Reviews

Seon Ho carrying it all without a doubt..although even he was just above average

Bro, this killer is so handsome. Like what is this.

Rather than psycho, he seems more of a Joker type of killer --there is no meaning to it, it is my job. He is funny and pro, as he likes to emphasize.

Well, the story had an interesting premise but ultimately no meaning. I thought the ending might hit us with an interesting twist but it did not deliver.

If there is part two I will watch it for Seon Ho's wild smile as this character. I think he could have shone even more if the script was better.

Ultimately, it is a fine action movie if you want to mindlessly pass time with an action movie. It is a genre of comedy-action, there is no emphasis on any themes or sense of seriousness. But then Seon Ho was not crazy enough for this genre I believe.
Nonetheless, a recommend.

Thanks for reading.

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A master even without violence

I'm continually amazed by Takeshi Kitano's batting average, his ability to fashion both laughs and heartache in a single instant is unparalleled, Kikujiro is no exception to this rule. A film imbued with serene beauty, presenting a series of increasingly poignant tales, yet so enamoured with itself that it had me wiping away tears of both laughter and sorrow. The film risks tipping headlong into sentimentality more than once, but every time it comes close, Kitano quickly gets the film back on track, leaving us with the emotional effect but effectively stripping it of sugary excess, filtered through his distant and deadpan touch. It's a film that prompts real emotional engagement because it cares for characters that it is happy to paint in imperfect colours, allowing us to warm to them throughout the story rather than pushing them on us in a cheap hard sell. Kitano structures the film as a collection of almost stand-alone vignettes, narratively linked sketches whose comical thrust is sometimes underscored by a touching element of sadness, each of which contributes to our understanding of the two lead characters and their fitfully evolving relationship. His direction is sublime, capturing the loneliness of its two main characters with beautiful ease, his playfully surrealist leanings even more pronounced here than in his previous films. Combined with another enchanting score by Joe Hisaishi, with its gorgeous blend of strings and piano, Kikujiro paints a beautiful take on alienation and guardianship. Brilliantly acted, well-written, achingly hilarious and featuring some truly stunning photography, a bittersweet symphony of unaffected profundity and voluminous emotional depth that hits all the right notes.

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Brilliant, funny and sad

This was brilliant. It had humour and sadness (made me cry). It was a little silly at times but funny silly.

Really interesting story. Greg Hsu who played the cop ming han, was brilliant and dopey at times and sweet when needed.
Austin Lin who plays the dead Mao Mao was super gorgeous, played the gay character well and dead character well. We all need a Mao Moa in our life.

Mao’s dad breaks your heart at the end and his granny was delightful, super supportive.

Well acted, great script and just an all round nice show. I would watch this again and I seriously dont watch much a second time.

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Portrait of the legal and social marginalization suffered by LGBT+ people in Thailand

What are "rights"? Are they something that all people are entitled to, regardless of age, origin, culture and any other circumstance, or do we earn it? Does the law have the power to dictate them or can we simply assume that we are entitled to enjoy the rights due to circumstances or tradition?
These questions arise in my mind from the opening scenes of 'The Paradise of Thorns', Boss Naruebet Kuno's feature debut, which takes viewers on a gripping emotional journey to address love, loss and the harsh realities of inequality legal in a compelling and visually impressive way.
Thongkam (Jeff Satur) and Sek (Pongsakorn Mettarikanon) are a gay couple who are married in every sense except the legal formalities, and who have spent five years building a durian orchard and the house they live in in the area rural Mae Hong Son.
But when Sek has an accident and goes to the hospital, the doctors refuse to recognize Thongkam as his partner, insisting that only Sek's elderly mother, Saeng (Seeda Puapimon), can sign a consent form for a surgical operation. An accident means that Saeng never makes it in time and Sek dies, revealing the harsh reality that same-sex marriage was not legally recognized in Thailand at the time of the film's release.
Sek's death leaves Thongkam vulnerable to draconian inheritance laws and family members eager to take away what the couple has built.
These scenes alone, in which men are unable to make decisions on behalf of the other when one is incapacitated, should be enough of an example of why marriage equality is so important everywhere.
The house and durian orchard, which belong to both men in spirit, turned out to be in Sek's name. This generates complications after his death, when the invalid mother and her adopted daughter Mo (Engfa Waraha), in charge of pushing the wheelchair, arrive to claim what they believe is theirs.
Thongkam will challenge the intentions of mother and adopted daughter, but since equal marriage is not recognized, the courts side with them, forcing the young man to ask Saeng to hire him as staff to manage the orchard, along with Mo's brother, Jingna (Harit Buayoi).
And right at this moment I ask myself other questions: Would Thongkam have had a happier fate in Thailand today, after becoming the first country in Southeast Asia, the third in Asia and the thirty-seventh on a global scale on January 23, 2025 in allowing legal unions for homosexual couples, and granting adoption and inheritance rights to same-sex couples? Is this a rare case where real life might be better than the movies?
Precisely, this is the theme explored in the film, which aims to paint a compelling and comprehensive image of how marginalized LGBTQ+ people have been legally and socially in that nation for decades.
The melancholic music, especially the song "Rain Wedding", performed by Satur himself, in collaboration with Vichaya Vatanasapt, who is also responsible for the heartbreaking musical themes of 'I Told Sunset About You', adds nuances to the plight of Thongmak, while he watches helplessly as the beloved garden that he raised with tooth and nail with Sek slips out of his hands.
But as the film shifts into a black comedy as he tries to overcome the situation he finds himself in, so does the music, which borders on suspense, preparing the audience for what awaits them.
With a tagline that reads "the land of love and resentment" it is evident from the beginning that the film is not feel-good cinema.
Quickly, the narrative jumps right into the action with death, which is the catalyst for all the events of the film.
Soon Thongkam will understand that the world will not be kind to him, which leads him to plan revenge, and he transforms into the antihero.
Similarly, Mo and Saeng offer an image of malevolent characters, to later show that things are not so black and white.
Although the film gets dark at times, the rivalry between Mo and Thongkam keeps it entertaining. While they are opposites of each other, an opportunistic and selfish woman versus a desperate and romantic farmer, when they start playing each other's games, we realize that they are quite similar.
Through Thongkam's eyes, Saeng and Mo are invading, malevolent forces coming to steal what is his. Saeng even evicts the young man from the bed he shared with Sek, and, to make matters worse, urinates in it. The consequences of her motor disability are used by Kuno to, behind Thongkam's back, also create a feeling of sympathy for both women.
However, the two evil women will even go so far as to expel Thongkam from his own house and his own land. To get back what is his, the young man invents his own plan to please them: a cunning and slow revenge plot that will captivate the viewer, considering the two faces that Thongkam comes to have.
On the one hand, he is practically a classic Disney villain, with a heart of gold and a justified grudge, and the actor who plays him completes the contours of the character with grit and ductility.
The actors bring great passion to their work: Engfa Waraha's performance as Mo is complex and formidable. It reminds me of Cersei Lannister, the fictional character from 'Game of Thrones'. Deeply narcissistic and ambitious, Mo will stop at nothing to take over the house and orchard, and shows little to no regard for others. She is filled with bitterness for having pushed Saeng's wheelchair for 20 years, an effort with which she hoped to be rewarded with Sek's love and recognized as the invalid matriarch's heir.
Since much of the story takes place from Thongkam's perspective, Mo is initially portrayed as a villain, but the very well-rounded performance of the actress who brings the character to life shows us that there is more to her.
Jeff Satur as Thongkam is sympathetic and desperate, a character you can really root for even when his methods of staying on the farm are morally questionable. Her encounters under the mosquito net with the Jingna eventually develop into a tender romance, and you soon find yourself rooting for them both to live happily. Unfortunately, a third act breaking point for Thongkam puts an end to that fantasy.
The colors also define the moods and moments of the film. Warm, romantic tones accompany Thongkam's honeymoon scenes, taking on a harsh tone as Mo and Saeng's true colors come to light. At these moments the lighting becomes harsh and yellowish, as a sign of the rupture of the happiness that reigned in the past in the house and the garden.
The colors perfectly characterize the characters: Mo switches between muted and bright shades of pink, representing her emotional journey. For his part, we see in the young farmer how his out-of-place aesthetic predominates, with leather jackets and shiny dresses, in the same way that society does not accept relationships between two men.
After directing several television series, such as 'I Told Sunset about You' and 'I Promised You the Moon', Boss Kuno applies what he learned on the serialized television set, delivering very high-quality images, an attractive young cast and high dramatic tension, to bring us a story divided into equal parts of revenge thriller, LGBTQ+ drama and social commentary.
The plot, written by Kuno and his collaborators Naron Cherdsoongnern and Karakade Norasethaporn, paints a picture of homophobia, seen primarily through the verbal battles between the mother and Thongkam; the social inequality faced by homosexual couples, while also shedding light on the plight of women like Mo, who have no chance of moving up the social ladder except marrying into a rich family or resorting to crime, manipulation, lying...
A film with many symbolisms: the scene of the moth sitting on Thongkam's nose is a great metaphor for the transformation when Thongkam decides to take justice into his own hands to avenge the damage caused, not so much by the mother-in-law and Mo, but by the Thai laws that deny you the right to what is yours as property.
The cultural richness of Thailand shown in the film should also be highlighted, with events such as monastic ordination, the first rain and traditional weddings, but also consciously used as a determining factor in the conflict.

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So I tried to not watch it cuz all of the sad people who said it broke them. So i recently watched it cuz of “Lovely runner”. I actually didnt know that BWS was in this bit it made it a whole lot sadder. I loved how smooth the story was there was luke no rush at allll. We even got few cite kiss scenes what was ADORABLE. But the ending really broke me and the goodbye scene when the ML was leaving. I have. now watched this movie at least 3 times and it somehow is alwayd sadder. Overall definitely recommend if tou dont want to ve heartbroken then just end the movie when they kiss underthe tree or just dont watch it😊

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"It doesn't take much for friends to become foes"

The Wild trotted out every trope and plot element used in a dozen other gangster movies, offering nothing new or exciting. It’s only saving grace was that Park Sung Woong can always bring an intimidating presence to any role, even when playing an overaged boxer.

Song Woo Cheol is picked up by his old friend and boss, Jang Do Shik, when he is released after 7 years in prison for accidentally killing another boxer in the ring during an illegal fight. Do Shik is ready to put Woo Cheol back to work, but the fighter wants, “to live quietly.” It takes no time for Woo Cheol to become entangled with a hooker who has a drug problem and one of her violent johns, Jo Jeong Gon, who is a detective and entangled with Do Shik and his North Korean drug supplier Ri Gak Soo. With a huge drug supply coming in, nearly everyone is double-crossing or murdering someone in order to either get hold of the drugs, the money, or both.

While I’m sure the writers thought the twists and turns would be surprising, I was calling them out before they came. It helps to have someone to be invested in, but for a solid hour, I really didn’t care about any of them. There were hints that Song Cheol regretted his part in the other fighter’s death and going to prison for Do Shik, but he didn’t exactly do anything to break away from Do Shik. I have no problem with age gaps, but a romance with someone half his age, felt more like male wish fulfillment than organic to the story.

The Wild was a wildly pessimistic and cynical gangster movie. I was deeply disappointed that Woo Cheol didn’t turn out to be as smart as I hoped he was. If you’ve never seen a Korean gangster movie or any gangster movie, The Wild might provide some twists and turns, otherwise, it was a “connect the dots” of familiar crooked games of deceit and betrayal all at the end of a knife.

26 January 2025

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THE PLOT TWIST IS EVERYTHING!!!

This movie was so fun to watch, its a solid 10 for the me, the plot twist and the devistation I felt over the classic fairytale being the one who.... like I was shocked. I was accusing everyone left right and center and its honestly such a fun time to watch it with the family. And I thought this would be about a mixture offairytales together but it was only about cinderellas story and IT NEEDS ANOTHER MOVIE ABOUT ALL THE PRINCESSES!!! I would love it, its perfectly set up for a sequel. It was random and watching my family scream at the top of our lungs calling out who the killer was... it was just such a fun time. And honestly I dont blame the killer for doing what she did, the prince was fun, the king and my fav the witches. Now red riding hood needs to venture to other fairytales and solve myseterys this would a perfect series. AND THEY WERE ALL FABULOUS!! The dresses, my little sister came over and was in awe at everything. They looked stunning, even the stepmother and step sisters I was dead. I would recommend to watch with someone, its amazing

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Such a beautiful Fantasy Rom movie

Hey reader! I just [22-Jan-2025 | 23:40 PM ] completed watching this movie and honestly it's already in my top rewatch list. This movie is based on the concept of Fantasy, time travel, Romance, etc.
We are well aware that a lot of movies have been made on the same concept but believe me that this movie was such a good one.

The story revolves around a young couple, who were childhood sweethearts but got seperated later on they met again in future at their friends wedding. And the plot was fast paced, they recognised eachother and started dating, happy with each other but due to some reasons Gu Yuxuan couldn't give time to Han Shuyan and after that many events occurred. (I don't wanna spoil it).

"Gu Yuxuan" the Male lead played by "Arthur Chen" works as a toy designer, when his girlfriend died he was heartbroken, on his birthday coming to an empty house, he somehow found a way to change "ShuYan" 's fate.

"Han Shuyan" the Female lead played by "Zhou Ye", a baker, her dream is to open a bakery. She was living happily until the day on which her boyfriend proposed to her, they got into an accident and he died while protecting her. She just wants to find a way to bring her love back.

LIKED ABOUT THE MOVIE :
1. The ACTING of both leads, Arthur Chen and Zhou Ye, I love them alot and to see them together in a movie, I'm really happy. When both leads cried in their respective scenes I cried more than they cried because it felt so real.

2. Their love, relationship and CHEMISTRY everything, it was all so perfect, They played their characters so well, that while watching the whole movie I was forced to think that, they look like they are in love for real.

3. Love how she understood her MISSION, to not chase him just to end up like his previous attempts; distanced herself after everything was gone, fate played it's role and they met again, even if late.

I couldn't see any fault in it, for me it was a really good movie, and it's one of the very few movies where I didn't skip even for 10 seconds. The plot was already fast paced.

Well anyways in the end it's the viewer's choice whether to watch it or not. From me it's a green light.

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Same-sex love from a heterosexual perspective

Emotional repression has been addressed previously in homosexual gangster films, through films such as 'Friends & Family' (2001), directed by Kristen Coury; 'The Boondock Saints' (1999), by Troy Duffy, 'Cruising' (1980), directed by William Friedkin and starring Al Pacino, Paul Sorvino and Karen Allen, 'Performance' (1970), by Nicolas Roeg and Donald Cammell, among others.
Before the legalization of same-sex marriage, Taiwanese cinema explored friendship and bromance between men to analyze the emotional relationships between gangsters. In 'Báng-kak' (Monga, 2010), directed by Doze Niu and script by Tseng Li-ting, we can have a representative cinema, by showing Ethan Ruan's crazy love for Feng Xiaoyue. With changing times, Taiwanese cinema may not show all the expected courage to directly address homosexuality among gangsters.
'Silent Sparks' is a gay film with a Taiwanese flavor that, through the aesthetics of the lens, a change in the body language and the gaze of the characters, leaves us a lot of room for imagination.
Directed by Zhu Ping, the film tells the story of Pua (Huang Guanzhi), a young man who after being released from prison begins to work in a warehouse.
Orphaned by his father, he tries to take the right path, but gets into a fight and is reported to the police. He lives with his single mother, who worries about his activities and nightly escapades. The young man has debts and still must pay compensation to people who suffered in the past because of him. This justifies the link with the criminal gang.
Only some glimpses of happiness in Pua can be seen in his lively talks with his friend and co-worker Zhi Hao (Wei Jie Hu) and in the escapades on the back of the cart to transport vegetables that travels through the market where he works, with unforgettable moments subjective shots of the market roof.
Upon learning that Mi Ji (Shi Mingshuai), his former cellmate, is released, Pua is eager to meet him to rekindle the secret relationship they had in prison, but the man, about ten years older, shows no interest in reestablish the sexual-emotional bond.
When drowned in his debts and worries faced with the dilemma of returning to prison or paying a high fine, Mi Ji decides to step forward to help him, which again leads Pua to commit a crime, now by intervening in a blood crime.
Huang Guanzhi and Shi Mingshuai previously played LGBQ+ characters. The first as one of the members of a gay couple in the short film 'Sunlight Tree Shadow', while Shi Mingshuai gave life to a drag queen in the short film 'Blooming Flowers'.
They are two actors who have very well-achieved performances, in which rage, erotic and sexual tensions, and the hunger to achieve what they desire exude naturally, almost organically, from their bodies, no matter how physically distanced they are. They have a real connection and they both do a great job portraying two small-time criminals with some unexpressed feelings for each other, but with a hopeless future?

THE FILMMAKER AND HIS WORK

Zhi Ping's career has been different from that of other filmmakers. After graduating from Shixin Radio and Television, Zhu Ping left the film and television industry to work at a hydropower company.
Knowing the workers directly, living with them, being part of the Taiwanese working masses, has been a powerful factor in the filmmaker's life, to the point of leaving these experiences reflected in one way or another in his works, giving them realistic vitality, a strong "Taiwanese flavor", a "very popular flavor".
The work of the emerging filmmaker is focused on local Taiwanese themes such as work, migration to the river, tasks related to the art of fishing, small family businesses, and characters at the base of society, as we can see in 'A Quan, a Rough Worker', 'Migration Down the River' and 'Friends Are Here', all of which illustrate the helplessness and current situation of the Taiwanese working class, with strong emotions mixed with realism.
With a precise selection of scenes close to reality, the characters in his films usually speak Taiwanese and behave naturally in the workplace.

WHY HAS ZHU PÌNG FILMED A GAY FILM WITH A SPECIAL STYLE?

Upon learning that 'Silent Sparks' was in production, doubts about gay films written and directed by heterosexual filmmakers, such as Zhu Ping, came to mind. However, once seen I have to confess that it exceeded all my expectations, achieving a film with a different "flavor" than most queer and BL Danmei films.
In my opinion, the fact that Zhi Ping does not belong to the LGBT+ community allows him to have filmed a masterpiece, with a gay romance that takes too long to develop (if that phrase can be used).
In the film, which at times reminds me of 'O Beijo da Mulher Aranha' ('Kiss of the Spider Woman', 1985), by Héctor Babenco, Great Freedom (Große Freiheitaka, 2021), by Sebastian Meise, or The Prince (2019), Sebastián Muñoz's debut feature, but Zhu Ping successfully finds another narrative path from the script to film a very direct but convincing film, in which Mi Ji will avoid Pua in almost the entire film.
And it could not be any other way, if we take into account the social environment and the underworld in which they live, and the heterosexual hegemony that defends masculinity, which together hinders a homosexual relationship. In other words, the taboo surrounding a gay relationship between two gangsters.
It is undeniable that Pua has an unrequited love for his new boss in the gangster office. The emotions and motivations of the characters are "internalized" through the use of looks. This is related to the setting of the film, because the two protagonists are not from the community, so they do not identify as homosexual.
In fact, we cannot achieve an effective psychological characterization of either man; only through a few stray words do we learn that they had a homosexual relationship in prison.
Prior to his imprisonment we do not know if Pua had girlfriends, wives, or children. Love only happens for him behind prison bars, another world of life.
Is it just a physiological need that brought you together initially, or is it emotional to physiological at first?
Back in society, Pua does not look for love in other men... or in any other person. He only has his interest in Mi Ji, an interest that is reinforced once he also goes out on the street.
Very wisely, the director chooses as protagonist’s two men without community and recognition, two people who, growing up in a heterosexual hegemony, are not able to understand the various aspects of love between people of the same sex in a short period of time.
The filmmaker intentionally prevents the protagonists from being able to face romance openly and frankly, creating a film full of stares and repression.
Everything is very convincing, even Mi Ji's deliberate evasion, which was a bit exaggerated at the beginning, was fully integrated into the later development.
Except for the phrase in which Pua, shocked by Mi Ji's rejection, referring to prison, expresses to her: "My mother asked you to support me in there, not to fuck me in there" and the deep kiss, there is no obvious reference to homosexuality in the work.

MOTHER-CHILD RELATIONSHIP

The film dedicates a large part of its footage to describing the relationship between Aru and Pua, mother of a son, respectively.
Aru is dedicated to divination. In one of the scenes, he expresses that the bad boy has been calculated since childhood as "brother's destiny." This can be interpreted as your child's love (sexual orientation) towards an older brother, which comes from nature and destiny.
They never discuss the issue of Pua's sexual orientation, but near the end of the film, when the mother hopes that the son will escape his fate and asks him where he plans to go to escape prison, Pua responds: "I will join him, Mom, I'm sorry." These words could mean that Pua made the decision to join her loved one again in prison, but if this phrase is interpreted as Pua's decision to say goodbye to her mother, the mother's departure brings another perspective.
The director allows the audience to interpret the scene with multiple meanings.
A round of applause for Fan Ruijin, the actress who plays Aru, for her final scene. She shows restraint and vulnerability when portraying the complex emotions after learning of her son's tragic decision.

BY WAY OF CONCLUSION

There are those who talk about a sad ending. Others claim that this interlude in the lives of the main protagonists ends up leaving the viewer feeling helpless and frustrated, because the characters are trapped in an endless cycle with no real opportunities to move away.
The truth is that the only place where Pua felt free, protected, and loved in his life was in prison. In the end... in a strange and twisted way, maybe there is hope for them after all?
In summary: The use of a heterosexual perspective on same-sex love is related to Zhu Ping's ignorance of the culture of the gay community, but this "deliberate choice" is very suitable for 'Silent Sparks', which makes the story unique.

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The Paradise of Thorns: A Poignant Thai Drama That Cuts Deep

Released in 2024, The Paradise of Thorns marks Naruebet Kuno’s impressive directorial debut. Starring Jeff Satur and Engfa Waraha, this Thai romantic drama premiered theatrically in Thailand before making its international debut at the Toronto International Film Festival. Now available for streaming in select regions on Netflix, the film delivers a stirring narrative of love, loss, and resilience.

The story revolves around Thongkam (Jeff Satur) and Sek (Pongsakorn Mettarikanon), a same-sex couple who pour their hearts into building a durian orchard together in rural Thailand. Their idyllic life is shattered when Sek tragically passes away, leaving Thongkam to face the harsh reality of Thai laws that fail to recognize same-sex unions. Stripped of his rights, Thongkam must fight to reclaim the home and orchard he helped create, which are legally handed over to Sek's mother, Saeng (Seeda Puapimon).

Jeff Satur delivers a deeply moving performance as Thongkam, embodying a man grappling with grief while navigating an unjust system. Engfa Waraha shines as Mo, Saeng's adopted daughter, adding layers of complexity to the family dynamics. The supporting cast, including Seeda Puapimon and Harit Buayoi, further enrich the narrative with nuanced portrayals.

Set against the lush backdrop of Mae Hong Son, the cinematography is breathtaking, juxtaposing the beauty of the durian farm with the emotional struggles of the characters. The film’s pacing is deliberate, allowing the weight of each scene to linger, while its poignant soundtrack amplifies the emotional depth of the story.

What sets The Paradise of Thorns apart is its fearless exploration of LGBTQ+ rights, marriage inequality, and societal discrimination. It sheds light on the vulnerabilities faced by same-sex couples, making a powerful statement about the need for legal recognition and social acceptance.

The film’s bittersweet ending is both haunting and necessary, reflecting the harsh realities many in the LGBTQ+ community face today. While the story is heartbreaking, it carries a message of hope and defiance, urging audiences to reflect on the importance of equality and inclusion.

Now, with same-sex marriage finally legalized in Thailand as of January 2025, this film feels even more poignant. It serves as a timely reminder of the struggles endured by many and the progress that still needs to be made.

The Paradise of Thorns is not just a love story—it’s a call to action and a mirror to society’s flaws. With its outstanding performances, compelling narrative, and stunning visuals, it’s a must-watch that will linger in your thoughts long after the credits roll.

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With the knife wiped clean of blood

I'm fully here for anti-colonial struggle. And Harbin certainly provides that, depicting a fictionalised story of the events leading up to the assassination of Itō Hirobumi at the hands of Korean independence activist An Jung-geun.

But this is a war film. Its purpose seems more to heroise rather than provide any real analysis or insight. I agree with Misunderst0_od's assessment of the first half of Harbin with its "boring scenes of men discussing, planning, and excessively smoking in a dark room". In the first half – and maybe the second too – the film seems more concerned with the aesthetics of anti-colonial struggle and less so its substance.

This is fine, I guess. The approach lends itself well to the strong thriller that the second half successfully delivers. Personally, I'm more interested in the tricky dilemmas along the way. I wouldn't go so far as to say that Itō Hirobumi is portrayed as a complex character, as Misunderst0_od sees it. I think he's certainly shown to be clever and self-aware, but he's very much still a straight-up Bad Guy and he is not afforded any emotional complexity. But that's ok - he's not the tricky dilemma I was interested in.

What I was far more interested in was the character with the "inner conflict" (borrowing from Misunderst0_od here again). First, what intrigued me was the inner conflict itself. How do you come to terms with betraying what you hold dear? And second, seeing how the other characters judged the actions of this conflicted character. I thought this would've been an excellent opportunity to study how people factor coercion into their judgement of others. How much can you blame a person for their actions when they've clearly been coerced into them?

Yet Harbin does not answer these questions. At least, not to my satisfaction. It instead presents what is, in my opinion, far too clean an ending. Without giving anything away, the ending seems just a bit to good to be true – and in a way that avoids a difficult moral grappling.

I will say, the cinematography did boost my star rating for Harbin. The film opens with an impressive landscape shot and then feeds you a few more epic ones along the way. You can definitely see where the budget was spent.

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