Reviews

For what it's worth, I thought it was good.

I finished watching this and I'm seeing how a lot of other people weren't too happy with the movie but personally I was SO invested while watching. I also saw how people said that the ending was obvious when they saw that it was the detective all along so now I feel a little slow because I was convinced that Kim Jun U was the killer for a hot minute... I am currently sitting in tears because I hated how it ended. When he said that the man holding her hand 60 years later wasn't him I burst out crying, even worse when they turned and walked away from each other, i was like "is that it?!" absolutely terrible. I wouldn't recommend it but I did enjoy it, first movie to make me cry so insanely in a while.

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"Trust doesn't exist in this business"

Humint combined spies from North and South Korea, Russian mobsters, and sprinkled in a good helping of romantic angst and human greed. The pace of the story faltered at times, but managed to finish with a banger of an ending.

Director Cho (Rok) carries a terrible guilt regarding the fate of his North Korean informant who had been trafficked to a different country. His boss only cares about the drugs coming across their border, not the unfortunate women tortured as sex slaves. Cho seems to play ball when he’s assigned to a post in Vladivostok in order to make the drug connection between Russian mobsters and North Korean agents. This time, however, he has no intention of letting anything happen to the informant working for him. A North Korean agent is in town to investigate the disappearances of a number of women and Captain Park has a connection to Cho’s informant.

The number one reason I watched this film was for Zo In Sung. He works infrequently and I enjoy his acting. It feels like he’s played this character before, but he does it so well, that I’m okay with it. Shin Sae Kyeong gave a strong performance as Cho’s informant, Chae Seon Hwa . I was pleased to see her character fight for her own future with whatever she had available. Park Jeong Min, as the conflicted lovesick Captain Park Geon, gave a good performance though his super spy could have used a better poker face at times. Park Hae Joon as the evil Hwang Chi Sung can always be counted on to bring the maniacal menace.

Humint’s story and pacing languished in places with character motivations only skimming the surface of the murky waters they swam in. Where the film excelled were the fight scenes which ranged from hand-to-hand, knives, guns, even the kitchen sink. The fights were sparse for much of the film and then in the last half hour director Ryu Seung Wan brought the mayhem. It’s the first film I’ve seen with such excellent, deadly snow donuts. I will say, the gun fights near the very end of the film went over the top for me and I probably shouldn’t have laughed when I did. Sometimes, too much is too much. Fair warning, the body count was high.

Humint was flawed but entertaining. My first inclination was to give it a 7.5, but I bumped it up to an 8.0 for Zo and a competent female lead…and maybe the snow donuts.

"Since everyone's on the same team, we should probably raise the Korean Unification flag!"

2 April 2026
Trigger warnings: Drugs, prostitution, torture, gruesome deaths.

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the description is a mislead & wrong - skip it -

i don't think the supernatural tag fits this movie, this more a psychological mystery, thriller. even though i get that the premise where a family member sacrifice's themselves for a sick loved one & after the sacrifice, their loved one miraculously heals/recovers - there is something very supernatural about that & yet it isn't supernatural in the line of Exhuma or The Priests, where there is an other worldly entity - the battle of good vs evil is very clear.. this just felt like a mind-f*ck, people that r brain washed into cults out of desperation, that can be contagious. a desperation that would drive them to commit evil deeds, to be exploited, deluding themselves into thinking they r doing it for a greater good or that it was some kind of sacrifice - an offering to God, like the one that was asked of Abraham from the bible.

having said this, i feel like i need to watch this a couple more times - cause after one watch i am confused at parts & feel like info in missing at others. also given the fact that Ju Yeong was still investigating the club members of the cult, it felt like an open end.
the acting was good & i was hooked after the scene of the confession, but as i feel like a lot went over my head i don't wanna add more... as it might be a wrong assumption on my part. maybe after a few more watches & getting a better hold of things i will edit this review.

bottom line - i enjoyed this (in spite of what i wrote above) & will happily rewatch when i get a chance, great acting & interesting plot.

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Love Me, Love Me Not felt surprisingly long for how little actually happens. The pacing is slow, but at the same time, the emotional development feels rushed, like everything is happening too fast without enough depth. Honestly, this story would have worked much better as a drama rather than a movie.

Plot*
The film follows Yuna and Akari, two high school girls with completely different views on love. Yuna is dreamy and idealistic, in love with the idea of romance, especially a prince-like character from a childhood book, while Akari is more grounded and realistic. When Yuna meets Rio, who looks just like the boy from her book, she immediately falls for him, only to discover he’s Akari’s stepbrother.


Spoilers ahead***


From there, the story turns into a complicated love square: Yuna loves Rio, Rio is in love with Akari, and Akari is trying to suppress her feelings for Rio while slowly opening herself up to Kazuomi. On paper, it’s a messy but interesting setup. In execution, though, it feels unrealistic.

The biggest issue is how quickly everything resolves. Characters confess, move on, and change feelings with very little buildup. Rio, in particular, goes from being deeply in love with Akari to suddenly accepting Yuna, which feels abrupt and unconvincing. The emotional weight just isn’t there to support these shifts.
Akari’s internal conflict and her feelings for Rio felt real. I can see how deeply in love they were but the fact that they were step siblings was like a death sentence to them. Honestly made no sense, and also the way she brushed off her feeling for Rio and moved on to Kazuomi, raised so many questions.

The way they were moving from one to another felt forced, unnatural, and not realistic. Maybe being a movie it played a big part by affecting the flow. One moment you see Rio's burning for Akari, In love with her and also suffering because he can't be with her but then the next minutes he just move on like it's nothing e. This make me feel like all their feelings lack validity and strength. Felt more like kids obsessed over toys than teenagers navigating love.

Because the story is adapted from a manga, it feels like too much was compressed into a short runtime. The result is a film that somehow feels both dragged out and incomplete at the same time. Scenes linger, but the characters themselves don’t grow enough. In the end, Love Me, Love Me Not just feels like a story that needed more time, more space, and more emotional buildup to truly work.

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Definitely one that should have been left in the Shaw Brothers vaults

An almost desperate attempt to stay relevant during Hong Kong's emerging 80s New Wave movement, Twinkle Twinkle Little Star is a seemingly Frankenstein'd fever dream of sex, sci-fi and ill-advised musical numbers. A serial farce that, even with logic and reason relegated to afterthoughts, the weirdness that shows up here is mystifying in its inanity. It feels like each of the six writers was separately sequestered and asked to write fifteen minutes' worth of material each before being thrown together in a blender; the result is a pretty risible sex comedy with incredibly poor jokes ranging from suicide and impotence to rape and fame, all delivered by a cast of petty, venal, tantrum-prone characters. Granted, there are some interesting enough production values, the special effects scenes are brief, but eye-catching: a giant spaceship made of stars, shuttle bays cribbed from Battlestar Galactica, a Millennium Falcon look-alike swoops across the night sky, while the vast sets are beautifully lit in swathes of orange, blue and gold. Director Alex Cheung was clearly more at home with his crime dramas, because when he turned his hand to the nonsense on display here, which is close to a full-on cinematic disaster, the energy is manic, the cast match it, but the sped-up slapstick quickly wears thin. Despite an amusing pseudo-lightsaber/nunchuck battle against a Darth Vader-clone towards the end, Twinkle Twinkle Little Star is undoubtedly one film more geared towards the self-punishing crowd, a truly one-of-a-kind exercise in confusing entertainment. Definitely one that should have been left in the Shaw Brothers vaults because a few more layers of dust wouldn't have made much difference.

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