Reviews

The most influential movie of all time

I got my hands on the 70th anniversary Blu-Ray, (I would’ve gotten the 4K Blu-ray, but sadly I don’t have a 4K player yet) and I have to say, this was an incredible experience rewatching my favourite movie of all time.

The story is incredibly straightforward but yet gripping and compelling, The first part of the film puts into question about how easy it would be to actually get Samurai to defend a poor peasants village.

The characters are incredible in the film, it’s impossible for me to decide who my favourite character in this film is, wether that be Kambei, Kekuchiyo, or Kyuzo. All Seven of the Samurai are incredibly essential to the film and would make movie a lot less if one of them were to be removed. One of my favourite details I noticed when rewatching this film is that the Non-Samurai characters have very exaggerated expressions, (Kurosawa likes to do this in his films for the audience to easily understand how a character feels) But the Samurai contrast this by being very stoic and barley showing any emotion all the time. Whereas Kekuchiyo, who is a poser of a Samurai still has these expressions, as he is not a true samurai, and doesn’t understand what it means to be one.

The romantic subplot in this movie is also very gripping, Kurosawa managed to put in a great and compelling romantic subplot into this movie.

The pacing is incredible in this film, despite it being over 200 minutes long, not a single second of this film feels wasted, and the film feels like it’s 100 minutes instead of 200. The film has a ton of build up, the first hour of the film is just to set up and gather the Seven Samurai, then the second hour is the Samurai getting used to the village, where it then finally gets to the battle, despite how long it takes, it never felt like there was any time wasted or that it was boring. The action scenes are also incredibly gripping and put you on the edge of your seat, and are used very well, with the best scenes being put at the very end.

If you are into movies, hell, even if you barley care for movies, PLEASE WATCH THIS MOVIE BEFORE YOU DIE. It may seem overwhelming, because it’s over 200 minutes long, in a language you probably don’t speak, and in black and white, but it is 100% worth it, it’s influence is in almost every action/adventure movie or anime today.

Read More

early gem of a film

The simplicity of this film is its strength, at least for me. I was right there with the main characters' emotions throughout, worried for them, hoping with them. Did help that I hadn't seen any synopses beforehand. Letterboxd's is particularly bad.

It's a bit coming of age, a bit melodrama, a bit slice of life - religion, gossip, music, a school bully. Always aware of the prejudices someone with disabilities faces and how they impose additional, unnecessary obstacles. And of course it's a love story.

Some of the background music was a bit over done for me, but either that settled down or I got used to it along the way. Likewise the dubbed voices, especially for the children. But those were minor concerns. Santi's flute, the piphat ensemble, Buddhist chanting, effective use of silence too at key moments, all those mattered more.

And of course, Vina and Santi.

A restored version is available with subtitles on Film Archive Thailand's YT channel.

Read More

Watched but sometimes for wrong reasons

Keep in mind this was released in 2016. The beginning and middle held my interest, but the last third I watched more to see if the apparent flaws were going uncorrected until the very end. They were.

The writer had an idea of the growth arc for their main character and like an alligator they locked onto to it right into a death roll. Hideo, the main character, is weak willed lacking in the follow through action part of living. And he does go through some tremendous development at the very end. The problem is that it's delayed through the middle of the story into situations that are simply unbelievable.

The bigger problem is that death roll for the main character was pursued at the expense of the development of certain other characters, in particular the half zombie school girl. It's unbelievable that she's used merely as a McGuffin through until the very last second! She should have had an active role in the final resolution.

Yes, the writer wanted us to understand how important the transformation of Hideo is but this is not news that the main theme can be developed along with other characters and themes.

The nurse carried her load in the story well enough, but the total neglect of the story and character potential of the half zombie girl in the last half was criminal and seriously damaged the finished movie.

Read More

Political Satire Done Right

Good News is a political satire of the true events that transpired during the Japan Airlines hijacking in 1970. It's an excellent mix of dark humor and melodrama, which I found to be absolutely hilarious and painfully moving at the same time. I found myself chuckling and laughing out loud at the funny quips and slapstick comedy quite a few times, and shaking my head in frustration at the universal absurdity of government politics. Damn, and I thought my country was a shithole like no other! Hahaha! But for a wannabe political analyst who thrives studying political science and watching political dramas, this was a fascinating watch! This certainly has the vibe, uniqueness, and boldness of Korean cinema of old.

It stars some of the best and brightest of Korea and Japan, and I was as thrilled as I was surprised to see them share the screen together. I'm glad they actually cast well-known Japanese actors to play the Japanese roles instead of just hiring locals to play these parts. It certainly helped sell the story they were telling.

Of course, the standout to me was Hong Kyung. Who would've thought that the scrawny nerdy kid in Weak Hero would turn out to be a dashing multilingual soldier showing off his cowboy swagger, comedic timing, and dramatic acting chops with just a wave of his hand?! I won't be surprised if this is the role that finally gives him the chance to become a bonafide leading man.

I had a blast (pun intended) watching this. I would definitely want to watch it again one of these days. I'm so happy I stumbled upon this. I hope to see more movies like this from Korea in the future.

Read More

it gets worst

after watching part 1 i thought maybe the sequel was good, actually i am the stupid one for expecting miracle to happen. full bs plot, loads of plotholes, forget about the anime and manga, let's not even get that involved here, the movie itself is so bad. the ending is also bs. the script writer should find another job. totally not recommended, just end it on part 1 it was better than this. i tried so hard not to hate but i cannot help it. the cinematography and dark vibes are good, even the casts but the way they ruined the characters and kept making original characters is pure ragebait. it had loads of potential but the script writer ruined it. if only the script writer was someone good then maybe this movie wouldn't have been so bad. i hope japan produces some good script writer besides manga and ln authors.
totally not recommended. ruined my mood very badly. DON'T WATCH IT.

Read More

A clever film that will inevitably lose a lot in translation.

Bakudan does what it says on the tin. For a film where at least half of the runtime is spent in an interrogation room, it maintains interest and delivers very clever use of dialogue and wordplay.

Unfortunately, the clever dialogue and wordplay is both the film’s greatest strength domestically and weakness when translated. Many of the clues given throughout the film are subtle linguistic clues that rely heavily on wordplay in the most Japanese way possible. Without a broad understanding of Tokyo the way a Brit would understand London, even a successful translation would be hampered by the general knowledge requirement - without which it becomes harder to engage in the mystery and puzzle aspects of the plot.

However, looking past the cultural and linguistic hurdles, there is still merit to be found in watching this film. The cinematography is very well done, able to deliver the feeling of unease and discomfort the film aims for in appropriate moments. If you’re sat across the table from an unhinged individual that is your only lead for hours on end, you will begin to notice even the smaller details of their mannerisms and appearance. This is well portrayed through the cinematography, one brilliant detail of which was just the right level of bothersome to never truly go away once noticed.

The visual and practical effects are well done, and the believability of characters is also solidly grounded. Pacing wise, I have no complaints and think the pacing was near enough perfection. 2 hours and 17 minutes is a long time to keep me sat in one place, and yet, through the way the pace continued to develop throughout the film maintained the right amount of momentum and development to keep me curious.

The most biased comment I will make is that I think the ending was superbly well done. Very clever choices were made in how to go about the final quarter of the film and it also does that thing that Japanese films and media often do, in highlighting the overlooked humanity in these situations.

Read More

According to the information the Film Archive Thailand gives along with the film, this is the first Thai colour 35mm film. It's also the first feature film to win international recognition. In 1954, the film participated in the first edition of The Film Festival in Southeast Asia in Japan where it won two Golden Harvest Awards for Best Cinematographer (R.D. Pestonji) and Best Art Direction (Urai Sirisombat) and also a Special Award for “the Feature Picture which will Best Disseminate Asian Culture and Increase Understanding of by the West”.

And these are indeed the reasons why I would say it's worth to watch this film -- because the story itself is very predictable and did not touch me.
The cinematography, however, is beautiful, and quite stunning, especially considering the aged material. I loved the peek the film gives us into the lives of Thai villagers 70 years ago, and I loved with how much care the ceremonies were filmed. Among others, we get to see a school, Loy Kratong, a wedding, and the ordainment of a monk -- and the film takes its time to show them to us in detail, though without explanation.

The story itself shows us attitudes towards disabled people, towards women and towards marriage and family of that time (and modern audiences might see how much of it has (not) changed since then). It also, more implicitly, tells us about Buddhist mores, the relevance of the belief in Dhamma and Karma, and what is considered to be a meritful life. In Buddhist teachings, เกิด แก่ เจ็บ ตาย "birth, aging, illness and death" are the four natural inevitable aspects of a person's life. When Santi is "sees the light" (grows up), he sees the world in all its beauty -- and its suffering. Only now can he see his "right" path forward.

The film was thought to be lost for decades -- only in 2014 was the film negative found at the British Film Institute, and screening versions at the China Film Archive in China and the Gosfilmofond in Russia. More than 1700 hours went into the digital restauration.


Was it good?
It has very good cinematography, and it gives us a window into the past. It's also notable for its importance for Thai film history, as it is one of the first 35mm colour films.

Did I like it?
I didn't get on with the story, but I loved seeing the daily life of the villagers, and their ceremonies.

Who would I recommend it to?
To people who are seriously into the history of Thai cinema. And to people who want to see life in a Thai village in the early 1950s.

Read More

It's the Journey

You know going in the ending, more or less, but it's the journey that matters. The writer, director, and actors execute perfectly delivering a moving experience following the lives of two teens who got dealt the short end of fate's stick. Lot's of tears, but inspirational, too.

The ratings here of Japanese movies/shows tend to be lower by about .3 or .4. Drawing Closer caught my attention for, as of this date, a rating of 8.9 which is remarkable. And it deserves that high rating.

A multi-episode TV show has much longer to create a connection with the viewer. It's also remarkable that this relatively short movie managed to develop a strong connection to these several characters.

Read More

Think twice before breaking your promise

1993’s The Bride with White Hair is a classic Hong Kong kung fu movie I’ve wanted to see for some time now. It finally became available on a site I use. I wasted no time making the popcorn and sitting down to watch this star-crossed love story encased in a bonkers package. Director Ronny Yu spared no weirdness in the making of this film.

Cho Yi Hang is an orphan brought up in the 8th Clan, groomed to be his master’s heir. As he grows it becomes clear to everyone but his master that Cho’s heart is too gentle to take on a job where “Conscience is a hindrance.” When Cho was a child, a “wolf girl” saved his life, a deed he never forgot. Lien was also an orphan but raised by a psychotic conjoined sister and brother who lead the dark magic Supreme Clan. They trained her to be obedient and a ruthless killer. Both clans hate each other and have terrible plans to eliminate their enemy. As fate would have it during a battle, Lien spares Cho’s life and Cho in return saves her. Love blossoms and trust is promised, but those promises can be hard to keep with so much hatred surrounding them.

This film started out gradually with the development of Cho and Lien. It was hard to tell who the good guys were as betrayals and cruelty were practiced on nearly all sides. The twins were clearly overly the line, but the government and clans had blood on their hands, too. Once it got cranking, the action, romance, and violence never slowed. The lovers were the focus of the film as they danced around each other, fell in love, and ultimately succumbed to betrayal. Leslie Cheung and Brigitte Lin were gorgeous and completely believable as two lonely people having found their soul mate. Despite their suffering they could almost taste the happiness and freedom within their grasp. Unlike the more believable lovers, the twins often went OTT in every scene they were in.

I would put the violence and gore in this film more in the campy than gruesome category. Bodies were cleaved in half and heads were removed but in that early 1990s unrealistic style. There was other violence that was more realistic and two brief sexual assaults. One scene with the White Witch was so pinball crazy as to be funny. I did not care for the martial arts choreography and filming. Everything was either undercranked or sloooowed down with jerky, blurred filming techniques. Kudos to the stuntmen who sold the overly stylized action.

The Bride with White Hair is dated in both storytelling and appearance, but for fans of these old films it’s worth seeking out for Leslie Cheung and Brigitte Lin. I’ve seen Brigitte in several films but never has she looked more beautiful or fierce than she did here. In comparing films from this time frame, Bride was above average. Filmed too late to be rated on my kung fu curve, I still gave it a little extra love for Brig.

6 November 2025

Trigger warnings: Cleaving, beheadings, dismemberment, blood spewing. Sexual assault. Nudity. Sexual content. Snake.

Read More

A Delight To The Senses, Must See Film

This film is one you will remember for the rest of your life. Guaranteed. A timeline tale of how arrogance can change fortunes, set with stunning detail across a film that will hold you captivated. The entire cast and crew have done an outstanding job of transporting audiences back to Old Japan, and across the decades of cultural change.

Stunning, intricate costumes with time period settings and scenery, even the colour grading is matched to resemble the relevant decades. The story is a powerful one that will leave you thinking for hours about fame, fortune and ego.

If ever there is a stage or TV adaptation, recommend Kazuya Kamenashi for the ML. While watching this film, it seemed to present potential to create a vehicle with smaller stories across multiple timelines. Enjoy.

Viewed at the Japanese Film Festival in Brisbane, Australia, Nov 2025.

Read More

I hadn’t even heard of this film until I needed something pre-2005 to check off a box in the BL Watch Challenge 2025. Bishonen is a Japanese word that means “handsome boy.” And honestly, my heart was shattered by the story of these beautiful boys: admired, desired, but never truly understood.

To me, Bishonen is, at its core, a film about loneliness, even though it’s wrapped in romance and longing. That loneliness is the emotional thread that ties all the characters together.

Jet is a young gay sex worker whose beauty makes him highly sought after. He’s portrayed as someone who owns every room he walks into — charming, seductive, magnetic. But behind that polished exterior, he carries a deep, aching solitude. The film doesn’t judge him for his work, quite the opposite. It shows him as someone using his body not just to survive financially, but emotionally. What he’s really searching for in Sam is something real , a connection that money and sex can’t buy.

Sam, on the other hand, embodies the loneliness of repression. He leads a double life, hiding his sexuality from his conservative parents and from society. He’s weighed down by family expectations and the pressure he puts on himself. Past heartbreaks have made him hesitant to open up again, and even when he’s with Jet, there’s always a wall between them. His loneliness feels suffocating.

Then there’s KS, who hides his own isolation behind the spotlight of fame and the impossibility of loving openly.
Even as they walk through the crowded streets of Hong Kong, the city is portrayed as cold and indiferente, a place that marginalizes queer desire. The loneliness of those who can’t live their truth, who exist on the fringes even while being desired, mirrors the experience of so many LGBTQIA+ people who are tolerated in certain spaces but never fully accepted.

But Bishonen is also a film about love, even when it’s fleeting or impossible. Real love, the kind that lives deep in your heart, doesn’t just fade with time. Time might quiet it, but it doesn’t erase it. Even a short-lived relationship can leave a lasting emotional imprint.

Love isn’t rational or controllable. It doesn’t care what others think or what society demands. The heart follows its own path, no matter the pressure. And to love — even if it’s not returned, or doesn’t last, or ends in pain — is still a transformative experience.

Jet loves Sam deeply. That love is brief and painful. But it defines Jet. It gives meaning to his journey. And it stays with him, like a permanent memory. To love, in the end, is an act of courage and beauty.

Read More