Reviews

I'm not even mad at the ending

The premises to this movie sounded interesting, so I decided to give it a watch. And I must say that I was not disappointed. Sati got into an accident, and now he's got amnesia. The only way for him to remember anything is to take a picture the exact way the previous one was, and he would get a flash of memory from that said picture. It is through this that we see the relationship between Sati and his wife, Meta. It can be seen through these memories that it is not at all perfect. Trapped between them is their daughter, Namo, who despises her dad so much.

The wife for many years had given her all to her marriage, but Sati did not appreciate it. So, I'm glad for the realistic ending where Sati wants them to be together as he says that he's not that old Sati, and he would not make those mistakes again. But for Meta, she does not want to go back to that. She has lived it—she remembers it. So, it's good that she is thinking about herself, and also she's putting herself first before her husband and family, as she previously did. While it may not have worked out for Sati and Meta, the relationship between father and daughter has, and at least Sati can be proud of this.

If I had seen this movie a few years ago, I would have actually thrown a tantrum as it was not the HEA ending. Now, I agree with this ending as it is the most suitable ending between the couple. I must say, what did annoy me a little was the amount of pictures being taken out throughout the movie. It got annoying after a while for me. I do understand the point of it, though, as it was a mechanism for the storyline to move forward.

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"Morals or money?"

If you ever wondered what would happen if you combined a yakuza film, a noir, and a spaghetti western, here’s the answer---A Colt Is My Passport. Murder, betrayal, and of course there was a dame involved. Pop the popcorn and kick up your feet for Nomura Takashi’s black and white crime flick.

Kamimura and his driver, Shun, have been hired to take out the head of a yakuza family. After successfully completing his mission, the families decide it would be more financially beneficial to work together which means Kamimura and Shun have to be eliminated. The two fugitives hole up in a rundown hotel for truckers and make the acquaintance of Mina, an ex-yakuza moll. The port is crawling with gangsters searching for the partners which makes staying alive, much less escaping nearly impossible.

This was my first Shishido Jo film and I actually paused the film to see if he had been recovering from the mumps while filming this movie as his cheeks looked unnaturally swollen. Turns out he wanted to look different and had the work done. So, if he was happy with them, it wasn’t my business, though they could be distracting to look at initially.

Acts 1 and 3 were gripping. At the beginning Kamimura methodically worked his murderous magic, even taking time to listen to a bird sing. At the slam bang finish he once again contemplated perhaps the last moments of his life by watching a fly crawl around. The slow middle act lacked the intensity and compelling moments the other two contained.

“All that’s left for me is dust and the smell of men and gasoline.” Mina seemed to be there to witness Kamimura and Shun’s loyalty to each other, as well as to fall in love with Kamimura. Sadly, she jealously wished women could have the kind of friendships men had, giving false credence to the old myth that women’s friendships are shallow. Be that as it may, Kamimura and Shun were devoted to each other with the hitman working overtime to protect his friend, even tucking him at night.

With music reminiscent of Ennio Morricone’s, a dusty landfill standing in for the dust blown desert towns, and a man in black staring down a killer with guns blazing, the spaghetti western influence was obvious. Being obvious didn’t mean that it didn’t work, there were many powerful and captivating images. If you enjoy old Japanese crime films, this is one to try.

4 January 2025

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Life is worth living

Sweet Bean broke me a little bit but I understand it needed to do so in order to build me up again. This was yet another solid slice of life story from japanese cinema (they are experts on the genre) on how the we take for granted life.

The film doesn't go anywhere the viewer isn't expecting. It’s a long process that, like Sweet Bean, requires more patience than most would be willing to give. Kawase takes her time crafting scenes, which she sets in the darkness just before dawn. By itself, it would make an excellent stand-alone short film. The arduous process of cooking an pays off when Sentaro’s new, improved dorayaki quickly become a lines-around-the-block success due to word of mouth. Which is also the catalyst for the film’s dramatic conflict.

Kawase depicts the passage of time with beautifully shot changes of season, bookending the film with the vivid cherry blossoms of Spring. When Sweet Bean is leisurely coasting along like this, one can easily get lost in its meditative pull.

I admit this film might not be for everybody, even I had a hard time with it but I am glad I stayed for the entirety of it.

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Harbin is the historical fictional retelling of the assassination of Japanese Resident-General Itō Hirobumi and the events that led to it. Told from the perspective of An Jung Geun, one of the activists in Korean Independence army, the movie depicts a chain of events that led to the planning of the assassination. The film features themes of war, espionage, and political plotting. That being said, the first half was boring. It struggles with pacing issues, bogged down by way too many characters who fail to leave a lasting impression despite the star-studded cast. It's filled with boring scenes of men discussing, planning, and excessively smoking in a dark room. This slow buildup feels tedious, making it difficult to invest in the story or its players.

The second half becomes more thrilling as the plan to assassinate General Ito comes into fruition. It is packed with more action and suspense. There's a race against time to reach the general, while Japanese soldiers are riding on their coattails. One thing I loved is how they depicted the inner conflict of one of the characters. The film takes a nuanced approach to representing certain historical figures. General Itō Hirobumi is depicted as a complex individual rather than a one-dimensional villain. The movie even managed to mention some of his accomplishments. In contrast, the Japanese Army is depicted as cruel, inhumane, and barbaric.

The climax was intense. There was great use of sound editing and mixing to capture the thrill and suspense of the moment. Overall, this patriotic film is a great one time watch. I don't think I'll be watching again unless I'm a huge fan of war or historical films.

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This is not what you think!

if you’re thinking about watching this drama, I would definitely recommend having a box of tissues with you because it gets a little emotional although it looks like a comedy. I would definitely say that it made me cry at least two or three times. This is a fun show I would definitely recommend to watch with the family. It has a really good storyline to it, personally I loved the storyline! I love how in depth they go to show that this is important to them and that this is what they’re gonna do. This definitely has something to do with post trauma..?, bromance, and sports (specifically boxing). But I would definitely recommend watching this!

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don't trust the low rating

this movie was GREAT. i'm suspect to say because i love park haeil, but i was expecting nothing and ended enjoying so much. a must watch.

the character develop in this was interesting. in the beginning you may have a total different idea that you'll have in the middle and in the end. i still don't like the fml so much. i understand she did all she did for her nation, but the ml had nothing to do with this in the first place

and i also think that what happened really changed the ML perspective somehow, in a really good way, because he started to see the system he was into.

i'm not so good writing in english, but, please, give a chance to this amazing film!

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From the gentleman's perspective

The plot on mdl summarizes the movie pretty well because it is that simple, the movie is what the summary says, that being said is it good? Well when it comes to my opinion I have a different review policy, there is media that you thoroughly enjoy and even sometimes rewind while playing that is entertainment at it's peak and there is something that you skip forward just to see where the story goes and sadly this is that. While the acting is pretty good and the main leads are extremely likable especially ML the plot is where the movie lacks, there is no comedy guys and for a good 7 minutes you will feel anger too, but the romance is honestly what made me finish the movie and that is where the movie is at it's best when it's just the main leads alone talking or sharing a moment. All in all an average watch with no rewatch value.

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"An actor's revenge certainly is dramatic"

An Actor’s Revenge was actor Hasegawa’s 300th film and a remake of his 1935 film by the same name. Both life and the play were equally theatrical and equally theatrically shot. The gender bending characters made me wonder if life was just an extension of the kabuki play or if it was a progressive look at gender.

Nakamura Yukinojo is a famous onnagata who stays in character on stage and off. At the age of seven, his parents killed themselves when a friend colluded with two powerful men to destroy his father’s company, leaving the family destitute. One of the conspirators, Sansai, the ex-magistrate of Nagasaki and his daughter Namiji attend Yukinojo’s play. Kawaguchiya, the perfidious employee and co-conspirator also is there. Namiji is the shogun’s concubine but falls hopelessly in love with Yukinojo, becoming ill when he refuses to meet with her. Fellow merchant Hiromiya is also revealed to be an accomplice as he takes an interest in Yukinojo. The actor plots to use innocent Namiji to bring the 3 men down. He's aided by a lookalike Robin Hood thief, Yamitaro.

The hardest hurdle to scale was actor Hasegawa Kazuo. He was 55 at the filming of this movie and playing a character in his 20’s. When much younger Namiji fell instantly in love and called him “beguilingly beautiful” did she see beyond his paunchy middle-aged appearance? The female thief Ohatsu who was criticized for being too masculine and had never loved a man also fell in love with Yukinojo. Perhaps because the actor was decidedly feminine? Meanwhile, Yukinojo and his troupe leader Kikunojo seemed to have a deeper than friendship relationship. The thief also played by Hasegawa had sworn off all relationships with women though he was intrigued by Ohatsu. Whether it was the intention or not, love appeared fluid, flowing as it willed irrespective of gender or appearance.

Yukinojo’s revenge was nothing exceptional, but satisfying. What made this film enjoyable for me were the creative filming techniques that made all of life a stage. Trees in the forest were obviously fake as Yukinojo was confronted by an old foe. Director Ichikawa used dramatic filming techniques with inky blackness and strategic spotlights. Though it could make the action difficult to follow, the style was intriguing. Yamitaro’s identical appearance was perplexing. At first, I though perhaps Yukinojo had a split personality, especially when Yamitaro commented personally on the actor’s actions. In the end, I guess he was just one more narrator. Ichikawa made use of the famous benshi, Tokugawa Musei, as the primary narrator for the film.

An Actor’s Revenge was an entertaining kabuki experience on the stage and off. Hasegawa’s age could be difficult to overcome, but I suppose age wasn’t important on the stage so it wasn’t important off the stage in this film either. More style than substance and your enjoyment will be whether that off-beat, at times humorous style appeals to you. The suspension of reality and theater acting could be hit and miss with me, in the end it was worth the ride.

4 January 2025

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Not a review but my thoughts

The movie is about how concept love, sex and marriage is different for different individuals. I have lot of qualms about the narrative decided, but need to praise lot of choices made as well. I am curious about how these characters will live, in future. Music, acting, direction and cinematography are all top notch. The abundance of sex scene somehow felt very organic and necessary.

I am not sure what Ikka sees in Ryosuke and what's her future plan. I am not sure what's Ryosuke's plan either. All he does is cheat and lie, sometimes does some introspection on his behaviour and that's about it. Ikka is clearly ruining herself and him just like stated since she thinks sex was the problem and not the lies which he is feeding her. And she wants to keep doing this forever, like that will never explode on her face.

Other than the age gap (somewhat necessary for this story), the storyline in the bookstore felt very heartwarming. You can understand him to larger extent with their interaction, and I wish the ending was slightly better, because she is still 16 /17 and he is 30 in the end. She will 💯 leave him later when she matures and he will get hurt.

But the treatment of this frail story made the watch much enjoyable.

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A feel good, comfort movie

If you're looking for a movie that feels like a comforting hug, Hear Me: Our Summer is the perfect pick. Directed by Cho Sun-ho, this 2024 South Korean romantic drama gently pulls you into its world with a quiet, heartfelt story and characters who’ll stay with you long after the credits roll. It’s a remake of the Taiwanese classic Hear Me, but it’s got a charm that’s all its own.

The story revolves around Lee Yong-jun (played by Hong Kyung), a 26-year-old delivery guy working for his parents’ snack shop. Yong-jun doesn’t exactly have his life figured out yet—he’s drifting, not sure what his next step should be. But everything changes when he crosses paths with Seo Yeo-reum (played by Roh Yoon-seo) during a delivery to a group of deaf swimmers.

Yeo-reum is a fiercely supportive sister to Ga-eul, an aspiring Olympic swimmer who is hearing-impaired. From the moment Yong-jun meets Yeo-reum, he’s captivated—not just by her beauty but by her warmth and resilience. And here's where the film deviates from the usual tropes: Yong-jun already knows sign language. There’s no dramatic “learning to communicate for love” arc because he’s been using sign language in his everyday life, and this feels refreshingly natural. It allows their connection to develop organically, without any heavy-handed gestures or over-the-top romantic clichés.

What makes Hear Me: Our Summer truly special is its atmosphere. It’s a warm, feel-good movie that doesn’t rush or try too hard to tug at your heartstrings. Instead, it lets the small, quiet moments do the work. A lingering glance, a shared laugh, or a simple gesture speaks volumes. The chemistry between Hong Kyung and Roh Yoon-seo is understated yet electric—they don’t need dramatic proclamations or grand gestures to make you believe in their story.

Roh Yoon-seo is especially captivating as Yeo-reum. She has this effortless way of pulling you into her world, making you feel her joys, struggles, and quiet determination. Hong Kyung, as Yong-jun, is equally endearing. He perfectly captures that aimless, slightly lost feeling so many people in their twenties can relate to, and his journey toward finding purpose through love and connection is deeply satisfying to watch.

The film also deserves credit for its respectful portrayal of the deaf community. It’s clear that a lot of thought went into ensuring the representation feels authentic and meaningful. The use of sign language isn’t treated as a novelty or a gimmick—it’s just a natural part of the characters’ lives, seamlessly integrated into the story. This authenticity adds a layer of depth and sincerity that sets the movie apart.

Of course, no film is perfect, and Hear Me: Our Summer has its flaws. The pacing in the second half slows down a bit, and some viewers might find themselves wishing for a little more drama or tension. But for others, that’s precisely the point. This isn’t a movie about big, sweeping moments; it’s about finding beauty in the everyday, in the little things that make life—and love—worthwhile.

Visually, the film is stunning. The cinematography leans into soft, natural tones that perfectly complement the story’s gentle, comforting vibe. Scenes of summer days by the pool, quiet evenings lit by golden-hour sunlight, and simple yet meaningful settings like Yong-jun’s family shop add to the film’s intimate charm.

If you’re in the mood for a heartwarming, feel-good movie that doesn’t demand too much of you but still leaves you with a full heart, Hear Me: Our Summer is a lovely choice. It’s the kind of film that reminds you of the simple joys of human connection and the power of just being present with someone.

By the time the credits roll, you might not feel like you’ve watched a life-changing masterpiece, but you’ll feel like you’ve spent two hours wrapped in a cozy blanket of warmth and understanding. And really, isn’t that exactly what we need sometimes?

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One nation and two regimes.

One nation and two regimes. In one, one man decides everything and everyone, in the other, he would like to decide (see recent political problems). I was completely shocked by the beginning, where behind the propaganda texts read by crazy North Korean announcers, two North Korean soldiers are greedily kissing and then having sex in an explicit scene. The film probably won't be for everyone, but it appealed to me with its harsh reality to the bone, the ending is different than I expected, but I have to admit that, fitting the story and at the very end, the scene with Jae Sung brought tears to my eyes. An immense symposia by Kim Tae Hoon in the role of Youn Joon, even though with a Thai cap on his head. The acting is superb and all three gentlemen had a great time in those revealing scenes. A deep, sad, misunderstood by many and depressing film with beautiful, subtle background music about relationships between men, hard life and a divided Korea.

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"Water, water..."

Rhapsody in August was a bittersweet viewing for me. I’ve now watched all of Kurosawa Akira’s films where he was the writer and director. I have immensely enjoyed many of his films, this wasn’t one of them. While it was watchable, it lacked the bite and depth of previous films. Perhaps it was his age, perhaps it was writing without a partner. Whatever the reason, as he worked through the focal traumatic point of his generation, it came across historically evasive and heavy-handed.

Kane is the grandmother of four grandchildren. Her son and daughter have traveled to Hawaii to meet with her older brother. The children are staying with her while their parents are away. Kane has no desire to travel to Hawaii as she has no memory of the brother who immigrated in 1920 and made a fortune with pineapples. The grandchildren desperately want to go to Hawaii and are disappointed to be stuck with their grandmother in a house with no television. Kane is always looking backward to the bombing of Nagasaki where she lost her husband. She tells stories to the children who are both intrigued and frightened by them. With her husband’s memorial approaching she has no intention of leaving the country which causes the children to rethink their approach.

Women and children rarely figured prominently in Kurosawa’s films, here they took center stage. Some things never changed, the boys’ names were oft repeated while the girls’ names were scarcely mentioned. Much like the wife in Madadayo who never had a name even though the cat had one. The film fell upon the shoulders of the child actors with limited success. They went from acting like typical children upset to be without television to spouting adult social platitudes. The oldest girl, Tami according to the cast list, read off pages of exposition at the Nagasaki memorials from the Eastern bloc countries and at the school where the grandfather died. She opined how younger people had no memories of the fateful day’s event and no one bothered to learn even as crowds visited the memorials and school. Her opinions and history lessons seemed far beyond her years and felt completely out of place. Thrown into this mix was Richard Gere as the son of the wealthy brother who visited Kane and the children. Sympathetic to their suffering and acknowledging the tragic loss of the grandfather, he came and then left, awkwardly shoehorned in.

The ghost of the bombing was ever present in this film, especially for Kane who envisioned it as a great eye. For her the war never truly ended. The irony of the lost family living in Hawaii was never brought up when Kane blamed “war” for the bombing. In Kurosawa’s older films, the main character had to suffer and deal with painful challenges in order to grow and transform. Here, Kane is old and near the end of her life, ever reminiscing. Each generation had a different response to the bombing. Rather than a source of familial conflict the gap between the generations was easily bridged. The children who were largely unfamiliar with the bombing listened to Kane’s stories and visited the places she mentioned. Their parents who had known poverty as children and lived in the shadow of the bombing, were ever on the hunt to make a buck. All too eager to use the new wealthy relatives to improve their station.

Unlike his earlier films, Kurosawa fell into the tell don’t show trap where much of the action either occurred in the past or off screen such as a death and a family reunion. The bombing in this story happened in a historical vacuum, lacking any context and complexity. Perhaps because Kurosawa was near the end of his life and feeling more contemplative, so were his characters. Kane’s mind started running in reverse, driving her back to the day of the bombing. Steadily determined against the wind and rain to reach her destination and maybe this time change the ending. But only memories can run backward, time moves ever forward, with any luck carrying the lessons hard learned.

3 January 2025

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