out, and we never really understand why the project was abandoned. A little more backstory would’ve helped anchor the stakes better. And while the final act delivers in spectacle, it does feel a bit backloaded. Spreading out some of the action sequences across the film could have made for a more balanced pacing. But honestly, these are minor nitpicks in an otherwise stellar film.

Gore-sensitive viewers might find some scenes a bit too much, but for those who love hard-hitting, well-executed action, this is pure cinematic bliss. And beyond all the fights and bloodshed, there’s something surprisingly touching about Ja-yoon’s story. Despite being engineered as a living weapon, she found humanity in her adoptive parents—a warmth that kept her from becoming just another monster. It’s almost like Superman being raised by the Kents, except instead of saving cats from trees, she’s tearing through armed soldiers like paper dolls.

The Witch: Part 1 is an absolute must-watch—not just for Korean movie lovers, but for anyone who appreciates an adrenaline-fueled, well-acted, visually stunning action thriller. Park Hoon-jung took a familiar premise and turned it into something uniquely gripping, and Kim Da-mi delivered one of the most unforgettable performances in modern action cinema. And with that ending? Yeah, I’m already strapping in for Part 2.

Score: 8.5/10 - Great, Worth Watching 🔥
Strong performances, engaging storytelling, and solid execution. Maybe a few flaws here and there, but overall, a drama that delivers and is worth the time.

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The Good. The Bad. The Ugly.

The 2025 Korean supernatural film, «검은 수녀들» («Black Nuns»), is the sequel to the 2015 Korean supernatural movie, «검은 사제들» («Black Priests»). However, anyone who wants to start with the sequel has no need to watch the first as «검은 수녀들» («Black Nuns») is a standalone movie, and the two are almost identical in plots, twists, and execution.

NOTE: The things written below were made in comparison with the prequel «검은 사제들» («Black Priests»).

The Good:
1. They gave the demon more dialogue.
2. The things the demon said are more in line with what's in the Bible, and more direct.
3. They gave the possession more screen time.
4. Less on the supernatural and more on realism. (No silly roaches; no "the demon finally started to use its power after it was caught")
5. Handled well the issue of "medical vs religion" when it comes to demon possession.
6. Brought into focus how skeptics handle witnessing demon possession.
7. Balanced relationship between Roman Catholicism and Korea's Shamanism.

The Bad:
1. Many scenes were a repeat of the scenes in «검은 사제들» («Black Priests»). They could've thought of something more unique.
2. Some dialogues were the same from the prequel. It doesn't have to be the same simply to pay homage to the original. It can be something else altogether since the sequence were the same already, thus the audience already are already aware at that point.
3. They didn't provide a clear background story to the primary character just because she'll sacrifice herself in the end. They should've done so to make the audience attached to her character. Her sacrifice was shallow, "I don't have a choice, I'll die anyway, so I'll die on my own terms and not because of this cancer". Surely, there was a very deep story behind her quick decision to sacrifice herself, it wasn't just because the same demon killed her mother.
4. The secondary character, while she was given a clear background story, they did not give her much to do. She was just an extra. Less than an assistant. While her role was important in the exorcism process, the film itself did not give her justice. Since they planned to let her character survive and join with the Priest from «검은 사제들» («Black Priests»), they should've given her more things to do, say, and screentime.

The Ugly:
1. The ending city sequence was totally unnecessary, especially those rats. It was so weird especially since two streets across everything was business as usual, no rats, nothing unusual. The timing was also weird. They were somewhere on the outskirts of the city, and they had to drive back in the middle of the city to get to a church? It was probably a 30-minute drive. Even if there were no Roman Catholic churches near the hometown of the possessed kid, they didn't have to find a church right in the middle of the city. They even showed the city's skyline and established how the kid's home was not in the city proper.
2. Why did they use the Snake again but different name? It was already the Snake in «검은 사제들» («Black Priests») for one of the twelve major demons, and that one was defeated. The one in «검은 수녀들» («Black Nuns») should've been a different one. Are they all Snakes? Or, trying to avoid the Dragon? If they're not afraid in offending Roman Catholics, then they should not be afraid in offending those who worship the Dragon.

That's all.

Oh, bonus, the numbers the demon mentioned were not random. However, I'm not sure if the writers intended that or had no idea about it. 😝

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Heartfelt story about a dog and his Master

I was searching for the dog who acted in Si Jin and Mysterious Lotus Casebook, and discovered he made a movie, Hachiko. It is a remake of the Japanese movie that I watched several years ago. I cried watching that movie.

Botang was a warrior, from puppy to end of life. He knew that Professor Chen was his one true love and father. He waited every night for his return from work. That loyalty lived beyond his father's death. For ten years, Botang, now a stray dog, searched far and wide, and waited every night at the train station for his master's return, until his heart stopped beating one day. I am sad that Batong was homeless for ten years. He survived so long, growing old and emaciated. In the end his father returned, and took the puppy Botang with him on the tram to Heaven. The ending is beautiful but sad.

The production company made a dog movie that showed compassion, empathy, loyalty and endurance. The many dogs that portrayed Botang, from puppy to adult dog, ultimately stole the show.

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A rose for luck!

Mr. Canton and Lady Rose aka Miracles aka Miracles: The Canton Godfather was Jackie Chan’s attempt at directing a film not entirely dependent on kung fu. This film was based on Frank Capra’s movies-“Lady for a Day” and “Pocketful of Miracles.” It’s about as good-hearted a Triad film as you are likely to find.

Kuo Chen Wah comes to Hong Kong to find work and is promptly fleeced by a conman. Almost penniless he ends up buying a rose from a street seller and his luck promptly changes. He precipitously and inexplicably becomes the head of a triad assisted by the canny Uncle Hoi. Rival gangster Tiger Lo wants half of the hotel the gang owns creating tension between the two criminal crews. Before Kuo knows it, he is turning his hotel into a club to showcase beautiful singer Yang Lu Ming. Believing the roses bring him luck he continues to buy Ms. Kao’s roses until one day he can’t find her. Turns out, the daughter she supports who lives abroad is coming to town with her fiancé and future father-in-law and they will be expecting the mother to be the fancy lady she’s described herself as in letters. Kuo and Yang decide to help the rose seller and hijinks soon occur.

This film was loaded. There was no doubt that there would be good fights regardless of the storyline as nearly every stuntman in Hong Kong was on the cast list. The fights were fewer than one would expect in a Jackie Chan film, but the ones shot were spectacular. Jackie showed that anything can be used as a weapon, even a Durian! The final fight proved that ropes and ladders worked better than chutes and ladders. Billy Chow led the baddies against Chan in the high swinging and falling stunts.

The cast was a who’s who among kung fu flicks. Lo Lieh played a bad guy even among the bad guys. Wu Ma was the shrewd #1 to Kuo’s Big Brother. This was one of his better roles. Anita Mui was gorgeous as Kuo’s love interest. Richard Ng played the morally gray police inspector and thankfully he made it through the entire film without showing his bare derriere. Mars, Fung Hak On, Billy Chow, Alan Chan Kwok Kuen, Ken Lo, and a host of other well-known fighters and stuntmen made appearances. Even prolific Shaw Brothers writer Ni Kuang made a cameo!

The biggest problem I had with the film was that it was too long. Many of the comedic moments began to feel repetitious. It could have been trimmed by 20 minutes and still maintained its narrative integrity. The film looked good and for the most part the pacing worked. The ending was very Capraesque, something unexpected but appreciated. Mr. Canton and Lady Rose doesn’t have the following that many of Chan’s films do, but for a 1989 kung fu film based on a 1933 Frank Capra film, I thought it was entertaining.

11 March 2025

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A timeless classic

Rewatching this movie was everything I needed and I appreciate it even more now that I'm older. All the jokes land, the characters and world is so wonderfully done, the wackyness was executed to the tea and each fight scene was gripping.


The landlady is actually top 10 female characters in all of fiction and I'm not even joking the way she carried herself and even her infectious dynamic with her husband was everything I needed.

Coolie's fine ass just had no business dying on me, I mean the Donut and Tailor's deaths hit hard but but Coolie?!?!?! that shiz DEVASTATED me.

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Clueless.

To be honest, I didn’t watch it with a lot of expectations, and even with the little I had, it still managed to disappoint me. It’s a below-average movie that seems confused about what it wants to convey and where it wants to go. The execution felt all over the place, making it hard to stay engaged. I'm hugely disappointed in both the creators and the actors because, with the premise it had, there was potential to do something much better.

Some even compared it to Exhuma, but sorry to say, it doesn’t even hold 10% of that movie’s impact. It felt hollow and directionless.

This is my honest review after watching Dark Nuns.

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