Reviews

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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It could be better

Story 1: I found having the power to communicate to the dead cool. The ending did get me for this story. 3.5/10

Story 2 Cliff: I thought this was an ad for Snickers when seeing it. They would be weak and tired from no food or water. How would they be able to fight for the Snickers? It doesn’t make sense to me at all. They would be so thirsty after eating that Snickers. 2/10

Story 3 Accident: It was predictable since drinking and driving leads to accidents. I feel like it was a better than the first story. It does have jumps cares and the ending was interesting to me. 6/10

Story 4 Escape: I feel like this one was the best story out of the others. It reminded me of the elevator game he is playing. It’s hilarious how scared the trainee teacher is being in the other world. I felt bad for the trainee teacher for the ending. 8/10

Overall, I enjoyed the fourth story the most for this group of horror stories.

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A Heartfelt Masterpiece

As someone who enjoys stories that blend genuine emotion with cultural depth, this movie hit all the right notes. It’s more than just a film about love—it's a tale of resilience and the quiet battles people face in their pursuit of happiness - even though at the end, the "happiness" is indeed a question.

The story is deeply rooted in the cultural backdrop of a durian farm, which adds a unique charm. It’s not just a love story—it’s an exploration of identity, societal expectations, and the courage to live authentically. The visuals are stunning, with lush farm landscapes that contrast beautifully with the characters' tumultuous inner worlds.

Jeff Satur as Thongkham is the soul of this movie. His portrayal felt so real that it was easy to forget I was watching an actor. The way he captured Thongkham's inner struggles—his vulnerability, strength, and determination—was breathtaking. Jeff’s expressions and body language spoke volumes, even in moments of silence. It’s clear that he poured his heart into this role, and the result is nothing short of mesmerizing.

The soundtrack sung by Jeff Satur himself is another star of this movie. It’s beautifully intertwined with the narrative, amplifying the emotions of each scene. Jeff Satur, being a talented musician and songwriter, brings an undeniable magic to the musical elements. The hauntingly beautiful tracks stayed with me long after the credits rolled, becoming a part of the emotional journey the film takes you on.

This movie invites you to reflect on love, acceptance, and the price of staying true to oneself.
This isn’t just a movie—it’s an experience, one that lingers in your heart and mind long after it ends.

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My Jan 2025 Recommendation Challenge

Watch this for Recommendation Challenge by KDramaMama. This one sit quite a while in my PTW, but really reluctant to watch because I'm not too fond of watching remake. But here we are finished watching this one.

Story about Hwang Woo Yun (WY) & Hwan Seung Hee (SH). WY & SH met in high school, due to some circumstances SH move away without saying goodbye. WY finally found SH after seeing her in some mags, and WY chase her down & they met again in the university. Unfortunately at that time, SH already got a boyfriend, so they got separated again.

Years later, they met again, but this time is WY that got girlfriend. Although WY got GF, he still can't forget SH, so when there's a chance to went alone with SH, WY took it. And with all the feeling that's linger between them, WY decided to break up with his GF & try his chance with SH.

But the unfortunate thing is irresistible, the day WY tell SH is the day WY got injured because of he tried to save SH. Although WY & SH ended up together after this, but that's incident like the thorn in flesh in their relationship. & once again they separated.

Until one day in the future they met again. It's happen when SH give the news to WY that's she's about to get married. WY have conflicted feeling about the news, one side he still can't forget SH, but one side the thorn still linger in the air between them. So... What's the ending of their relationship...?

That's pretty much the story without giving any more spoilers. Once again, this really remind me to what you consider light word is sometimes cut deeply into someone heart & more hurtful than a mouthful full of sharp words, especially if that said by someone important for us.

Overall this still one real story about the one that got away. Unfortunately for me, this version not leave much impression, it's easy to forget.

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It’s an okay Horror Stories

Story 1 and 2: This one is the best part of the film. They did reply on jump scares a lot on this section of the film. I did like the approach more for this one. This section actually did do well with the silence and slow motion. The second half did show that people can be the most scary than supernatural. 8/10

Story 3: I feel like this one was the most boring one. The supernatural wasn’t that scary. The idea is good just to be a thriller. It didn’t work as a horror film. 0/10

Story 4: I felt like there was too much happening for a short film. I believe if this was a longer film. The story could flow better. There was too many themes happening at the same time: the rivalry of sisters, the killer husband, and supernatural. If they stick to one and made it the focus. It would behave been better. I would say overall it was more funny than scary. 5/10

Story 5: For a zombie movie it was mediocre in my opinion. The plot seems the same like any zombie movie. If it took a more unique approach it would have been better. 1/10

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Unus Prevalet

Simply put, a country is a territory exclusively claimed by a given people. There are lands belonging to the people of the American states; those of the folks by the Niger, and the lands of the Koreans and so forth.

Modern societies can only function if the people within countries believe themselves in concert. A vast propaganda apparatus and coercive institutions exist precisely to sustain that delusion. The best modern societies are the most cohesive, and thus those most firmly enthralled.

Yet, how many people can anybody know intimately in their country? How many are they entirely certain they could trust with their lives? Some are more fortunate in that regard than others. But not even with the most charismatic people can such amici number in the thousands. Even Jesus Christ only had eleven! Thus, for all that we would have it otherwise, the fact remains that all major human activities revolve around groups of intimates. A small cohesive group remains the most powerful human collective. They push the wheel.

For most of human history, something so obvious won’t have needed detailing. Our ancestors foraged in small bands of relatives. Those who settled as farmers or roamed as nomads were all related. Whether they were lords, peasants, slaves or raiders, strangers were rare! But mankind encountered the divine and birthed religion. Bureaucrats came into being to administer sacrifices to deities. Next came standing armies to defend them. It took some time, but then we invented corporations and endowed them with certain human rights. Then instant communication linked those above and those below by bypassing the middle.

The aggregate effect of all those eldritch creatures we term institutions is that modern man has to function in a world surrounded by strangers. And that works fine. Modernity has many fine substitutes for tangible reality. I’m not whispering in your ear right now. And yet, modernity cannot save us from the threat of an organised cabal. Its illusions crumble if they mount a concerted assault on our institutions. All that’s left are individuals who get swept aside and other groups who must decide whether to submit or fight. In the scrum where band meets band, only the most trusting and the best organised — the one that doesn’t wilt underneath the harsh rays of a zero-sum contest ( to the death!) will prevail. Those who seize the day become rulers.

12.12: The Day is a Korean masterpiece that more eloquently grapples with the above sentiments. It explores the events of the coup d’etat mounted by General Chun Doo-Hwan and his Hanahoe clique against their military colleagues and the Korean State within the medium of a thrilling two-hour drama. Spoilers — Chun Imperator, Ave!

It is obvious that the drama’s creators do not support the actions of the Hanahoe. I admire their creation because they avoided the temptations of lesser artists. There was no revisionism here. At least, so far as I can tell. They trusted in an intelligent audience to make their decisions about what was right or wrong. The viewer can see why those who followed Generals Chun or Lee would have made their choices and lived with the consequences. Although the creators place their thumb on the scales at certain moments in General Lee’s favour, it isn’t so blatant as to be preachy. This tale aims for mastery and artistic integrity over cheap partisan fervour.

It was also great watching a story that was 99% blokes where their motivations were straightforward. Most were following orders, and some just went with the flow. A minority knew the stakes all along, and the rest chose to stick with their guys because the alternative was either getting beat up by your boys for being a wet cat or getting trussed up as a scapegoat. Well, I suppose there was always snitching or cowardice — but, heaven forfend, right?! Every boarder who ever snuck out past lights out or who had to stash contraband during inspections knows the drill. I bet we’ll find this refreshing without the sugar and spice some lesser creators sneak in to titillate the screamy, fainty set.

All in all, this is a cinematic and literary masterpiece!

I bet Prez Yoon is watching this on repeat o:

Like the Josh Groban song . . . Don't Give Up!

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Only 6 out of 10 short films are there

I have watched this group of short films on Amazon Prime Video.

1.Ding Dong Challenge: It was a bit confusing to me. I feel like there was some content missing to it. It was predictable what would happen in my opinion. 6/10
2.The Prey (Four-Legged Beast): The student did go insane quick which was something. It was interesting to see this one. 8/10
3.Jackpot: It did have an interesting way of blending horror with the thrill genre. I did like how there was a bit foreshadowing with this one. 8/10
4.Resident Only Fitness Service: To me it was predictable on what would happen. 5/10
5.Rehabilitation: I believe this one did seem more interesting to me. 9/10
6.Gluttony: This one was actually depressing. Sad to see what happened to both of them. 7/10

Gold Teeth,Tick Tock Tick Tock, Delivery Complete, and Hey Marmons are not in the group for these films. I only rated the ones that have been shown.

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WHAT DID THEY DO TO YUKI???

So you are telling me, a random man comes to become your teacher, calls you over to his house, confesses his love to you and when you try to get away he holds you against your will and assaults you in every way he can??? And the fact the girl Yuki likes tells him to confess his feelings already and that she knows what Tonoin did???? I feel so bad for Yuki and wanted to give him the biggest hug. Yuki was in pain for days, physically, mentally, and emotionally. It doesn't help that the girl he really liked just threw him to the wolves and didn't care about his well being. I'm happy about the ending because Tonoin doesn't get what he wants.

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Uninvited: A Vengeful Party You Won’t RSVP to Twice

Uninvited (2024) is a Philippine mystery crime thriller directed by Dan Villegas, co-produced with a story and screenplay by Dodo Dayao. Starring Vilma Santos, Aga Muhlach, and Nadine Lustre, the film entered the 50th Metro Manila Film Festival with a tale of vengeance set against a backdrop of crime and corruption.

The story revolves around Lilia Capistrano (Vilma Santos), a grieving mother who infiltrates the lavish birthday party of wealthy criminal Guilly Vega (Aga Muhlach) to avenge her daughter's brutal murder. With layers of deceit, violence, and a cathartic showdown, the film explores the dark underbelly of power and privilege.

1. A Familiar Tale with a Few Twists
At its heart, Uninvited follows a well-trodden revenge plot: a mother seeking justice for her child. While the narrative isn't groundbreaking, the execution keeps you hooked. Villegas's direction ensures a polished visual style, and Dodo Dayao’s screenplay peppers the predictable storyline with sharp dialogue and moments of campy indulgence.

2. Star Power and Standout Performances
Vilma Santos as Eva/Lilia delivers a solid performance, though her attempts at subtle, eye-driven acting occasionally fall flat. Conversely, Aga Muhlach steals the show as the flamboyantly sinister Guilly. His portrayal brims with devilish charisma, echoing Al Pacino’s theatrical villainy in The Devil’s Advocate.

Nadine Lustre shines as Nicole, Guilly’s tormented daughter, bringing depth and vulnerability to a challenging role. Her scenes with Santos, while powerful, would’ve benefited from tighter editing to heighten their emotional impact.

The ensemble cast, including Nonie Buencamino, Lotlot de Leon, Elijah Canlas, and Mylene Dizon, each leave an impression, but it’s Muhlach’s menacing presence that truly elevates the film.

3. Flashes of Brilliance Amid Predictability
The film’s pacing is uneven, with a drawn-out buildup that dulls the climactic party confrontation. The revenge-fueled action sequences lack the tension and urgency needed for a truly gripping payoff. However, the musical score deserves applause, amplifying the film's intensity and creating moments of genuine suspense.

The film embraces its campiness, which, while entertaining, occasionally undermines its dramatic stakes. The predictable plot twists—though expected in a revenge story—diminish the emotional weight of the climax.

4. Final Thoughts
Uninvited isn’t without its flaws, but it still delivers enough intrigue and star power to warrant a watch. With Santos and Muhlach anchoring the narrative, it’s an enjoyable revenge flick, even if it doesn’t reinvent the wheel. For all its predictability, the film offers just enough drama, camp, and thrills to keep audiences entertained.

Catch it in theatres if you’re in the mood for some indulgent vengeance, but it might be better suited for a streaming night at home.

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prolonged vapid mess with an explosive finale

At this point, I've seen a couple of Takashi Miike's films, so I wouldn't class this at his Gorleston or most messed up, but I understand if teenagers dying isn't your thing, then don't bother watching (although it should be fairly obvious that this is what is going to happen, plus it's no more 'out there' than your standard slasher).

The runtime is atrociously long, so much of this film feels like filler that is a painful slog just to get to the last explosive 40 minutes. Sadly, it's hard to enjoy even the 3rd act, as all the side characters that have been shown thus far have already been removed from the story, thus there is no real tension or investment for us as a viewer. the plot is all over the place for seemingly no reason, and is interspersed with random flashbacks that are jarring, to say the least.

In terms of acting, the character Hasumi has to carry this one on his back, and while I think he does a good job, it doesn't save the film. Hideaki Ito is able to the toe line between crazy and overly comedic fairly well, despite the random English he has to work with. Sadly, no one else really makes any kind of impression on the viewer, and generally aren't around for long anyways, so it doesn't really matter.

My favourites? Honestly the soundtrack isn't too bad, and the few standout songs our characters listen to are pretty fun and catchy. There are some great shots throughout, and the 3rd act is bursting with colour, which leads it to being a great visual treat. Maybe if I'd consumed the media this film is based off of, I would've enjoyed it more, but as a standalone? I wouldn't say it's worth your patience.

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