Reviews

Sweet tiny short film

It's graduation day for the characters, and they have to figure out what they really want to say to each other... 😁

Being only 7 minutes long and basically consisting entirely of one conversation (plus some picture-taking at the end), this of course only shows just a tiny slice of the couple's story; however, it uses such a classic setup that it's easy enough to mentally fill in the probable backstory yourself, and anyway the ending is so cute and so feel-good that it made me grin the hugest grin. 🥰 And it is extremely rewatchable (I've already rewatched it several times since I had first seen it); whenever you need a cute little pick-me-up this easily does the trick! 👍

TL;DR: This is certainly well worth 7 minutes of your time!

Read More

I Wish People, Who Are Opposed to the “Subject Matter,” Would Watch

This is a beautiful story about a boy born in the wrong body and the doctor, who wanted to offer this person a better life.

No matter what you think about the subject, if you would watch this with an open mind and heart, you might understand what transgender people go through and the hardships they face. If you watch this, you might gain some insight and some empathy.

This movie is a delicately-told story of one young person facing uncertainty and the unknown, but with the hope and willingness to do anything to be who they always knew they were, and hoped they could be.

I admit, I’m more than a little surprised this came out of Japan, but it goes to show this story is, truly universal.

The fact is Japan is a highly conservative society, where most people, especially, older people, know nothing about this subject.

It makes it more difficult for gay & transgender people, overall, because they have no rights, can’t adopt, and, I guess, surrogacy’s not an option, either. This all makes it more stressful and difficult for the LGBT community.

But, this film is a gem, which may open a few eyes—hopefully, not only in Japan, because there are closed-minded people everywhere.

We can only hope.

PS All the actors were excellent, but Mochizuki Haruki, as Ai, was stupendous! And he’s only 18 years old!!! Incredible!!!

Read More

"A cozy place to stay"

There is no denying Black Tavern’s similarity to King Hu’s Dragon Inn (1967), but there were enough differences for Shaw Brothers’ inn at the end of civilization to carve out a bloody spot of its own.

A wandering monk sings a tale of an official carrying a trunk filled with treasure cultivated from a lifetime of bribes. Ears perk up in the tavern with everyone making a hasty exit to find said official. Eventually, the criminal element condenses upon the remote Black Tavern on a snowy night, coming in waves. The first to arrive is Zheng Shou Shan aka The Whipmaster and his disciples. A “hero” named Zha Xiao Yu who saved Zheng and his crew on the road asks to be cut in on the deal for the price of his sword. Soon the swords and whips are flying as the thieves descend upon the tavern. Official Hai with his trunk of treasures seeks shelter from the storm at the inn on his way to retirement which only increases the feeding frenzy among the murderous lot. A mysterious swordswoman appears who could change the balance of life and death.

Ku Feng dominated this film with his lethal whip, a surprising star turn for the hard-working actor. He's one of my favorite supporting actors, but here he stole the show. Tung Li was the dashing swordsman who always seemed to materialize when needed. I squealed a little bit when I realized that Shih Szu was the swordswoman with a connection to The Lady Hermit. This time Wang Hsieh was already dead when she arrived on scene. Her screen time was rather limited but she was in the final fight. Dean Shek sang many of his lines as the annoying, I mean wandering monk. He had a rather important part to play in the final outcome. Numerous familiar faces popped up trying to steal the treasure and then were as quickly dispatched. Wu Ma and his Five Ghosts of Xiang Xi, which included Yuen Wah, pretended to be hopping vampires. Was hoping for the real thing, that would have made this film perfect! Jackie Chan was briefly on screen as Official Hai’s servant who was killed just before the hour mark if you are trying to spot him. Stuntmen Mars and Little Unicorn also had time on screen.

Simon Chui and Chui Chung Hok designed brutal fights with a variety of weapons. Nearly every inch of the inn and courtyard were decimated as the fighters used whatever was around them to fight with or defend themselves with. Nothing felt repetitive as the different groups of villains remorselessly attacked. The big finale was vicious and creative. Ku Feng was relentless with his whip and physical onslaught. Did I mention, I really enjoyed his performance?

No evil eunuch or army threatened anyone. This time it was just wave after wave of crooks attempting to make their fortune off someone else’s misfortune. I must say that Official Hai was nonplussed at having to walk around the bodies to enter the inn. With every passing moment they stacked higher, disappeared and more bodies hit the ground to take their place. The atmosphere wasn’t as claustrophobic as Dragon Inn, but the fights were exciting and nearly nonstop. I’ve learned from watching these films that it’s important to avoid inns on the edge of nowhere. And if you must eat there, always order the vegetarian platter. I graded on a curve as I do with all of these old martial arts films.

23 March 2026

Trigger warnings: Several decapitations, disarming scenes, severed body parts, eyes pulled out, cannibalism.

Read More

Violent and Intense, but Very Well Done

Viewer be advised this one's not for the faint of heart, but it's an excellent, minimalist little psychological drama.

Tae Su (Lee Soo Hyuk) and Hae Ran (Jung Ji So) kidnap So Jin (Cha Joo Young), the daughter of a wealthy businessman, in an effort to get ransom money. They meticulously convert an abandoned building into a secure holding cell/hideout and cover their tracks to hide their identities. But getting the ransom turns out to be a challenge, and So Jin is not the only one being held hostage in this situation. Hae Ran has a secret, and so does Tae Su. The story becomes a tale of shifting loyalties, in which those who began as allies become enemies and a strong bond forms - a Sisterhood.

Despite the secrets and later revelations, the plot is very simple and the movie progresses nicely with a straightforward escalation. The pacing is tight and masterfully keeps things intense despite a tiny, three-person cast. We don't get flashbacks or any other immersion-breaking narrative devices; the story lives entirely in the moment.

Lee Soo Hyuk is utterly brilliant and terrifying as the cruel, abusive villain. His brutality, his body language, his intensity, and the fire in his eyes all deliver a breathtaking performance. He is genuinely terrifying and it's incredible to watch him.

Cha Joo Young and Jung Ji So are powerful in their chemistry. Their early interactions of fear and distrust slip uneasily into a forced alliance, then a genuine one. By the end, you can feel their Sisterhood.

The cinematography is nicely done, and the music is well-utilized, though nothing mind-blowing. The production is overall high quality and effective. It doesn't stand out on its own, but it doesn't need to. The performances steal the show.

Overall, absolutely worth your time, though the violence is brutal and not for the faint of heart.

Read More

This is a love story—a love that doesn’t always need romance to be meaningful.

A friendship that feels like home. Nothing loud or dramatic, just steady and real. Almost love? No… I think it is real love.

One true best friend is all you really need… but what are the odds of ever finding one?
Probably not great—but that’s kind of the point. Finding a friend like that—the kind built on trust and loyalty, who understands you fully and chooses you consistently—is rare, but not impossible. Heung Soo and Jae Hee make it feel possible.

They’ve been through ups and downs, both literally and figuratively, yet they still choose to be each other’s confidants. Who and what they are to each other feels so powerful—it exists in that in-between space where labels don’t fully capture it.

Most love stories come with “I love yous” and “I dos,” but this one had neither—yet it’s still one of the greatest I’ve ever seen. And for the record, it’s my favorite. What Heung Soo and Jae Hee have is a kind of platonic love—a love that doesn’t need romance to be profound—and it’s something to be envied.

I know the movie wasn’t marketed as a love story, but that’s what I felt throughout—it quietly screams true love in another form. Because of that, I had to write my first review. This film made me do it, lol.

Read More

A very quick romcom. The fighting phase is intense and the reconsiliation phase is swoonworthy. I feel the 30 days waiting time was too quick, they should've dive deeper about how they both fall in love again . They added too much cliche here. White Truck of Doom and double amnesia, but dang it, they made it important to the story. The comedy level is really good here, even though most of them were just slapsticks. Kang Haneul and Jung So Min both delivered it very well.

Overall it's refreshing to watch. Rewatch if you need a refreshment from your tense daily life.

Read More

We only realize the true value of things when they’re about to end

Number One offers a quiet yet deeply human cinematic experience, built on a simple idea that gradually reveals profound emotional depth. From the very beginning, the film avoids loud storytelling or fast-paced events, choosing instead a calm and reflective tone that allows everyday emotions to take center stage.
At its core, the film explores the relationship between a mother and her son—something universally familiar—yet it presents this bond in a unique and thoughtful way. A subtle element of fantasy is woven into the narrative, not to dominate it, but to add a symbolic layer that enhances its meaning. This blend of realism and imagination feels natural, never forced, and gently leads the viewer to reflect on themes like time, value, and the things we often take for granted.
One of the film’s strongest aspects is its deliberate pacing. Rather than rushing through events, it takes its time, allowing small details—glances, silence, and ordinary moments—to carry significant emotional weight. While this slow rhythm may not appeal to everyone, especially those who prefer action-driven stories, it perfectly serves the film’s introspective nature.
The performances follow the same understated approach. The acting is subtle and sincere, relying more on expressions and presence than on dialogue. This restraint adds authenticity, making the characters feel real and relatable, and allowing emotions to resonate even in the quietest scenes.
Visually, the film leans toward warm tones and soft compositions, creating a nostalgic and intimate atmosphere. The music is gentle and unobtrusive, complementing the scenes without overwhelming them, which further strengthens the emotional impact.
However, the film’s slow pace and melancholic tone might not suit every viewer. It is not designed as light entertainment, but rather as a reflective experience that requires patience and emotional openness.
In the end, Number One is not driven by dramatic twists or intense action, but by feeling. It is a film that lingers quietly, encouraging the viewer to appreciate the deeper meaning behind simple moments. It speaks more to the heart than to the eyes, and for those willing to engage with it, it leaves a lasting impression.

Read More

"Its true value lies in its meaning"

Raining in the Mountain was another gorgeous King Hu film starring Hsu Feng. I didn’t find it as compelling as Touch of Zen, but you would be hard pressed to find a lovelier cinematic experience from the 1970s than this film.

Merchant Wen An is traveling to a remote temple with his concubine and servant. The abbot is in ill health and ready to name a successor. He has asked Wen, General Wang Chi (accompanied by the vile Lt. Chang Cheng) and the illustrious Buddhist scholar Master Wu Wai (accompanied by numerous beautiful women) to the temple to help him make his decision. Unknown to the abbot, Wen and Wang Chi are there to steal the Mahayana Sutra written by Tripitaka himself. Wen’s “concubine” is actually the notorious thief, “White Fox”, along with her cohort, “Gold Lock.” Aside from the thieves lurking behind every corner, at least two monks are vying for the top position by throwing their lot in with the powerful men. Into this volatile mix enters a thief who was falsely accused and sentenced to the military. Chiu Ming has the potential to upend everyone’s plans.

First, it’s important to acknowledge the true star of the show, the 8th century Bulguksa Buddhist temple in South Korea that has been designated a UNESCO World Heritage Site. The temple sits on a mountain, surrounded by forest, and was architecturally a thing to behold. Most of the scenes were shot on site. The film had also been restored which I am always grateful for.

While ostensibly a martial arts film, there weren’t many fights, the longest occurred near the end of the film. Much of the film involved people lurking around corners, running to hide, and generally slinking about searching for the sacred scroll and attempting to avoid detection. If people weren’t skulking in the shadows, they were making deals to be chosen abbot or deals that involved access to the scroll. The irony was not lost that these devout Buddhists coveted the scroll and were willing to lie, commit theft, and/or murder to obtain it. As the abbot said regarding the tattered paper, “Its true value lies in its meaning.” The monks competing for the abbot position were more interested in power than enlightenment. After complaining about the food, the monks were told they’d have to start farming and working harder at alms. Wait, we don’t actually want to work! The new abbot was going to have his hands full if he could manage to stay alive!

King Hu’s cinematography was stunning. I have watched many films from this era and it would be difficult to find one more aesthetically pleasing. The music perfectly enhanced the story and scenery. The actors all gave fine performances though some performances were more captivating. Other than the long length of the film and repetitive prowling scenes, I enjoyed Raining in the Mountain. The final fight and flight scenes were actually quite humorous, even as characters died. I’m not sure King intended them to, but they were reminiscent of a Looney Tunes cartoon. Raining in the Mountain contained no rain and was more philosophical than physical, at least until the epic game of keep away. If you enjoy 1970s historicals that are light on kung fu and heavier on Buddhist ideology, shot on an amazing location, this might be one to try.

22 March 2026

Read More

The Stray Kids song made this 10/10 for me.

The sequel was more interesting to me than the first film. While the original felt repetitive, the second avoids relying on that same structure and instead branches out in a more engaging way.

The middle of the movie is definitely confusing, but things start to come together toward the end, which makes the payoff more satisfying.

That said, I do have a major issue with the ending. I usually enjoy a happy ending, but this one contradicts its own rules. Earlier, the film establishes that if you die during the final body search created by the shard, you die for good. However, both Rikuto and Misaki die during that last search and are still brought back to life after Takahiro completes Asuka’s body. That inconsistency really took me out of the story and didn’t make much sense.

The post-credit scene hints at the possibility of another sequel, so only time will tell where the story goes next. It was also nice to see a returning character from the first film return for a brief cameo.

Read More

Its just does not hit home.

I had purposed to write a review to this movie but there was no excitement in the movie and so the review just took a back burner....The cast was stellar so their performance was not a problem.The story was straight forward so the plot/script was also not the problem...but i just don't understand why it was lucklusture.From start to end the movie maintained a singular tone,and at no certain point was my heart rate high due to an exciting scene.An ironic point that never left me was that despite everything happening in the illegal side of the law,there was no police to take a bribe, doing an investigation or threaten anyone with blackmail or arrest, EVERYONE who appeared on screen should have had some sort of police interaction.To me that's an oversight i couldn't get over with, what do you mean there was not a righteous police or a 'dirty' police to even things out.Finishing the review makes me think maybe the police aspect was the thing missing to keep things tense or thrilling.

Read More

A Love That Refuses to Be Forgotten

Some movies entertain you.
Some make you think.
And then there are the rare ones—the ones that reach into your chest, wrap around your heart, and refuse to let go.

This is one of those movies.

Even now, my eyes are still filled with tears, and my mind feels overwhelmed by how beautifully this story was put together. Without hesitation, I would rank this as my number one Korean film. It carries everything a powerful story should—growth, understanding, love, heartbreak—and blends them together so naturally that you don’t just watch it… you feel it.

The female lead (FL) lives with a condition where her memory resets each day. Every night, she writes down what happened and what she must remember for the next morning. There’s something quietly tragic about that kind of life—starting over again and again, holding onto fragments of yesterday through ink on paper. And yet, there’s also a strange beauty in it… like every day is a chance to rediscover the world.

Then there’s the male lead (ML).

From the very beginning, something about him feels off—not in a bad way, but in a way that makes you pause. Still, you find yourself drawn to him. You want to understand him. And when you finally do, it hits like a wave you didn’t see coming. He’s living with a serious heart condition, fully aware that his time is limited. There’s a quiet sadness in him, a kind of acceptance that makes his smiles feel heavier, more meaningful.

When they fall in love, it doesn’t feel rushed or forced. It feels real. It grows in the spaces between moments—in laughter, in shared experiences, in the small things that slowly become everything.

But love, especially this kind, is never simple.

In what I see as both a loving and selfish act, the ML makes a decision. Knowing he will die, he asks her friend to erase him from her life—to remove the items, the traces, the pieces of him that might cause her pain. Because she forgets each day, he believes he can spare her the heartbreak. He doesn’t want her to wake up to a world that suddenly feels empty, stripped of the joy he brought into it.

And I understand that… but I also don’t.

Because love isn’t just about protecting someone from pain. It’s also about the right to remember.

And that’s where one line from the film stays with me, echoing long after the credits roll:

“Memories don’t just disappear.”

That line… it says everything.

This movie reminded me that even when someone we love is gone, they never truly leave us. They live on in quiet ways—in habits we didn’t realize we picked up, in laughter that sounds like theirs, in moments that feel familiar without explanation.

They remain in us.

That’s what makes this story so powerful. It doesn’t just tell a love story—it honors what love leaves behind.

And for that… this movie isn’t just something you watch.

It’s something you carry with you.

Read More