Reviews

I've seen this plot way too many times

Honestly, I was loving the movie until the ML confessed, but then jokingly, I remembered movies I'd seen before, where after a confession something tragic inevitably happens, one of the leads has to leave (which 90% is the ML from my own watching experience), then the one left is all like I never loved you, I hate you, whatever, they cut contact. Cue a few years pass, they reunite in the last 5 mins of movie, and Happily Ever After. I wish they didn't have to do this exact formula to bring issues in the plot, It just feels monotonous, as soon as this exact thing started happening, my mind disconnected from the movie, and I just couldn't enjoy the last 25 minutes of movie, I skipped a few frames till I reached the ending, as expected, the same thing. It's not that I don't like clichés or anything like that, often I'm the first to support them, but it feels a bit lazy for these movies to always do this (clearly, it's not all movies, but I've seen enough with this formula to recognize a pattern), with no true meaning behind it, not character development, closure of existing problems, or introspection. It's just for te closure of the movie, with nothing important in it to make it relevant to the characters. I don't know, the movie that had me excited and even gushing for the characters at the start, left a bitter taste in my mouth, which drastically impacted my overall view of the movie.

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When marimbas start to play....

I never watch movies, but as soon I saw even the tiniest snippet of this, I knew I had to watch. This is sexy, dangerous, and full of yearning almost too much to bare. 10Dance, what a beautiful story you are.

Let's Dive In.

A stunningly produced movie. It was great to see Machida Keita on my screen again and the lovely Takeuchi Ryoma. These two together created absolute MAGIC on the screen. Through dance, they were about to breed sexual tension like none other. It's the biggest highlight of the movie.

Suzuki is an interesting character. A free-spirited dancer troubled with the idea of being compared to Sugiki. When approached by the latter with the invitation to learn 10 Dance, he is initially disinterested until pure anger and distaste leads him to agreeing. It's another hour thirty minutes of complete angst, yearning, tension, and suspense. The only part lacking is the romance.

This story is about two straight men opening up doors they have yet to explore. Sugiki does it out of his own greed of needing to be number one while Suzuki has harboring selfishness until it turns into something else completely. This movie is not romantic. It is lustful. And that's okay too. I don't believe the movie aims to show that these men have love for one another that is anything but dance. They are trapped by the desire to be like the other, and because of it, it turns libidinous. Even with the passion between them, it is dwindled by Sugiki and later completely eliminated until a time jump shows that in six months, that same sensual affection is there.

This is left slightly ambiguous, but as the audience, it's our job to interpret that ending as we see fit. Personally, I think nothing comes out of it. They both know the kind of person they are and the kind of lives they live, and that's enough. They'll dance, they might kiss, and then move on until it recycles all over again.

Obsessed with the women in this series. While given the back burner, they outshine with their own conflict perfectly accomplished by the incredible acting of Doi Shiori and Ishii Anna. In some odd way, I felt their characters together had more underlying romance than the leads.

Ratings:

Story: 7.5/10 - It's less plot, more dance. Isn't a bad thing, but I wish they would sharpened some of the dialogue and story between the characters. A beautifully shot train kiss, probably one of the best climax kisses I've seen. Odd editing decisions that take you out of the story.

Acting: 9.5/10 - Incredible acting. Everyone is brilliant. My only gripe is that with most non-native english speakers, some of the english dialogue doesn't come off as poignant as it could've.

Music: 8.5/10 - Lots of great music. I forgot Sway by Michael Bublé existed, so thank you for that.

Recommendation Value: 9/10 - it's a great movie regardless of my critiques. Watch it! Plus, Ryoma is an ethereal being when shirtless, and I am hear to testify that his hips seriously don't lie.

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Teacher, do you love me?

I like viewing old movies and most times they are more interesting when we watch them in context. The constructs are different as well as the production style. I went into this thinking that the ending would be full of pain and frustration, and unresolved. Most teacher - student relationships end either badly or ambiguously. I was suprised that this was not the case and was handled with the only outcome that best suit their situation.

The greatest asset of this film was that the players that were introduced were used effectively. Amakami entered the school as a new student and both recognized each other immediately, tho with different responses. Amakami with intrigue and pleasure. Aoi, the teacher, with fright and horror at the thought that he slept with a student. Amakami game of toying with him began.

Here we insert the other characters worth mentioning. Ichiyo and Riku. One spinless and the other ruthless. Ichiyo, Amakami's room mate, immediately was drawn to him while Riku, the school's bully, only felt disgust and jealousy. Amakami's aloofness and popularity irritated him. Coupled with the fact that Amakami refused to sleep with him, this set in motion events that change the lives of both Amakami's and Aoi.

Whatever business you enter, there must be a goal and a time to achieve it. Amakami's side gig as a prostitute wasn't any different but like any plan, it came with the unexpected. He didn't expect that one of his clients would be his soon to be teacher and the main reason for doing this, would no longer exist. The home he puchased would not be for his lost family. His brother had already forgotten him.

I hold no sympathies for anyone else other than Amakami. Aoi, constantly acting from a position of fear, could do nothing that would help Amakami. Ichiyo's actions proved how desolate he was and Riku's proved how depravity can thrive off of wealth and power.

What I didn't like were the quotes directing the audience on how to feel on the given scenes. Let the work speak for itself. What I liked at the end were the words spoken by Aoi to Amakami.

Amakami: Teacher, do you love me?
Aoi: Maybe
Amakami: Then would you kill me? Living like this will be a burden on us. I like this moment, I want to end it now.
Aoi: Is that so?
Aoi kisses him.
Aoi: Let's go home.

Later
Amakami: Are you going to kiss me again if I say I want to die?
Aoi: That kiss wasn't for a guy who wants to die.

Decent watch. If this is your type of film, I recommend viewing Suddenly Last Summer.

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Gorgeous but jarring in many ways

The costumes, the sets, the people themselves - everything was quite breathtaking. The four main actors and actresses fit their roles perfectly. All their interactions were natural, with a good mix of subtlety and drama. The dancing was also very impressive. The train scene as well as the training sequences (and even the final dance to some extent) left an impact on me both aesthetically and emotionally. Luckily, the whole icy ballroom dancer meets passionate Latin dancer dynamic just about landed on the right side of the enjoyable trope vs. offensive cliché coin and is a classic for the dance movie genre.

Everything else though? The plot: not enough and badly executed non-linearity. The side and background characters: a bunch of hackneyed stereotypes spouting even cringier lines. The music: almost comically unimaginative. The treatment of the female dance partners: definitely comically unimaginative (Thank God for the couple nuances they were granted despite everything!). While I'm glad that 10Dance got the budget it deserved, I hope we get a little more creative and pay appropriate attention to all aspects that make up a good movie next time. On more than one occasion, I thought I was watching one of those American musician biopics. Many BL shows and movies have a certain charm to them that acts as a buffer against criticism. When you remove that, well, I'm tempted to rate them the way I would more mainstream productions.

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Redefines the sci-fi disaster genre

Mindblowing, presented in its most literal way, still isn't enough to describe this almost 30th floor tall of emotions flooding onto humanity's peak evolution, the scale of this movie is literally earth shattering cinematically on steroids. The visuals are extremely realistic and you could really feel the apocalypse in the first half and the determination in the second half, though a little bloated at its plot development but understandable as it is necessary for that enormous buildup to work out, at least the ending did pay off for it. The whole premise is one very ambitious act done in an unthinkable way that redefines the sci-fi disaster genre, truly unprecedented like never before.

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Maybe it just wasn’t for me

So… Where to start…

I didn’t enjoy this movie. It’s not even strong enough to express what I feel about it. Part of it may be because the expectations given by the trailer were not met. But, I can also say that I still wouldn’t have enjoyed this movie even if the trailer had been honest about what this movie is about.

Before I start pointing out what I disliked about 10Dance, I just want to say that the fact that I didn’t liked it, doesn’t mean you won’t. If you want to watch it, give it a try. Also, English is not my first language so I apologise in advance for any mistakes you may find.

So, let’s start. First, with the positive, because yes, I did found some positive during the two hours I spent watching this or I wouldn’t have been able to finish it.
- The actors did a phenomenal job with the dancing. It was truly impressive. I have no idea how they managed to learn all this but really, they were extremely good.
- The two female characters were the best, I loved them. I wish we had seen them more and that they were the main characters. Justice for the girls!!!!
- I guess, the lights? The movie was pretty to look at, which is why everyone is praising the cinematography. But more on this in the negative points.
- They tried to make a good movie so I’ll give them that. One star for trying, I guess. But, for me, they failed. This was a bad movie.

Which leads us to what I disliked about this two hours to the point that I wish I could erase it from my memory. To give you an idea, I took notes while watching. And when I take notes, it’s usually not good.
- The two main characters. I disliked them from the start, gave them the benefit of the doubt, and they didn’t change. Well… not exactly. The Latin dancer became less self centered, kind of obsessed with the other guy and got played so I kind of felt bad for him at the end. But the ballroom dancer! Please. What did anyone find charming about this guy? Please tell me, I’m curious. He was arrogant, a player and sexist!
- The blatant sexism in the entirety of this movie was the first thing that made it painful for me to watch. I couldn’t pinpoint exactly what was wrong until the twenty (?) minutes mark I think, when they start training all together. The Latin dancers arrive and the first thing the other guy say is: « Put your partner in a skirt. » Excuse me? He didn’t even look at her, didn’t say it to her, he just… ignored her. He also talks to his own partner twice in the two hours. Yes, I counted. The two times during a flashback. The first time, we don’t even see her, the second time he berates her while she’s going through a ptsd episode. A great guy as you can see. The rest of the movie, this poor woman is barely considered. He throws a glance at her a few times I think but yeah… He, obviously, never talks to the woman Latin dancer. It’s not only about how the male characters treat the female characters, it’s about how the movie treats them. 10Dance does not pass the Bechdel test (which is not an indicator about the feminist dimension of a movie but gives us an indication of the way they treated the female characters). All of the dialogue between the two women is about the guys, how much they actually admire each other, and apologising for the rude behaviour of their partner. Great character building! (This is sarcasm.) All of the time, the achievements during the dance competitions is the achievement of the guy. « I know you can go farther! » she says when she’s competing at such a high level and part of the winning couple of most competitions. I could go on and on about this but please, consider this while you watch (or rewatch) this movie. It’s bad.
- How they shot the movie. Most of the frames are boring, they always frame the characters and their surroundings in the same way. No experimentations, no trying to express what the characters are going through with the image, which is what a movie is supposed to do. But with a Netflix movie, why am I surprised? When they actually do something, like filming through curtains or with the reflections, it looks empty, like there’s no thought behind it whatsoever except making a pretty image.
- In the same category, the slow motion and freeze frames. That’s it. I hated it.
- Did you ever heard of the « show, don’t tell » rule? This movie does not follow it. There’s always someone here to explain what’s happening, how the character is feeling, why it’s so sad and tragic and you need to like this character because look what he went through. Yeah, no. That’s not how this works.
- The dramatic music. I don’t care how dramatic you make it sound, I already don’t like the characters. You can’t force me to feel sad.
- It comes a little late in all this but: we were kind of promised a romance movie? There’s no romance. I would even go farther and say there was no (romantic) chemistry. I apologise to anyone who disagrees but I felt nothing. No tension, no build up, no nothing except some hatred and jealousy at the beginning. And no, it’s not because two characters joke that one of the guys is in love with the other that it’s going to convince me he is. They kissed twice I think and it felt out of the blue. And the parallel between dancing and kissing each other was made so obvious it made me uncomfortable.
- Last but not least. When someone is cosplaying a dead fish on your bed, maybe it’s a sign to stop kissing them.

If you came this far, thank you. And sorry to those who really loved the movie, maybe it just wasn’t for me. In conclusion, if you want to see some good dancing, maybe you’ll like this. If you want a romance, you’ll be disappointed. But really, in 2025, almost 2026, women on screen should not be treated as props by the male characters and the movie. Please, be aware of what you watch.

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The unbroken bond between mother and child

Korean productions have this quiet strength when it comes to sci-fi and apocalyptic stories: they never forget the people. While many films in the genre get lost in scale, destruction, and technical realism, Koreans guarantee the human factor is front and center. An apocalypse is not just about cities falling apart—it is about humans breaking and adapting. When everything collapses, it is humanity that bears the weight.

«The Great Flood» («대홍수») does not miss that point. It leans into the often overlooked human factor, which means it may disappoint anyone expecting a shallow, effects-driven spectacle. But for those familiar with Korean storytelling—and for anyone who value character over chaos—this film delivers. At its core is a deeply human story, a simple yet powerful focus on the bond between a mother and her child.

Kim Da-mi (김다미) was perfect for the role. She has never limited herself into a single type of role, and that range shows here. The experience she has built over time allows her to embody the character fully, moving through fear, resolve, tenderness, and desperation with ease. It is the kind of performance that allows the audience to sit with the character rather than merely watch her.

9 out of 10 stars.

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Watch this for the MDL challenge.

A short film for the song 'ยังไกล' by BOY PEACEMAKER.

Story about Pete. Pete has been in love with his friend, Hana, for a long time. But Hana doesn’t feel the same way—she’s in a relationship with someone else.

The story begins when Pete and several of his friends go on a trip together. During the trip, Hana is in a bad mood because she’s fighting with her boyfriend.

Pete, unable to stand seeing Hana so downcast, tries his best to cheer her up. As the day goes on, the dynamic between Pete and Hana starts to feel like it’s shifting toward something more.

So the question is—will Pete and Hana finally end up together, or will Hana return to her boyfriend?

This short film beautifully captures the ache of unrequited love. You can truly feel Pete’s pain throughout the story. Copter delivers a stunning performance, and you see every emotion in his eyes, even without many words.

It’s a bit unfortunate that the film has no subtitles. Thankfully, it’s only about 15 minutes long, and the story is easy to understand even without much dialogue.

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Mindbending - A Brave New World

I enjoyed The Great Flood very much. The concept is such a bold idea, and although reminiscent of many other stories, translated well with its own spin, advancing the genre. In otherwords, you will have to watch it to find out exactly what I mean.

There are many touch points along the way in this movie. They range from the love of single mothers, through to the challenges of being a parent, the exploration of human nature in a crisis and the future of humankind.

The acting is very good. Our super mum is very human, very believable. Her counterpart, at first appears heartless. However, as events unfold, he helps our super mum become more resilient.

I thought the CGI was of a good standard. However, from my experience, some of the flood sequences portrayed were not quite right. However, we know through studies into sea levels, they can rise very quickly, regardless of the cause.

The movie is mind bending because not all is as it seems. The Great Flood sits well within the sci-fi pantheon, proof yet again that the Koreans are evolving science fiction at a good level.

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The Great Flood: An Average Sci-Fi Wrapped in a Disaster Movie Title

I really thought it would be a full-on disaster thriller like Flu, Tidal Wave, or The Tower—raw panic, survival instincts, and humans fighting nature at its worst.
Instead, the movie slowly drifts away from the idea of a flood disaster and dives into AI, modern science, world destruction, and a futuristic concept of human evolution.

The title promises one thing, but the story delivers something completely different. The “flood” feels more like a background excuse than the core of the narrative. The sudden shift toward sci-fi philosophy and AI with an emotional engine feels forced and confusing rather than thrilling.

I wouldn’t say the movie is bad, but it definitely fails to meet expectations set by its title and promotion. The pacing is uneven, the emotional connect is weak, and the sci-fi ideas are not explored deeply enough to feel impactful.

For me, it’s a one-time watch—an average sci-fi film with nothing truly memorable.
I went in excited, expecting edge-of-the-seat survival drama, but walked out feeling slightly fooled by the title 😂.

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When Disaster Thrills Drown in Ambition

Positives:
• Intensely gripping first act with high-stakes survival sequences
• Kim Da-mi’s powerhouse performance anchors the emotional heart
• Convincing and affecting mother-child dynamic
• Visually striking and physically immersive set-pieces

Negatives:
• Sci-fi shift in the second half overwhelms narrative clarity
• Repetitive dialogue and uneven pacing
• Hee-jo is underdeveloped and largely functional
• Later VFX, editing, and score sometimes fail to support ambition
• Ambitious ideas clash with the grounded survival story


IN DETAIL [SPOILERS!]:

I like to believe that world-ending natural disasters belong to movies, not to the actual future waiting outside my window. The Great Flood leans into that fantasy, imagining a planet surrendering to water, while narrowing its focus to one woman, her child, and an apartment building in Seoul that is slowly becoming a coffin.

The story begins with Koo An-na and her young son, Ja-in, waking up to an emergency already in motion. The water is rising. The building is filling. Neighbors are panicking, climbing, disappearing. What struck me early on was how quickly the film establishes its physical stakes. This is not about spectacle at first; it is about movement, breath, space, and the constant calculation of how long you can stay alive in a place that no longer wants you there.

That early stretch works. It works largely because Kim Da-mi commits to the role without cushioning it. Her An-na is not stylized or heroic; she is tired, alert, and governed by instinct. The relationship with her son feels grounded, not designed to manufacture tears. Even when the child is difficult, as children in crisis tend to be, the dynamic holds, and I stayed with them.

The film also understands, briefly, how to use the body as a storytelling tool. The best moments rely on physical effort rather than explanation. Climbing, holding, waiting, misjudging distance... these sequences are tightly constructed and genuinely tense. For a while, I was convinced the film knew exactly what it was doing.

Then the writing starts talking too much.

Details about An-na’s past are dropped in with little grace, as if the film does not trust its own disaster to be meaningful enough on its own. Trauma is underlined instead of allowed to exist. Dialogue begins to circle the same ideas. Scenes repeat their emotional purpose without advancing anything. I caught myself drifting, and once that happened, it was hard to fully return.

By the middle of the film, I realized I had lost track of why certain things mattered. An-na’s professional importance, supposedly the reason Son Hee-jo is searching for her, had faded into the background. Hee-jo himself never solidified into a person for me; he remains more of a function than a character, present because the plot requires him to be.

When the film shifts into overt science fiction in its final act, I felt it slip through my fingers entirely. The intimacy that carried the opening is discarded in favor of ideas that are gestured at but never properly shaped. Concepts replace people. Explanations replace tension. Whatever the film is trying to argue about humanity’s future becomes increasingly difficult to pin down.

Worse, the craft begins to unravel alongside the story. The visual effects lose credibility, the flashbacks feel clumsily assembled, and the music presses itself into scenes without offering any insight. Instead of building toward something, the film becomes louder, busier, and less coherent.

By the end, I wasn’t frustrated so much as disappointed. The Great Flood starts with a clear sense of purpose and a strong emotional anchor, then gradually abandons both. Kim Da-mi gives it everything she has, and for a while, that is enough. Eventually, though, the film drowns its own strengths, leaving behind the sense of a story that never decided what it wanted to be.

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heads up not a disaster movie...

The title of the movie can be quite misleading cause I thought it was a survival disaster movie. However, suddenly they start introducing the sci-fi elements which just throws it off pace....my focus was on the flood but now the story is completely different and the flood becomes redundant.

*Spoilers ahead*

Basically the story is in a way showing what AI deep learning/training looks like. The FL is training AI children to make an emotional connection through the repeated trainings. This is what the company believes will save mankind. Just as how she needs to make a child she also needs to make a mother. The training scenario given to the mother was finding her lost child in the middle of the flood. How the AI trains is situational training basically (something like supervised learning). So they made this concept into a movie.

Hence the process of finding her son in the flood just loops and loops with different scenarios until they finally succeed.

The story was not strong enough for me to find any emotional bond with the characters. So this might not be everyone's cup of tea!

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