Reviews

The modern day socio economic classification portrayed in a way that will take your breath away

Portraying the struggles of the people who comes at the very last row of social classes, this movie is dark and would make you pause and think. The cinematography, direction and acting of this movie is definitely phenomenal. The twists and turns were unexpected. The way higher status people will dismiss that lower to them with something as insignificant as "bad smell" portrays how those with money are never concerned about anything but themselves. How easy it is for them kick out someone, find a replacement. How those who live desperate life would do anything to get the bare minimum while those with everything are never satisfied with anything. The gut wrenching progression of the plot definitely made it a movie made like never before.

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Watch this for the MDL challenge. In the end, this one the movie that manage make me breathless when I watch it……

Let's begin our review…

The film is based on the real-life miracle landing of Sichuan Airlines Flight 8633 on May 14, 2018. During the flight from Chongqing to Lhasa, the cockpit windshield shattered at an altitude of nearly 30,000 feet, causing explosive decompression and extreme cold.

Maintaining an extraordinarily cool head, the captain, Liu Chuanjian successfully landed the plane at Chengdu Shuangliu International Airport with no fatalities among the 119 passengers and 9 crew members.

Director Andrew Lau turns this true story into a heart-pounding, adrenaline-fuelled high-altitude blockbuster that will literally leave you breathless.
The kind of movie that doesn’t just show tension, it makes you *feel* it in your chest.

I am amazed with how calm the pilot & flight attendants were during the crisis. Especially the head flight attendant, she really did manage to keep her calm & composure even with all the panic passengers.

I was amazed by how composed the pilots and flight attendants stayed during the crisis. Especially the head flight attendant—her strength and professionalism stood out. Even with panicked passengers screaming around her, she kept her composure and did her job flawlessly.

This movie truly made me breathless during the most intense scenes. If you were sitting next to me, you’d find me gripping your hand during those moments…

If you love films that pump adrenaline straight into your veins—if you want to feel every second of danger, courage, and human willpower—and keep your heart racing, this is definitely one you need to watch.

I highly recommend it.

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Trying to see a point, any point...but it is escaping me

Well, let me write this while I am waiting for the last 4 minutes to finish. They better be the best last 4 minutes of any movie ever made..for this review to take another turn.

I am also wondering why have I wasted other 157 min.

What was entertaining here?

Plot, where?

I truly have no idea what I have watched.

Absolute waste of time. I cannot even call it pointless violence or glorification of torture/fetish or psychological consequence of trauma... because there was no thread connecting on any level.

A skip.

Thanks for reading.

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When Justice Breaks, the Mind Speaks in Extremes

Murderer Report (2025) is not a comfortable film, nor does it intend to be. It is a work that forces the viewer to confront what society often prefers to ignore: moral erosion, unresolved pain, and the fragility of the systems we call justice. Beneath the surface of a psychological thriller lies a far deeper meditation on responsibility, guilt, and the limits of human reparation.

One of the film’s most powerful pillars is the figure of the doctor—a character who resists any simplistic division between good and evil and instead inhabits a morally complex, deeply human space. His cause does not arise from impulse or empty cruelty, but from an accumulation of silence, negligence, and wounds that were never acknowledged. From a psychological and psychiatric perspective, his behavior can be understood as the extreme manifestation of chronic trauma: when pain is not heard, the psyche seeks desperate ways to give it meaning.

The film does not superficially justify his actions, yet it contextualizes them with an honesty that is deeply unsettling. And it is precisely there that a strong, almost unavoidable support for his cause emerges—not for the violence itself, but for the cry that precedes it. Murderer Report poses a disturbing but necessary question: what happens when the system fails repeatedly, and justice ceases to be a refuge, becoming instead a broken promise?

From a psychiatric standpoint, several characters display clear signs of emotional dissociation, internalized guilt, and extreme defense mechanisms. The journalist, for instance, embodies the conflict between professional ethics and a dangerous fascination with the abyss; her gradual emotional destabilization reveals how prolonged exposure to horror can erode even those who believe themselves to be mere observers. The doctor, in contrast, represents a mind that has already crossed that threshold—a psyche that has rationalized pain as method, not out of cruelty, but out of moral exhaustion.

The boundary between justice and revenge is portrayed as dangerously thin. The film suggests that both are born from the same place—the desire for balance—but diverge the moment society decides whom it listens to and whom it silences. When there is no reparation, revenge disguises itself as justice; when there is no justice, revenge becomes the last possible language.

Visually restrained and narratively tense, Murderer Report avoids excess and opts for an oppressive, almost clinical atmosphere that reinforces its psychological reading. Every dialogue carries weight, every silence accuses. There are no clear heroes or absolute villains—only fractured human beings attempting to make sense of the irreversible.

Ultimately, this is not a film about crime, but about consequences. About what happens when pain is archived, when victims become statistics, and when those who once sought to heal are later branded as monsters. Murderer Report unsettles because it offers no easy answers, but that is precisely its value: it reminds us that true violence often begins long before the final act, in collective indifference.

It is a work that demands to be viewed with critical empathy, with an open mind, and with the courage to accept that sometimes the line between order and chaos does not reside in the criminal—but in the system that created him.

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Rated 9 up until the final episode. The story is emotional and desperate and beautiful, but the ending is shit. They have feelings for each other, but Dong Hui leaves for Seoul despite originally planning to go to a local college because he has feelings for Ho Tae and is scared due to internalized homophobia. They never admit their feelings for each other. They’re apart for years. The ending sees Dong Hui returning, and they see each other again. We don’t see them speak, so who knows if they become friends or more this time around. Why would anything be different this time around if they were too afraid to admit their feelings the first time around? Disappointing.

Boundary crossing: Dong Hui asks Ho Tae to move aside but he blocks him in instead. Dong Hui grabs Ho Tae to prevent him from walking away.

Consent issues: Ho Tae asks Dong Hui for a kiss. He pins his wrists down and doesn’t allow him to move. Dong Hui does not respond with a yes or no. Ho Tae moves in for a kiss and it starts consensually. Dong Hui breaks the kiss, Ho Tae goes in for more, and Dong Hui has to forcibly push him off to get him to stop.

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What I needed.

This movie has nothing special going on, it’s an “everyday” life setting. You won’t find angst, frustration or over the top reactions. This is the simple farm life of a widow but this movie came to me at the right time because it’s exactly that simple storytelling that I was looking for.

I was at first looking for the 2018 version (I didn’t know this 1980 version existed). A kind person on here sent me the link to both versions and I watched both, that’s how good I enjoyed the movie. I started with the 1980 version and it’s my favorite of the two, it has more depth. Thank you for sending me both links!

What I enjoyed:

I enjoyed that my brain was not overstimulated with exaggerated editing. The actors looked like normal people living on the farm, they looked human. Humans with normal voices, pores, emotions on their faces, no excessive makeup, dirt etc…It was good to not see excessive and unnatural lighting, perfection in everything that we now have been forced to accept when it comes to visual entertainment.

I was reminded what great acting skills are. The story itself is simple but the actors pull you in thanks to their skills. The realness is what kept me engaged. I don’t know how to put into words why this movie touched me the way it did but I will simply say that it’s the “realness” of everything in it. It was a nice break from all the superficial entertainment.

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It's okay, you're exactly where you need to be in this moment

I've never watched something so relatable for the life you have when you're 25 and lost, but still fighting, you just don't know towards what and this may exasperate you and haunt you each day.
It felt static on the surface and you'd probably have to be in a specific place or have lived through it for it to touch the right points. For me, it felt so incredibly enchanting in its simplicity and turmoil.
While ending on a presumably high note, not in the way that everything is happy (and let's be honest probably IRL the romantic interest would turn bad/disappointing), but just with this warm reassurance that at least what was to be discarded was finally said and got out of the heart, it got me in tears.
The moment of confession, tackled and on the back of the tongue for the whole movie, at each meeting with the friend, was so raw, simple and hit close to home that my tears started rolling out, right when Haruka's character looked into the camera and said those encouraging words that I think so many people of my age need to be told so badly in these harsh times we live in. It's really lucky for the few of us who are able to work after all. Even more lucky it's for the ones who can share their lives with their friends.
Oh, I need a physical hug after this, but I still feel much lighter than before I watched it.

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This is a film where age and certain types of life experience will likely help. The stats page shows higher ratings from the older age groups. If you're young and didn't get on with it, maybe come back to it again later in life, it may hit differently then.

It's not a romance, gay or otherwise. The main character is gay, his friend and traveling companion takes his shirt off a lot. You can read tension or not. But it's primarily a film about coming to terms with complicated fathers.

It's not sentimental but it is full of emotion and there's a touch of melodrama in the music at times. It's like life, the narrative isn't always linear. I liked that, and how it conveyed the fragmentary nature of memories, how they arise and fade away, fitting themselves around whatever is going on in the present.

The travel part of the film feels very local in the beginning, and I feel like there must have been significances I don't have enough background knowledge to get all of. But the film is beautifully shot and so much of the countryside is gorgeous. Along the way they meet some lovely people too.

This won't be for everyone, but if you're open to following where it takes you, it's so good.

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That was just no it

Was very excited for this movie! I mean it’s Jackie Chan! The hype was definitely for him and his legendary action scenes, and mind you but he is 78 years old now! Wow! What a man! What an actor. Now… I’ve seen a lot of great reviews simply cause Jackie chan is in the movies or other young trendy actors … it’s just not enough to rate a movie. And in my opinion, that movie wasn’t good enough. The story had a lot of holes like when the young officer arrested the villain in one move but couldn’t fight him few moments before to save Jackie Chan…. Also the twin stories and this 7th character when in the car (SWAT team scene) they’re 6 in the car….
Now, what about the action? The fight scenes were great but the way they were filmed and with the slow motion sound plus drum at the impact made them lowkey seem less powerful than what they could have been ….

To conclude, Jackie chan & actors did an amazing job b it the story isn’t it, lacks in so many ways, and the fights scenes could have been better. It’s an entertaining movie, but definitely not the best action movie out there and far from being the best Jackie Chan movie

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this one pries you open.

⚠️ this review contains spoilers, albeit sometimes vaguely worded, in terms of plot and character dynamics. read at your own risk. originally posted in August of 2025. ⚠️

"of course... i'm sure that the truth, no matter what it is, isn't that frightening. what is most frightening is not knowing it."

i've been trying to watch this since 2022. parse that for a sec so you understand how everything came to a head to align and finally decide for me that now was the time

what clued me in to how much of an absolutely insane masterpiece of a film this one would be was not the cinematography (that opening silhouette. gorgeous. we begin and end where the world does) or the slightly unsettling dialogue Japanese media seems to have as its hallmark (see the entire conversation during the first eight minutes. cannot watch this with my mother under any circumstances that's for sure sksksksk). it was the moment i saw the rope snap on stage and i sat straight up in my chair bc hello. brief featuring of a multilingual production of Waiting for Godot eventually segueing into a production of Uncle Vanya is a hell of a way to tell me what the theme of this shit is don't you think. (seeing Okada Masaki enter the frame shortly after re:WFG [when my most recent reference of him is the creep in the Bad Kids remake] didn't exactly hurt now did it. DID however make me suspect his ass yet again which. well. trust your gut folks that's all i'll say on the matter)

anything that Nishijima Hidetoshi has ever been in ever needs to be watched and embedded in my brain now. i need to make it an event. lock the fuck in the amount of dramas and specials he's been in that were on my PTW but i kept getting distracted so i never got around to them (including the gay older couple j-drama that i recognized him for in the first place)? no longer. nope i refuse to allow it where the fuck have you been hiding him and why aren't there serious consequences for letting people walk around not knowing who he is. the absolute fuck. if Japan ever did a remake of My Mister and they asked for casting recs i'd put his name up for Park Dong Hoon immediately. immediately you're not getting it (i swear he laughed at one point in this film and i got so scared it sounded just like LSK. fuck). that scene with him and Okada in the car driving back from the jazz bar like it's a fucking confessional booth................. head in my hands. head in my fucking handsssssss the layers. the implications. the goddamn security camera. i could watch six more hours of those two just looking at each other and saying nothing. AND i'd give those six hours even more Oscars. God. their dynamic is insaneeeeeeeeeeeeeeeeee. pls do not get me started about Miura Toko or we will get in this car and start driving for an entire day without sleep to go to the place that does not exist anymore. iykyk

"Chekhov is terrifying. when you say his lines, it drags out the real you. don't you feel it? i can't bear that anymore."

if more multilingual (& multi-abled! shout out to Park Yoo Rim i love her and i'm so glad this was her film debut and not Ballerina. Jin Dae Yeon ily too may you forever be employed) productions of deliciously thought-provoking plays were done you would have to pry my ass out of the theatre hand to God. i would be broke as FUCK from all of the seasonal passes just heading in and out of that place like a revolving door. ain't getting no work done no assignments turned in barely eating sleeping living in the walls chewing on the electrical cords (gently. i know how hard the stage technicians have to work already) y'all about to be sick of me!!!!!!!!!!!!!!

tl;dr: this film said what if you most likely needed to go very badly to therapy but you didn't want to do that so instead the therapist's office became the back seat of your red Saab 900. and every day you drive to work and your dead wife speaks to you and somehow it's the infection and the lancing both. what if that happened and you had to accept that and keep on living. 10/10 i haven't even scratched the surface in this review i'm just blabbering about shit. they're driving through tunnels and over bridges and down the long long roads and i have Sting's Fortress Around Your Heart + The Lazarus Heart + Why Should I Cry For You? playing on loop in my head like a broken record. (fitting since Japan is obsessed with the man and he's supposed to be on tour there for most of September. yes i'm showing my music taste again shhhhhhh) i will never be over this. watch it NOW

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Kamen Rider Geats × Kamen Rider Revice is a crossover that does the bare minimum expected from a winter special, but rarely goes beyond that.
The strongest aspect of the movie is its fight choreography, which is well-executed, fast-paced, and designed to showcase each Rider’s suit and unique abilities. For a tokusatsu production, the special effects are also competent, featuring decent CGI, explosions, and transformation sequences that look polished and entertaining.
However, the film’s main weakness lies in its story, which is overly simple and largely unengaging. The plot functions merely as an excuse to bring characters together, without offering meaningful conflicts or exploring the contrast between the worlds of Geats and Revice. The villains are generic, their motivations underdeveloped, and the narrative unfolds in a predictable, formulaic way.
It works as light entertainment for fans, yet it is ultimately forgettable.

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