Hindi nakakainis.
Sa totoo lang madalas naiinis ako sa mga Filipino na palabas kumbaga lagi ako natatangahan kasi naman sobrang gagaling ng mga writers natin pero yung mga palabas puro ginagawa tayong mukhang tanga sa angle, galaw, linyahan, paligid, lahat nalang. Isa rin din siguro ito sa mga dahilan kung bakit madaming katangahan na desisyon ang mga Filipino. Walang magandang impluwensya kaya sige okay lang kahit tanga ang maging desisyon. Isa ito sa mga palabas na hindi ako nainis. Babae ang bida tapos hindi siya ginawang tanga. Pinakita na mayroon pantay na lakas ang mga babae sa lalaki. Pinakita ang lakas ng isang Filipina, hehe.Was this review helpful to you?
1“What you see is no longer what it once was.”
Yanagawa was a story of love, loss, and lives that were sadly isolated. A friendship from twenty-years prior had made it difficult for at least two people to move on, and one of those people had far less time ahead of him to reminisce.Li Dong stumbles out of a doctor’s appointment and bums a cigarette off a stranger. He’s just discovered he has stage 4 cancer. He meets with his brother without telling him the diagnosis and proposes a trip to Yanagawa, Japan. When his brother rejects the idea, he tells Li Chun that their old flame, Liu Chuan, is living there. The brothers haven’t seen her in 20 years and have never gotten over her. The two men catch the first flight out of Beijing and are soon checking into their room at a Japanese house. They find Chuan singing in a small bar. Will she be as excited to see the men as they are to see her?
The first hurdle to overcome with this film were the age gaps. Ni Ni would have been 32, Edward Zhang-40, and Xin Bai Qing-47. That 20-year time lapse would have made Chuan 12 years old when she left Beijing. Apparently, the writers assumed the audience would age her up in their minds to make her compatible with Xin’s 27-year-old Chun. The brothers were also in their 40s which meant they were grown ass men stumbling around. I never could reconcile the ages.
The brothers were opposites with Dong being the quiet, reserved, bookish brother and Chun the outgoing extrovert who sought to be the center of attention. Dong never wanted to leave a trace of himself in the world and began to put his house in order. The top two things on his bucket list were to take a trip with his older brother and see Liu Chuan one more time. During the trip, Chun often belittled or interrupted Dong. The older brother was married with a child, yet made every effort possible to sleep with Chuan. Despite declaring his eternal love, he was the one who caused the alienation between the two twenty years prior. So self-absorbed, he could never imagine that the beautiful Chuan would have ever been interested in shy Dong. And Dong must have merely wanted to gaze upon the object of his affection as he never held an important conversation with her. His best joke was one he forgot. Aside from the brothers, the landlord of the house they were staying in also had eyes only for Chuan. Ni Ni’s character spent most of her time with the reverse harem fending off grabby men or singing sorrowful songs. I’m a huge fan of hers and this film felt like a waste of her talent. She still managed to shine, though her best scene was with the Izakaya where the two women deeply understood each other empathically.
The characters spoke a variety of languages. The three from Beijing spoke Mandarin though in different accents. Dong also spoke Japanese. In order to converse with Nakayama Noki, the landlord, they switched to broken English as neither Chun nor Chuan could speak Japanese. Korean singing was heard coming from one of the boats. Both Chinese and Japanese folk songs were also sung. Regardless of the thin reason for Chuan deciding to live in Yanagawa, I wondered how lonely she must have been with the language barrier. Though she often sang John Lennon’s “Oh My Love,” which spoke of finally seeing clearly and living peacefully with the world so maybe it wasn’t a problem.
Yanagawa was a low budget film that managed to be aesthetically pleasing due to the scenery and cast. Much time was spent talking on boats and benches or in Izakaya’s bar. Loose ends were left dangling as people conversed little knowing that one of them was on a ticking clock. Twenty years is a long time and people mature and outgrow the familiar. “What you see is no longer what it once was. Nothing is what it used to be.” Yet truths eventually made their sorrowful appearances, ones that could only be seen clearly in the rearview mirror.
“Oh, my love, for the first time in my life
My eyes are wide open
Oh, my lover, for the first time in my life
My eyes can see”
(John Lennon)
2 June 2026
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Where Loyalty Ends and Desire Begins
A Frozen Flower* is not an easy film to watch, nor is it meant to be. Set during the late Goryeo Dynasty, the film explores the complicated relationship between a king, his loyal military commander, and the queen. What begins as a political solution to secure an heir quickly evolves into a tragic story of love, jealousy, obsession, and betrayal.One of the film's greatest strengths is its performances. The actors bring emotional depth to characters who are trapped by duty, desire, and the expectations placed upon them by society and the throne. No one in the story is entirely innocent, yet viewers can understand the motivations and pain driving each character's choices.
Visually, the film is stunning. The costumes, palace sets, and cinematography create an atmosphere of beauty and elegance that contrasts sharply with the emotional turmoil unfolding beneath the surface. Every scene feels carefully crafted, adding to the tragic tone that hangs over the entire story.
What makes *A Frozen Flower* stand out is its willingness to explore themes rarely addressed openly in historical films. The story examines love in its many forms—love as devotion, love as possession, and love as sacrifice. It also asks difficult questions about power and whether true affection can survive within a world governed by politics and obligation.
The film is not without its weaknesses. Some viewers may find certain scenes overly graphic, and the pacing occasionally slows as the story focuses on emotional conflict rather than action. Additionally, because the characters are deeply flawed, it can be difficult to fully support any one individual throughout the film.
Despite these criticisms, *A Frozen Flower* succeeds as a tragic historical drama. It is a story filled with passion, heartbreak, and consequences. The ending leaves a lasting impression, reminding viewers that in a world ruled by power and duty, personal desires often come at a terrible cost.
This is not a lighthearted romance or a feel-good historical drama. Instead, it is a mature and emotionally complex film that stays with you long after the credits roll.
A Frozen Flower* is a visually beautiful and emotionally powerful tragedy that explores the dangerous intersection of love, loyalty, and power. While not suitable for every audience, those who appreciate serious historical dramas with strong performances and complex relationships will likely find it unforgettable.
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At just 81 minutes, it still manages to feel bloated, filled with unnecessary filler while more compelling plot threads go underdeveloped. Character work is minimal, making it difficult to stay engaged as the story drags on, leading to wandering attention by the final stretch.
The rushed ending does little to resolve this, leaving the impression that little has truly changed. What begins as an intriguing premise ends up feeling like a missed opportunity.
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WHAT WAS EVEN THE POINT?
First of all this movie made no sense, especially the ending which was the worst ending i have ever seen. I've heard of this movie before and I thought that I should give it a try as I was also really bored and just decided to watch this,It started off okayish but then it started going down hill and the story just became a whole mess. The girl annoyed me so much like every time she appeared on the screen I already knew she was going to do something stupid like when she kissed Jonathan and then not long after got with his best friend Shane.
Also Jonathon and Shane's friend ship was so confusing and stupid like how are you letting on random girl that came into your lives ruin your friendship as she caused so many issues.
IDK WHAT ELSE TO SAY BUT I ACTUALLY AM SO DISAPPOINTED IN THIS MOVIE AND IM SURPRISED I EVEN GAVE IT MORE THAN 2 STARS.
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RESEÑA <3
Imposible no llorar con esta maravillosa película.Lo primero de todo, la actuación es de diez.
Recomiendo verla. Aprendes más de la vida de lo que uno sabe.
Hay veces que la gente no se da cuenta de lo que ocurre al rededor, de lo que puede ser la vida en sí.
Hay dos frases iguales que se me quedaron grabadas, pero por relación a la película, y relación a la gente que está en esa situación.
“Yo no puedo ir a ningún sitio si tú no empujas mi silla de ruedas”
“Tú no puedes ir a ningún sitio, si yo no empujo tu silla de ruedas”
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Alien acting
A veteran Korean actor, Lee Dong-hwi, plays a version of himself with the same name Lee Dong-hwi. Interestingly, I recently watched a similar movie about another actor, Jung Woo, and the acting world. This film is a self-reflective comedy about the life of an actor. It shows the main actor’s vulnerability and honesty.I love Korean movies, but I often struggle with Korean comedies. They usually carry a good message, and this movie is no exception. However, the jokes often didn’t land well for me. I only laughed twice — once at a fart joke and once at a sandwich scene. The rest of the time, it felt overly silly, with too much yelling that was uncomfortably loud on my speakers rather than funny or entertaining. Oh, and I also laughed at the post-credit scene at the end.
The movie uses the analogy of acting as an alien character to represent feeling alien to your own life. It explores what happens when acting becomes your life and your life becomes acting. We all play certain roles in life, and we need the wisdom to stay true to ourselves.
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This review may contain spoilers
Better spend your 2 hours for something else
Suffer the same plot holes and idiotic moments as every other zombie themed shows that predate it.Zero story and very weak characters. It's just a fast pace of events showing a small group of people running from the zombies, while occassionally getting into heated arguments and do stupid shit that get them killed.
Film maker told us that she's supposed to be a reknown bio-tech professor, but they failed miserably to deliver that premise at all. It's a shame really.
Having Jun Ji-Hyun and Ji Chang-Wook as the main casts ain't gonna save this garbage.
1 star rating from me.
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the fog that never lifts
there's a difference between disappearing and dissolving. when someone dies of old age, illness, accident they disappear. they vanish from the world all at once and leave a hole in the exact shape of the person they were. but when someone is executed for having the wrong thoughts, for dreaming of a different world, for daring to imagine that person doesn't disappear. they dissolve. they become fog. they become the air other people breathe without knowing where it came from.the film follows one impossible week in the life of a girl who traveled to taipei to retrieve her brother's body. but what chen yu-hsun understands and this is what separates a good film from a film that stays with you is that the body was never the point. the body is just the reason yue leaves home. what she finds along the way is something else entirely: a world that punishes memory, that charges you for the right to grieve, that turns mourning into bureaucracy and pain into a fee. taipei isn't a city in this film. it's a system. and the system has no interest in letting you hold onto who you lost.
but people find a way. they always do. chao kung-tao is proof of that a broken man who still extends his hand, not out of pure kindness but for the most human reason possible: he's been in the hole before and he knows what it feels like. the connection between the two of them isn't pretty or clean. it's necessary. and necessity, in this film, is worth more than anything.
fifty years later yue is still looking. not for her brother she knows where he is. she's looking for the week she survived, the man who helped her survive it, the version of herself that held the watch with both hands and kept walking even without knowing where she was going. trauma doesn't go away. it just learns to live inside you quietly.
the fog never lifts. but with time you learn to see through it.
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SO UNHINGED LIKEE
okay so this movie had me absolutely LOSING it the whole time. the ml was giving such unhinged autistic energy like bro has never had a normal conversation in his life and i was EATING it up. Their whole vibe was 2 'smart' idiots learning to communicate for their life. IT WAS MESSY BUT I LOVED IT. The studying scenes where she tryna be normal and he's just existing loudly, following her like a little puppy and the way he pulls a Spider-Man to jump anywhere had me on the floor. but the FINAL SCENE?? girl really said "i cant hit ball to save my life but i CAN and WILL launch myself at this man's mouth with sniper precision" like PLS the physics were not physicsing the way she literally FLEW to kiss him it had me cracking ONGG. she was out here doing olympic-level mouth targeting while failing basic P.E.The side characters were also unginged like no one literally NO ONE was normal in this movie except for the cousin - a bit ig. I'd rewatch it anyday if I just wanna have a disastrous laugh
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This review may contain spoilers
Poon! Like literally just why?
Okay so first things first. This movie didn’t attract me by the cover or name. And had I watched sooner if i knew it was thai. I'm no new audience to thai entertainment, but thai movies are an exception. I just run after Hollywood horrors.So when i saw Poon in the cast list 👀
I knew i had to give it a try!!
Cause? ........
Hell yeah bruhh your sis right here who just burned down the house while making a cake (almost) is a freaky sneaky .... ting ting ting.....
Guessed right ✅️ A BL FANNNNNNNNNN
so when i say i can watch all the movies with bl actors casted in them... I'm not kidding.
So yesterday I thought to give this movie a try cause I shot every other interesting looking horror on hotstar. And this one was free so ... why not?
Finally getting started with the review after my yapping (sorry 😔)
Okay so I watched this movie for Poon.
[Poon is a thai actor under gmmtv, a bl actor who worked in perfect 10. Liners with Perth and in my romance scammer with Ohm and in we are with Marc]
Yeah for the 3rd time 🙄 sorry
I watched it for him only to realize in the very few minutes that HE IS DEAD!!! Great 👍
Then i thought yeah he'd probably be the ghost sure why not.. right?...
Again! No!!
The only camera work and appearance he had was of his character named Mac with just the pictures!!!!.. atleast they shoud have shown the backstory. But then the story wasn’t even about him like not even the slightest. He was just there to distract the plot and build a disturbing plot hole.
So yeah this part was sad.
But anyways what's more unsettling to me is his character Mac had incest with his sister. If you don't know...just Google it like I did.
That was disturbing for me.
The main character who could be the savior, died. Like just died literally? In sleep? On the day before ceremony ?? Of all days?.
The acting of Mink was really good. I could genuinely feel the creepiness and jumpscares when she was on camera.
I'm looking forward to watching more of her works.
Noi's character had a good depth but left me messy . Maybe she was just too guilty.
Also Wiroj and his ancestral line?.. i don't get that part.
Like the story had so many links interlinked. The ancestral curse, the incest between siblings, the faith of Ba yan and also at the end it was like nothing? No godess just empty faith? So many spirits caught her without any purpose? The stroy was overall on faith and deeds. But i think instead of so many small confusing dots they could have chosen a single plot twist. Like Nim not actually dying and Ba yan's energy actually saving everyone. Or even without god they could have saved someone.
Everyone just died. Like that.
Also i couldn't understand why Manit's wife opened the door. Like the cameraman actually showed us her baby sleeping in the crib. Why'd she do that. Was that intentional or was she possessed?
Weird thing is ' the cameraman never dies '... didn't work here. The cameraman/men actually ended up dying. Like all of them...brutally.
I enjoyed it regardless of how little i could understand.
Ofcourse I'm no expert i just enjoy watching horror and bl.. so combined.. boom.
It was a good one for sure might watch it again with friends. The culture, faith, happening, quite similar to indian culture. Can relate.
Half way through the story and I was thinking to watch it with family or cousins. But then the cctv clip...AHEMm... Hell nah bruh. Glad i watched it alone.
But would surely watch it with my cousin sisters on some movie might.
Overall you can give it a try. Some might actually like it. But atleast give it a one time watch.
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A bit disappointing
İ understand the hype but does it really deserves all that?İ mean the movie is good, but not up to expectations, in it's core it's quite simple and not very unique.
The first 30 mins are the slowest ever, in case you didn't feel interested in whatever is going to happen or feel attracted to the characters in any way possible, you'll have to go through the next trivial 30 mins to have a total 1 hour of a "could be better" story.
The next chapter however, or the second part of it, this is where things started to get lively and engaging, the unexpected surprise. Be that as it may, I was lost during some parts of it despite being really captivated, i couldn't understand who is the ghost, who is the spirit and how is that related to the original corpse and why the Japanese guy is was there and what exactly is going on and why is he still there, why do the guy want to kill his offsprings and what's the point? A bunch of confused questions, i later found the answers for some of them but it was like whatever fits the narrative.
Maybe because i don't know enough about these korean shenanigans, but the way they ended it was very anticlimactic and disappointing.
You are telling me I can pee on a wooden stick and slap this hulk with it and he is gone? Alright next time i visit a grave in SK I'll make sure to bring a stick and drink a lot of water, just in case.
I know it's not as ridiculous but it's liquid and wood...
Overall, i guess it wasn't for me, I'm definitely not the targeted audience so aside from acting this was very meh!
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like 50first dates and 20th Century girl had a baby.
sucker punch incoming. Did you enjoy fifty first dates with drew Barrymore? Did you endure 20th Century girl with the DL from My Demon ? Did you ever wish you could blend the two into a warm fuzzies film that morphs Shakespearean leaving you feeling à dystopian gutted feeling because gosh darn it you need to get some feelings out and dealt with? if you crave an ottoke catharsis, this is for you. how is this not five hundred characters yet? let me post already. I didn’t say what happened right? So it is not spoilery if the title says even if this love disappears overnight. end essay.Was this review helpful to you?
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A Sharp, Uncomfortable Mirror of Power, Politics, and the Filipino Psyche
Quezon completes Jerrold Tarog's Bayaniverse trilogy in spectacular fashion, trading the battlefields of Heneral Luna and Goyo for the ruthless arena of Philippine politics. Rather than presenting Manuel L. Quezon as a flawless national hero, the film tears down the mythology and reveals a brilliant, ambitious, manipulative, and deeply human politician whose pursuit of power often clashes with his ideals.Jericho Rosales delivers a commanding performance, while Romnick Sarmenta, Mon Confiado, Karylle, Cris Villanueva, Sue Prado, and Iain Glen provide excellent support. The dialogue is sharp, the pacing engaging, and the film's satirical edge makes its political commentary feel surprisingly contemporary.
What makes Quezon stand out is how relevant it feels. The media manipulation, election theatrics, personality politics, and empty promises depicted on screen could easily be mistaken for today's headlines. Tarog once again refuses to offer simple heroes or villains, presenting politics as a messy game where everyone has something to gain and no one remains entirely innocent.
Visually impressive and packed with strong performances, Quezon succeeds as both a historical drama and a biting political satire. While its portrayal of Quezon can feel overwhelmingly critical at times and some historical liberties may divide audiences, the film's willingness to challenge long-held narratives makes it compelling viewing.
More than a biography, Quezon is a mirror held up to the Philippines—past and present. Thought-provoking, uncomfortable, and timely, it's one of the year's strongest Filipino films and a fitting conclusion to Tarog's remarkable trilogy.
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Love Beyond Words
Mumu begins on a deeply emotional note, immediately establishing the harsh reality of how easily society can take advantage of those who are hearing impaired. The film centers around Xiao Ma and his daughter Mumu, whose lives are thrown into turmoil when Mumu’s mother, Xiao Jing, suddenly returns with the intention of suing for custody in order to take their daughter away.Faced with the possibility of losing Mumu, Xiao Ma becomes desperate to prove that he is capable of providing a stable life for his daughter. The film does an excellent job portraying how pressure, fear, and love can push someone into making morally questionable decisions. While the agreement made between Xiao Ma and Xiao Jing is understandable from an emotional standpoint, it does not excuse how poorly the situation was handled. Xiao Jing’s feelings of loneliness and emotional isolation are valid, especially after spending years feeling disconnected and unsupported, but her actions fail to consider the emotional impact her sudden return would have on both Xiao Ma and Mumu.
After finally securing a job, Xiao Ma becomes involved in an incident that forces him into increasingly dangerous and degrading work in order to afford legal fees. His desperation blinds him to the consequences of his actions, and the film powerfully highlights how vulnerable hearing-impaired individuals can become in environments where others are willing to manipulate and exploit them. One of the film’s strongest aspects is how it portrays communication barriers. The interpreters may relay conversations, but those who can hear often fully grasp the hidden severity and manipulation behind certain situations, while Xiao Ma is left vulnerable and uncertain.
The movie beautifully captures silent moments of fear, hesitation, and emotional conflict through expressions alone. Even when Xiao Ma senses something is wrong, desperation outweighs caution because his only focus is keeping his daughter. Tragically, it is only after a devastating accident that he fully realizes the damage caused by his choices. By then, it is too late. Mumu, understanding everything her father sacrificed and the dangerous path he had gone down, ultimately chooses to live with her mother, not because she loves her father less, but because she wants to protect him from destroying himself further.
What makes the film especially emotional is that neither parent is portrayed as truly malicious. Instead, both Xiao Ma and Xiao Jing are emotionally blind in different ways. Xiao Ma becomes so consumed with keeping his daughter by his side that he ignores the consequences of his decisions, while Xiao Jing focuses solely on reclaiming Mumu without fully understanding the pain of separating a father and daughter who have grown together for years. Their actions come from love, but also from selfish desperation and emotional tunnel vision.
Fortunately, both characters eventually receive the wake-up call they desperately need. Xiao Ma finally acknowledges the mistakes he made, while Xiao Jing realizes that simply taking Mumu away does not automatically create a better life for her. The emotional growth of both parents gives the film its strongest and most heartfelt moments.
Since the story is largely told from Mumu’s point of view, the film does contain certain misalignments and moments where some details do not fully add up. However, this approach ultimately makes sense within the context of the narrative. Much of what is shown feels like fragmented childhood memories recalled from Mumu’s perspective at a young age, where emotions and significant moments are remembered more clearly than exact details or logical consistency. This storytelling choice adds a layer of realism to the film, making it feel less like a perfectly structured retelling and more like an emotional recollection of painful events from a child’s memory.
Ultimately, Mumu is a beautifully emotional story about love, sacrifice, and communication beyond spoken words. The film emphasizes that deep parental love and emotional understanding do not require sound to be profoundly felt. It also serves as a reminder for those who can hear to appreciate something so easily taken for granted.
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