Reviews

Understands the cost of violence and isn't afraid to sit with it

Filled with an ominous mixture of brotherhood and pessimism, The Avenging Eagle treats guilt and identity not as passing motivations, but as burdens that shape every decision we make. The well-worn narrative hooks of a killer seeking redemption are treated in a compact and free-spirited way, with a persistent sense of inevitability, almost fatalistic, hanging over the proceedings, but equally jumping from the present to the past with an energetic free spirit. Sun Chung is a director fully in control of the action, with a beauty in his scale and framing. It's definitely one of the prettiest Shaw Brothers productions around, thanks to its exquisite colour palette and extensive use of actual locations, rather than the more studio-bound productions. The action is certainly sharp and purposeful, never feeling gratuitous, with some relatively impressive flow and choreography. However, it can be exceptionally gimmicky with its overuse of choppy slow-motion and unintentionally hilarious freeze frames to emphasise moments of tension. However, this can be easily overlooked thanks to the dynamic performances of the three main cast members, Ti Lung and Alexander Fu Sheng command the screen as consummate warriors united in tragedy, while Ku Feng provides a suitably wicked foe for the pair; they certainly give the lyrical script a lease of life. Offering a careful balance of melancholic, reflective and occasionally bleak storytelling, The Avenging Eagle understands the cost of violence and isn't afraid to sit with it, a lean, mean story of vengeance and redemption that offers a dark and punchy treat.

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underrated short from the prospective of the one with the unrequited love.

first review, kinda nervous.

i saw that only 2 people watched this so i had to...

only if shorts like these got bigger opportunities.

i really think with a bigger budget and a longer run time this could've been more. but since it's so short, it feels like i'm being left on a cliffhanger.

i wanna know what happens to their relationship after the rejection. will they be able to be friends like before or will they end it there?

will yujin be okay? will she move on?

i really liked the acting, it made me feel for yujin and minseo at the same time.

yujin dealing with her feelings for her friends while also having to deal with internalized homophobia. hating the way she is so much that she hurts herself. it made me want to hug her and tell her it's okay to like someone and that there's nothing wrong with how she is. T_T

minseo cannot return her feelings, so she ponders telling her the truth in fear of ruining their friendship, yujin being hurt or hurting herself again.

this genuinely needs to be watched more! it's so underrated. and thought yeah... it's short and we don't really get a conclusion, i think it's really worth a watch!

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Not sure what to think.

Very hard to decide a rating for this. Somewhat slow and boring, but also very captivating and haunting. The film definitely left an impression and left me thinking about the ending after finishing the film.

Cinematography and editing was phenomenal and beats most films I've watched in that aspect. The film was full of creative shots and scene transitions.

I think the dialogue and writing has a very poetic quality to it and is full of symbolisms that would work better if I knew korean better. In some films you truly lose a lot of the original meaning with a translation, and this film definitely seems to be one of those.


Not among Park Chan-Wook's best but still very high quality, with great acting, cinematography and editing. I enjoyed the film, but the overly slow and somber style of the film is something I'm not a huge fan of (in general, not just this film).



Edit after a few days: Rating lowered to 6,5, the film was just too dark, slow and disturbing to me unfortunately.

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Fun, Hilarious & Heartwarming Road Trip of True Friendship.

This is my first review. This movie was incredibly fun, hilarious, and heartwarming. The many elements blended together seamlessly. The storytelling wasn’t overly complex — it felt like a road trip movie, presented in a straightforward way. The portrayal of friendship was excellent, and the characters’ love for each other was genuinely touching and heartwarming. Their chemistry was fantastic.

The lighthearted humor was spot-on, with jokes sprinkled throughout. At the same time, there were also unexpected and surprising moments, including some tear-jerking scenes. It delivered such a wide and unexpected range of emotions.

Overall, this movie was incredibly impressive, and I really appreciated its straightforward portrayal of friendship. I wish Cha Eunwoo's character had more screen time, but his appearances were truly impactful.

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Falling in and out of love and everything in between

I love discovering my favorite actors starring together in a movie; even before it begins, I know it's going to be great!

Plot***
The story follows Mugi and Kinu, who first meet after missing the last train at Meidaimae Station on the Keio Line in Tokyo. They bond over their shared taste in music and films and quickly fall in love. After college, they both take part-time jobs and move in together, spending five unforgettable years of their twenties as an inseparable couple.

Watching Mugi and Kinu realize they are meant for each other is felt deeply healing. They don't need grand gestures; it simply feels right.
The movie beautifully illustrates how magical it is when you find that special person. Time seems to stop, and life feels much more vibrant. However, as they finish college and enter the real world, Mugi starts a job and their dynamic changes drastically. This shift highlights the strong influence of societal expectations on him, and he becomes trapped in the notion of what happiness should look like; pursuing the "right" path and leaving behind the carefree moments that truly mattered. He forgets that true happiness is found in the simple moments he shared with Kinu, like walking home together, enjoying their favorite bread while sharing their thoughts, playing Nintendo, and reading manga.

As the relationship evolves, we begin to notice subtle change; not loud or dramatic, but small enough that they can almost go unnoticed. This is where cinematography, camera work, and lighting contribute greatly to this storytelling. At the beginning of the movie, when they first move into their apartment, they are seen spending time in the living room with warm yellow and orange tones surrounding them. However, as they drift apart, the colors shift.

We see shots of their apartment from outside, where the living room and other rooms are separated by a dark wall ( how genious is that !?). On one side, Kinu is in the living room, illuminated by warm light and alone, while Mugi is in another room, working in a dark and empty space. This clever use of camera angles and lighting emphasizes their growing distance ( literally a wall between the two)and reflects the changes in their relationship, foreshadowing their eventual separation.

This movie effectively captures how a relationship begins, evolves, and ultimately ends, exploring everything in between. It's truly a brilliant movie; not loud or filled with overt drama, but rather a quiet awareness that gradually unfolds. We witness their love, and we are among the first to see the subtle changes leading to the inevitable conclusion.

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Gripping from its vertigo-triggering beginning to heart-stopping end

For a film that won three Japanese Academy Awards and helmed by the man who finally killed Godzilla, Abduction sure has fallen into almost complete obscurity, one that I've been after for a very long time. Taking the classic crime thrillers that dominated 60s Japan and filtering them through a deeply melancholic yet utterly gripping 90s lens, the film excels in its quiet desperation of people caught in a crisis, no surprise given director Takao Okawara's impressive line-up of Godzilla films to his name. It's the only one of his directorial efforts not to feature heavy special effects work, no guys in monster suits, no miniature cities being levelled; instead, there's a visceral urgency to the action, with plenty of slick images and an atmosphere rich with tension. Though the story seems simple enough, there's more to the titular abduction than meets the eye, consistently twisting and turning, all coming together in a beautifully executed narrative, confidently guided by Okawara's hand, often leaving us with a gnawing hunger to find out what happens next. The pacing is steady, sometimes even dry, but deliberately so, mirroring the slow, frustrating reality of an investigation where leads don't pan out and time is always slipping away. Everything about its production is so thoroughly absorbing, from its razor-sharp editing to its sumptuous photography. Even the musical score by Takayuki Hattori, despite having never been a huge fan of his work, especially his Godzilla scores, delivers some absolutely enchanting cues, all rounded out by truly exceptional performances from its cast, headed by the Tokyo Drifter himself, Tetsuya Watari. Being Okawara's penultimate film, Abduction is truly amazing, gripping from its vertigo-triggering beginning to heart-stopping end, a real shame that he has remained absent from the director's chair ever since the turn of the millennium.

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When you are meant to be, no matter what, fate will bring you back together.

When I was first recommended to watch this movie, I was told that it would make me sweat like crazy. I didn’t fully grasp what that meant until I found myself anxious and sweating profusely until the very last second of the movie. So, yes... you’re in for a ride.

Neddlessto say that I love Nana Komatsu and Suda Masaki, and seeing them on screen is always a fest for my eyes.
As expected, this movie did not disappoint. What a plot! Although I was anxious throughout the entire experience, I’m really glad I watched it. It felt like I could hardly breathe, constantly checking the movie’s runtime and hoping, wishing, and even shouting at the screen for them to reunite before the end.

Plot**
The story follows Ren and Aoi, who first meet in middle school. The two fall in love, but one day Aoi disappears. After searching for her, Ren finds out that she has moved to another city and fled from home to escape a difficult situation. When he finally reaches her house, he discovers that Aoi has been abused by her stepfather and is in a bad place. Together, they decide to run away. Unfortunately, the police find them, and they end up being separated.
Ten years later, they meet again, but they are living very different lives. Thus begins their journey, with both living their own lives in different parts of the world, while fate always seems to try to bring them back together.

It’s a beautiful story, and trust me, you won’t regret watching it. I don’t want to reveal too much because I believe you should experience it for yourself. However, let me assure you, you never know what destiny has in store for you. No matter how far you stray or how lost you feel, if you are meant to be with someone, fate will create paths and bridges for you to meet again.

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Grab that mega box of tissues before you start this movie...

I highly recommend checking out the manga before you watch this movie, as it can adds significant depth to the movie.

This movie is yet another example of J-trauma. At this point, watching these emotionally intense movies that make me tear up and leave scars on my heart has become a weekly ritual. Make sure to have a mega box of tissues on hand because this will make you cry. I don't wanna give away the story because it's worth watching but also because I don't wanna start tearing up again.

One aspect I'd like to highlight is how the movie raises awareness about ALS (amyotrophic lateral sclerosis) and the debilitating nature of this disease. Watching Rino battle ALS at such a young age and witnessing its impact on Rio's family and Ren offers a realistic depiction of the challenges this condition presents. I am impressed by both the manga and the movie for educating viewers about a disease that's rarely discussed but can be devastating for those who fight it.

Overall, the movie is definitely worth watching for how informative is about ALS despite its extremely sad premise.

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If I had told her how I felt back then, would the future have been different?

"18×2 Beyond Youthful Days" is truly a cinematic feast. If you enjoyed "Love Letter" and have a fondness for old Hong Kong-style movies featuring those vibrant and warm colors, you will likely love this film.

Prepare yourself for a deeply emotional experience, as this movie is quite sad! Have a mega tissue box nearby because you’re going to feel a lot. This will resonate even more if you've seen "Love Letter," the iconic Japanese movie, since this story parallels its narrative and cinematography.
This film, a co-production between Taiwan and Japan, takes us on a journey through the bustling warm streets of Taiwan and showcases the stunning coastal and snowy landscapes of Kamakura, Nagano, and Fukushima.

Despite its breathtaking cinematography and camerawork, the film excels in plot as well. Paying homage to "Love Letter," it tells the story of Jimmy and Ami as they fall in love, only to be confronted by life's twists and turns and the regrets tied to lost chances. It prompts us to reflect, "If I had told her how I felt back then, would the future have been different?" As Jimmy travels through Japan, a sense of nostalgia washes over you. We’ve all experienced the feelings of lost time and missed opportunities, and the regret of waiting too long to meet the people we wanted to. Sometimes, we get caught up in the routine of life and forget to truly live. This is the kind of movie that evokes those emotions profoundly.

From a cinematography perspective, this film serves as an excellent case study for film schools. The way the story and performances are enhanced through careful camera angles, lighting, and color is remarkable.

At the beginning of the movie, we see a lot of cold tones;whites and greys, that evoke a sense of chill. This color palette mirrors Jimmy’s life, which has lost its warmth as he has moved into adulthood. His once bright and joyful self is now overshadowed by the stresses of business, leaving his days filled with grey, much like the colors on screen.

In contrast, his flashbacks to youth are brimming with warmth; a vivid array of yellows, oranges, and reds that capture the lively nights in Taiwan's bustling streets, filled with traffic and roadside food stalls illuminated by cheerful yellow lights and neon signs. It feels warm, happy, and comforting, reminiscent of old-school, vintage Hong Kong-style movies, which are soaked in nostalgia. The colors perfectly match the emotions the movie aims to convey; so much that, you can almost feel the warmth radiating from the screen.

The film culminates in a visual feast, showcasing scenic locations in Japan that echo the breathtaking scenery of "Love Letter," now rendered with bright whites and soft hints of cool blues. These colors evoke feelings of a bright future, beauty, and clarity, emphasizing the vastness of the Earth and the endless opportunities for exploration. It serves as a reminder of how traveling and the people you meet can forever change your perspective on life.

The sense of nostalgia that pervades the entire movie makes you feel alive, almost as if you’ve shared those experiences with Jimmy. Perhaps it’s the millennial in me that longs for those old memories, which are deeply embedded in our hearts and souls.

If you appreciate storytelling, cinema, and art, you will find much to love in this film. There’s so much to discuss. However, for a more complete experience, I recommend watching "Love Letter" first. It will provide greater clarity and make you appreciate the film’s message more profoundly.

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A classic Cinderella story with a twist…

Watched opening weekend in cinemas. (Late to writing this review, but I have had time to think about it.)

I really, really enjoyed this movie a lot more than I expected, and it was not quite what I expected either. It is quite a cliché, many-times-told story at its core. However, the setting, costume design, and to some extent, worldbuilding (yes, worldbuilding) were real highlights.

The characters, while predictable, were not all entirely archetypal, albeit the female lead certainly was. The cast did well with their characters and are in themselves a highlight of the film. The most interesting characters in this story however, would be some of the side characters, not only with their contributions to worldbuilding but with their nuance, in which most of the major characters are somewhat lacking.

The setting is perhaps the most conceptually interesting part of the film, in that it is not two separate worlds in the way much Japanese media portrays, but an integrated world with yokai and humans.

If you want rich characters with deep stories of personal development, I might not recommend this film. However, if you wish to watch it for the cast or on its merit as an entry to the romance genre, I absolutely recommend it! What I’d argue keeps my rating so high in spite of the predictability and lack of thought-provoking characters, would be that this tells the exact story it wants to tell, and it does so with stunning visuals and solid performances. The accompanying soundtrack is also well-matched to the film.

As a closing remark, I would say what amazes me the most about this film is that I found it seriously immersive, and I can still recall the way I felt and reacted watching it. I found myself deeply invested in spite of the cliché, and that doesn’t happen often for me.

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"If you see him, tell him I'm sorry"

A son has to come to terms with his father’s secret life and his own religion in I Wish You Had Told Me. This film was a touching story of a young man having his eyes opened to the idea that love is love.

At his father’s funeral, Seph’s loving tribute to his dad is interrupted by a woman who lets everyone know that Otep had been gay. The pastor refuses to bless Otep damning him to an eternity in hell. Seph tries to appeal to the pastor and congregation reminding them of the kind and selfless man his father had been. No one budges. Seph discovers a suitcase with a cache of love letters his father had written to a pen pal in Spain. The woman who made a scene at the funeral tells Seph about the man his father had loved many years ago, and the final unmailed letter. Seph determines to deliver the letter in person, but the trip won’t be easy.

Seph’s trip to Europe began as a proselytizing mission with his church. His partner, Marlon, had his own issues with their pastor. Both men had to rethink their beliefs and what they had been taught from the church that maintained power over all aspects of their lives. This aspect of the film may be triggering for people in a variety of ways.

Seph maintained a connection to his father through his phone and was shown brief flashbacks of his father’s life. If anyone has ever lost a loved one and called their phone to hear the familiar voice on the outgoing message or texted just to send their love, you’ll understand Seph’s actions. The only difference was that he actually received messages back and visits that were heartwarming and poignant.

The church that caused numerous people so much pain, threw Seph’s existence into disarray, also chained his father to a sorrowful life. Despite ecclesiastical disruptions, father and son still maintained their faith, their belief in love simply expanded. Seph’s search was painful, awkward, and ultimately rewarding and not just for himself. It turns out he wasn’t the only one who needed closure and a reminder of the love that had been given.

6 April 2026
Trigger warning: Sexual assault alluded to

The oft quoted scripture Otep and Seph used:

Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.
I Corinthians 13. 4-7

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