Reviews

King Cat came near the end of a wuxia era when characters still sang and women played a prominent role. Chang Cheh was about to make the genre ultra masculine pushing female characters aside, so it was refreshing to watch Pat Ting Hung hold her own with the cat and mouse swordsmen around her.

The royal tutor has nefarious plans targeting the righteous Judge Bao and the emperor’s sister, Yung’an. His henchmen featuring the sinister Variegated Butterfly Hua Chong know no moral boundaries. On the other side of the spectrum is Chan Chao dubbed King Cat by the emperor for saving Yung’an. Chan tells Bao if he ever needs help to flash the Bat Signal, I mean red lantern and he’ll come flying in. Somewhere in the middle is the 5 Mice Clan. Brother 5, Pai Yu Tang the Brocaded Mouse, takes great offense to King Cat becoming the new national hero. No cat can top a mouse! The brothers plot to steal the princess’ jade incense burner unaware that Hua Chong is raping and murdering his way through the Princess’ maids which leaves Pai being blamed for the murders.

Most of the action was driven by the men in this film. Yet in walked Pat Ting Hung as Ting Yueh Hua and stole the spotlight in every scene she was in. Her swordswoman knew what she wanted and was capable of taking care of herself. The only other character who had any real sizzle was my fave, Lo Lieh, as the despicable Variegated Butterfly. Kiu Chong hammed it up as the Brocaded Mouse, but was still entertaining in his silver lamé trimmed outfits. Chang Yi, in only his third film, played the lackluster King Cat. There’s a reason he’s remembered for his villainous roles, and why he didn’t play a lot of these plain vanilla heroes. Ching Miao played the historical figure Bao Zheng in black face which was jarring to my western eyes. From what I read, the coloring meant the character was incorruptible.

Martial arts directors Tang Chia and Lau Kar Leung also worked on screen as the tutors’ minions (as well as brother Lau Kar Wing). This was not one of their better efforts. During one fight some participants were either standing still or swinging their sword at no one. There was quite a bit of primitive wire-fu as swordsmen flew up and over walls on a regular basis.

The only copy I could find was dubbed in Thai and had atrocious English subs, some of which made absolutely no sense. The dubbing wasn’t very good and actually quite funny in some scenes which could be distracting. ** I try not to let bad dubbing affect my rating but this film was a challenge. The Shaw Brothers knew how to world build with a limited budget. The sets and costumes were well crafted with beautiful dresses and hairstyles, stunning interiors and even a cave with bubbling mud pots.

King Cat had great fun with the cat and mouse antics between Chan and Pai with the adversaries having to set aside their differences to save the princess. And Pai’s brothers were obviously enjoying their mousey roles. The farcical antics and classic misunderstandings were a strange juxtaposition with the darker storyline of sexual assault and murder. While not all of the film worked for me, I did enjoy a heroine who could hold her own in battle, save herself, and make life choices that suited her as there were long stretches in the genre where that kind of feminine strength disappeared.

3 March 2026
Animal note: No actual cats or mice in the film

Trigger warnings: Sexual assault off screen. Attempted sexual assault on screen.

**Just to clarify, the Thai language was not distracting or funny, but the voice actors made some interesting choices for several voices and sound effects. I've run into similar things with English dubbing. One film had stereotypical accents such as a character with an American deep south accent, another had a British Cockney accent, and yet another sounded like he was from New York City. And I'm pretty sure the same guy did most of the voices except for the female characters. XD

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Ghost in the Army

Well-made army movie with a delicate topic (and a disclaimer that it does not reference any real event or characters). There is no actual war or combat operations in this film. It is a story about soldiers on duty who are confronted by the ghost of a past sin that haunts their actions a year later. I was surprised by the story, which at first appears to be a standard exploration of an army cover-up, but it goes deeper, even touching on theological and moral issues. It does so by portraying the friendship between the soldiers and their superiors in contrast to Jesus and His apostles at the Last Supper, and also with His cross dominating one particular scene.

The movie was a little too long and had somewhat confusing transitions between past and present events, with several repeated flashbacks. Nevertheless, it remained thrilling and intriguing. There are no literal ghosts, but there is a ghost-like perspective hovering above the soldiers during their “fatal” mission, which makes a lot of sense and is a detail I appreciated very much. The actors were solid and made the dramatic moments convincing for me. I must say, i didn't expect much but this movie left an impact.

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10/10 — and I’m not even exaggerating.

This movie genuinely changed how I see zombie films.

Yes, it’s intense. Yes, it’s stressful. But what stayed with me wasn’t the infection or the chaos — it was the sacrifices.

Watching Gong Yoo’s character evolve from a distant, work-obsessed father into someone willing to give up everything for his daughter? That hurt in the most powerful way. His final moments weren’t just tragic — they were meaningful. It wasn’t about fear anymore. It was about love.

And then there’s Ma Dong-seok (Don Lee).
The way he protected everyone. The strength. The heart. The quiet heroism. His sacrifice hit differently because he didn’t hesitate. He just acted. Pure courage.

What I loved most is how this film shows:

In crisis, you see who people truly are.

Some choose selfishness.

Some choose humanity.

It’s rare for a thriller to make you feel this deeply. I wasn’t just watching survival — I was watching redemption, love, and the cost of protecting others.

This movie didn’t just scare me.
It broke me.

And that’s why it’s a 10/10.

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it is cringe and I AM HERE FOR IT

shoujo manga adaptation...!!! Honestly the cast was pretty good; big names such as Miyase Ryubi, Hara Nonoka, and some big names in the extras too such as Fujimoto Kodai.

Hara Nonoka CARRIED the acting here cause she never fails to make me feel immense second-hand embarrassment to whatever the fuck situation she places herself into. I see a lot of Aihara Kotoko in her.. that is not a good thing /hj

Also she still creates her fantasies on twitter like PREACH??? I RESPECT THE GRIND OKAY

The only thing bringing this down is genuinely the amount of cringe in this movie (bringing down the rewatch value), which is most definitely done purposefully but it can get overbearing at times. Doesn't mean I won't watch it when I am bored, however ;D

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When life is unfair, sometimes choosing to live is the bravest rebellion

Some film entertains you, some film stays with you as long as you live; and then there are films like Viva La Vida that quietly breaks your heart and leave pieces of it scattered long after the credits roll.

The story follows Ling Min (Peng Yuchang), a young woman battling kidney failure whose life has been reduced to hospital visits, dialysis machines, and the exhausting waiting for a transplant that may never come. When she crossed paths with Lu Tu (Li Gengxi), a man carrying his own heavy burdens. They formed an unlikely partnership built on survival, stubborn hope, and the fragile belief that tomorrow might still be worth fighting for.

What made Viva La Vida devastating was how painfully real Ling Min’s journey felt. Her frustration, anger, and quiet desperation to live seeped through every scene. She wasn’t a heroic patient bravely smiling through her suffering—she’s a human too, flawed, tired and sometimes selfish. And that honesty was exactly what makes her story hit so hard.

Lu Tu entered her life like an unexpected spark. He’s chaotic, sharp-tongued, and seemingly fearless, yet beneath that rebellious energy lies someone just as wounded as Ling Min. Their relationship isn’t a typical cinematic romance; it’s messy, awkward, raw, and built on two people clinging to each other while standing at the edge of despair.

Peng Yuchang delivered a performance that felt almost too real to watch at times. You don’t just see Ling Min’s pain—you feel it in the heavy silences, the tired smiles, the moments where hope flickers and dies in her eyes. Li Gengxi as Lu Tu balanced the darkness with a strange, bittersweet warmth that made the story breathe. His clumsy innocence and clingy affection is bound to win audience's heart.

What truly devastated me was the film’s quiet reminder that life doesn’t always offer neat resolutions. Sometimes survival itself is the victory. Sometimes love appears in the most unexpected moments, not to save us—but to remind us that we are still alive and what it meant to be alive.

Viva La Vida isn’t just about illness or survival. It’s about the fragile courage it takes to keep living when life feels unbearably unfair to live again.
By the end, I'm left with a lump in my throat and a single haunting thought that, sometimes the bravest thing a person can do… is simply choose to live.
"A marriage born from desperation turned into a miracle of love.”

Overall, I urge everyone to watch this movie because the amount of internal enlightenment you'll receive after watching this, it'll enough to make one realise how precious being alive feels. Of course the reality is harsh but there's still hope, it might come in different shapes, colours and sizes, be sure to recognise it when it finds you. It definitely will.

P.S: keep two box of tissues with you. IT'S A MUST! I look like a puffy mess right now 🤧

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Melodramatic tale of love, honor, and betrayal

Twelve Deadly Coins was a melodramatic tale of honor, duty, betrayal, and love at first sight. A fairly typical 1960s wuxia with the exception of more buckets of rain-soaked melodrama than blood.

Chief Yu runs a successful escort service and is the famous Twelve Deadly Coins Master. His son, Yu Hua, is an overly entitled idiot who is often helped behind the scenes by poor born Chiao Mao. When Chief Yu gives Hua the job of escorting 200,000 taels of silver for the military, Chiao begs the Chief to let him help. Hua takes it as an insult and orders him not to show his face. Chiao follows to make sure the drive goes well, but the notorious one-eyed bandit Yuan Cheng Lieh and his band of thieves’ attack, leaving few alive and absconding with the loot. Chiao follows the bad guys to try and recover the silver, unaware that Hua is spreading the news that Chiao is a spy and caused the theft that ruined the family. No good deed goes unpunished…

This was one of Lo Lieh’s early films when he played the hero before being relegated to villain roles. Chiao Mao was overly earnest and duty bound, completely accepting of his low status. He and the adopted daughter of the Iron Thorns fell hopelessly in love during a heated moment in battle. Lo always gave a strong performance even when it bordered on treacle. Ching Li as Yuan Rung was the gorgeous swordswoman who fell in love with Chiao at a glance. The two young people suffered for their love and their clans’ hatred of each other.

Fang Mien and Tien Feng played the two warring masters with expert aplomb. Poor Fang had the worst and yet funniest prosthetic eye I’ve ever seen. A young Wu Ma played Red Hair Bear wearing a horrendous crimson wig. The martial arts directors got in on the fun as well. Tang Chia played one of the bandits and Lau Kar Leung was a quickly killed off Coin escort. The fight choreography was solid and typical of the late 60s. There was copious use of low-tech wires and trampolines. Aside from the airborne coins and iron thorns, most of the fighting involved swords and other pointy weapons.

Twelve Deadly Coins was entertaining despite the ham-fisted melodrama and deadly misunderstandings. Pretty sure it had one of the longest death speeches I’ve ever heard. Are we sure he’s dying? The sets and scenery helped sell the story though the minute I saw the long set of stairs I wondered who would be tumbling down them. The noble honor idiocy was laid on as thick as a mason’s mortar which lowered my score. Though I almost bumped it back up when one character that was annoyingly wearisome received his due. I was actually pleased about the hero who literally walked off into the sunset. Only for fans of old martial arts films and as always, I rate them on a curve.

2 March 2026
Trigger warnings: One person was un-handed. The body count was high with people dying from a wide variety of bloody wounds though no Chang Cheh blood spewing wounds. Attempted sexual assault.

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A movie that I'd watch on a date

To be honest I could say that about every romance🤷🏾‍♀️. But under the big onion has this kind of warm, fuzzy atmosphere (maybe because the bar/coffee shop seems sooo cozy) which made the movie so heartwarming. This movies combines penpal-plot like in "our secret diary" and ennemies to lovers plot.
My favourite moment was when they started to write each other and the song "Letter" by asmi started to play. It was *chief kiss*
I will rewatch it one day with a date 🫡
It's not a "high-level" movie with an original plot but I believe you might still have a great time watching it !

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Raw and Real

Better Days (2019) is a visceral masterpiece that transcends the typical teen drama. Directed by Derek Tsang, it’s a raw, unflinching portrait of survival and sacrifice that you don't just watch—you feel.

What makes the film extraordinary is its commitment to authenticity. The emotions are raw and ugly, making them painfully real. The bullying is shown with unflinching honesty, highlighting not just cruelty, but the systems that allow it to fester. It forces you to sit with discomfort, which makes the story heartbreakingly genuine.

The performances are breathtaking. Zhou Dongyu embodies vulnerability with quiet devastation—you see the weight of the world in her eyes. Jackson Yee is a revelation, disappearing into his role. Behind his rough exterior, he reveals profound tenderness with just a glance. Their chemistry isn't romanticized; it's built on shared silence and unspoken understanding.

Derek Tsang's direction makes you feel the exhaustion in their skin. The muted colors and dirty streets mirror the characters' suffocating weight, while intimate camera work makes the experience feel personal and private.

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I was holding my breath the whole time!

I was recommended The Terror Live and told it was a great thriller, and I’m so glad I listened.
It took me straight back to those early 2000s thrillers I used to watch as a kid, the kind where you don’t move, don’t even dare run to the bathroom during ad breaks because you’re terrified of missing one second. That’s exactly how this felt.

From the moment it started, I was locked in. Completely. It’s the kind of movie that traps you in one space. The tension just keeps tightening and tightening until you realise you haven’t blinked in minutes.
It gave me that specific adrenaline rush only a truly good thriller can deliver, where you’re not even breathing properly. You’re just holding air in your lungs, waiting. And then when it ends, you finally exhale and sit there thinking: “That was insane.”

The pacing is relentless. The story is engaging. The acting carries everything with such intensity that you feel like you’re inside the chaos rather than just watching it. It’s the kind of performance that makes you forget you’re watching a film at all.

I genuinely don’t want to say anything about the plot because this is one of those movies you absolutely need to go into blind. Don’t read summaries. Don’t watch trailers. Don’t spoil it for yourself.
Just press play. Trust me.
When it ends, you’ll feel that same urge I did, to immediately tell everyone how good it is.

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Loved the cinematography

It had been a while since I’d seen Hwang Jung-min in a lead action role, so watching Deliver Us From Evil felt like reconnecting with an old favourite, and he did not disappoint.

The Plot**
The story follows Kim In Nam, a professional hitman who has spent years eliminating targets for an organisation but now works on his own. As one last job before he disappears for good, he is given an assignment in Japan involving the yakuza boss. Nam plans to retire quietly in Panama. But just as he thinks he’s finally stepping away from bloodshed, his past comes chasing him back. He learns that he has a daughter from a former girlfriend, a child he never knew existed, and now she has been kidnapped in Thailand.As In Nam races to save his daughter, he is hunted by the ruthless half-brother of the yakuza boss he killed for revenge.


The story is intense and tightly paced. There’s no unnecessary dragging. It moves with purpose. The cinematography shift between Korea and Thailand was one of my favourite aspects. When the film moves to Thailand, the colour palette transforms to intense yellows, humid streets, and neon-lit chaos. It gave me strong late 90s / early 2000s action-thriller vibes. That gritty, sweaty, street-level energy that feels raw and dangerous.
The action sequences were genuinely impressive. Not just generic fight scenes but a combination of: brutal hand-to-hand combat, high-speed chases, gunfights and knife combat.

Hwang Jung-min plays In Nam with a quiet exhaustion. He’s not flashy. He’s not overly emotional. But you can see the weight of his life in his eyes. This isn’t a man looking for redemption; it’s a man trying to do one right thing before disappearing,and then there’s the antagonist, played by Lee Jung-jae, he was terrifying. Unhinged. Stylish. Violent. Cold and he enjoyed the hunt.

The side character Yui, a transgender Korean woman trying to earn money for surgery, added unexpected emotional depth. The actor played her with such charm tough on the outside, but clearly soft-hearted underneath. She brought moments of humour and warmth into an otherwise dark narrative. That balance worked beautifully.

If I had to change one thing, I might have extended the final
confrontation slightly just to build the emotional and physical climax a bit further. But even without that, the ending still hits hard.

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The John Woo Filmograpy along with several other Hong Kong classics are being released on the big screen over the next few months. I saw A Better Tomorrow today on the big screen for the 1st time. It was epic. It really is a story of redemption or trying to go straight but the old life not letting you leave. I own this on DVD and probably VHS but I still wanted to see it on the big screen. It plays well there. Epic action sequences and bloody bullet ballet. Here's a bit of trivia for you. The character of Mark played by Chow Yun Fat was only supposed to be a small role but Woo saw Chow's charisma and added more lines for him. The Charcter was so popular that ***SPOILER ALERT** even though he dies, Chow was in the sequel (well technically as another character).

John Woo and Chow Yun Fat are the reason you have your John Wicks of the world.

I have been a fan of John Woo's since the first time I saw The Killer way back when. A Better Tomorrow was the 2nd movie I saw in Woo's filmography. I still like it over all and it did define a genre.

3/1/26

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