Reviews

Unflinchingly tense

A gripping, often uncompromising look at the Hong Kong drug trade, Protégé takes a tried and tested storytelling formula and marries it to compelling cinematic finesse caught up in a cobweb of drugs, loyalties and deceit. Mercifully unpretentious, the film is directed with remarkable proficiency by Derek Yee, offering a look at both sides of the drug coin: those who profit from it and those who ultimately suffer from it. By keeping it more personal, Yee's film feels more intimate and urgent, more satisfyingly intriguing, helped in no small regard by its star power. A greyed-up Andy Lau is as great as ever, offering up a sympathetic spin on an otherwise purely business-focused drug lord, while Daniel Wu plays off of Lau with a subtle and controlled rage. With its smart script, solid acting and tight directing Protégé varies from intense drama to dreamlike to subtle shades of black comedy yet never feels like an afterschool special or an obvious morality tale.

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Barely a lawsuit away from that of Steven Seagal's Under Siege

Aegis is much more in the mould of Hollywood productions than of your typical Japanese action thriller. Gently paced, carefully plotted and thematically complex, the film raises plenty of points for discussion amidst the myriad of generally uneven political undercurrents about Japan's role in the current world but manages to overcome its rather simplistic outline with a degree of class filmmaking. Director Junji Sakamoto (whom I didn't have the best of introductions with) takes his time building suspense and laying out the state of play before kicking everything into gear. In conjunction with wonderful photography and the red hues of the ship's interior comes always reliable Hiroyuki Sanada turning in a fine performance as the reluctant everyman forced to save the day. While a little too long for what it is, Aegis makes for some enjoyable entertainment harking back to the US' golden years of action.

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Um filme simples que deixa nossos corações quentinhos

a meu ver, a prota, ao longo de sua jornada, devido alguns eventos, desenvolveu transtorno de ansiedade e sua máscara era a barreira que ela encontrou de esconder seus traumas, evitando gatilhos e camuflando sua dor. Passou a aguentar todos os fardos sozinhas, trazendo a solidão como principal consequencia. O protagonista em tantos momentos quebra essa barreira construída, sendo um pouco duro, contudo, necessário, pra faze-la sair dessa zona de conforto. Apesar de ser uma zona cômoda, a feria mais que a protegia, e ele via isso. Seiji um dos poucos protagonistas com tanta coragem e dedicação, antes do amor, ajudar verdadeiramente a Akane.

O meu único sincero desejo é que existe uma continuação ): e claro, não diminuindo em nada a beleza desse filme!

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Three coincidences equals Fate or lazy writing

Tough as Iron with Yoo Ah In was a film with an identity crisis. At its heart it was a movie that seemed inspired by Gilbert Grape right down to the opening scene. To make it more exciting they threw in gangsters and the Yakuza. Then for good measure they wedged in a love story. Sometimes too much is too much.

According to the synopsis Gang Cheol was a legendary street fighter. Maybe it was Sesame Street? The fight scenes weren't very well choreographed and his most powerful skill was a killer stare. Cheol's life entailed a job working on the docks and caring for his mother. His mom often accompanied him so that she wouldn’t wander off, which she still managed to do quite often. Not only did she have dementia, she was a diabetic with kidney failure. Cheol went to great lengths trying to find a way for her to receive a transplant. Cheol’s buddy, Jong Soo, wanted to be somebody and get rich so he joined a gang with a sashimi loving boss with a hotheaded brother. Of course, the trouble magnet entangled Cheol with his criminal co-workers. In moments when he wasn’t dealing with his mother, his troublesome friend, working, trying to find 100,000 won for his mom's surgery, or dealing with the gangsters, Cheol ran into a pretty photographer visiting Busan which meant it had to be fate.

The gangster angle was weak and took away from the relevant story of Cheol and his mother. Maybe the writers felt that Gilbert Grape would have been more interesting if he’d gotten mixed up with gangsters instead of planning a birthday party. The romance in this film wasn’t a lifeline or an insight into a better life, it seemed more like vacant window dressing. Yoo Ah In and Kim Hae Sook had wonderful chemistry together. There was more than enough story to tell as they navigated the stage in life when the child becomes the parent with little time for himself. This story could have used a romantic involvement to show him what he was missing. But Tough As Iron’s incoherent gangster escapades pulled too much focus from the heart of the film leaving no room for a well-developed love story.

Tough as Iron had the potential to be a powerful and meaningful film, especially with the caliber of actors involved. I thoroughly enjoyed watching the interplay between Cheol and his mother, the good days, the bad days, the exhaustion, heartache, and love. I found their relationship much more fascinating than a maniacal killer who stuttered.

5 February 2024

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this film will stay with you

"Monster" is a masterful film that defies genre classification. On the surface, it appears to be a horror movie, with eerie music and unsettling visuals. But as the story unfolds, it reveals itself to be a deeply human and emotionally resonant exploration of the complexities of human nature.

this film tells the story of a young boy who is ostracized by his classmates and struggles to find connection and understanding. As the story progresses, we see how this boy's experiences shape him and lead him down a dangerous path. But the film also explores the perspectives of the other characters, revealing the depth of their own struggles and pain.

The performances in the film are outstanding, particularly from the child actors who bring a raw and honest vulnerability to their roles. The cinematography is stunning, capturing the isolation and loneliness of the characters with haunting beauty. they are possibly the best child actors I've seen.

The direction by director Naoki Kato is skillful and assured, weaving together multiple storylines and themes with ease. The score by composer Takashi Kako is equally impressive, adding depth and atmosphere to the film without overpowering it.

this film will stay with you long after the credits roll. It's a powerful exploration of the human condition, a reminder that we are all complex and flawed individuals struggling to find our way in the world. It's a film that challenges us to confront our own biases and assumptions, and to seek understanding and empathy in the face of adversity. Highly recommended for anyone looking for a thought-provoking and emotionally resonant cinematic experience.

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Beaches : Bette Midler+Barbara Hershey.

06/02/2024 (Feb).

This is a decent watch, but not what I would consider "soulmates" - just a very strong friendship and sister like bond.

How can I put this - the connection between JiWoo and Miso, to me, was more of a soul connection - seriously, each time they met, their interactions and from the first time they crossed paths. The necklace she wore was a massive give away and Ha-run knew it when she spotted it, also, Ji Woo. Miso was actually a threat even though it wasn't the intention. It was her friendship and loyalty to Ha-eun that she put first above anything or anyone else.

SPOILER ALERT!

I also don't think Ji Woo really made any mistakes - even the cave scene wasn't a "betrayal* really because of Miso. No lines were crossed as she saved the situation although she took the necklace for protection.

I know this is meant to be all about Miso and Ha-eun and them being soul mates, but I found it wasn't done to perfection like it was in Beaches with Bette Midler and Barbara Hershey - that truly was one friendship that outshone any other relationship including boyfriends and husbands.

Lastly, it is one thing to keep a pregnancy and death from an ex boyfriend or ex fiance, but it is something else when you keep those kind of things from family and especially when that family is good even if not perfect. Actually, I think Ji Woo had every right to know about the pregnancy as he was the father and didn't do anything wrong except tell Ha-eun that her drawings should be treated as a hobby. He did everything to set it right between him and Ha-eun.

With Soulmates, it is similar to Beaches with the back and forth between the past and present and the triangle relationship ONLY I think Beaches is far superior and the flashbacks were more interesting and also quite humorous at times.

This is good to watch to pass the time - it is a bit slow and boring in parts.

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This isn’t a movie for everyone. If you are into themes exploring the darker parts of society, then this might be for you. Days later, I’m still recovering from how much this movie emotionally wrecked me. I’ve watched some happy stuff since, but this one is still with me.

The story follows two characters, Ter and Som. Their characters only ever briefly pass by each other on the streets, but their lives end up intertwining in a heartbreakingly tragic way. Within the first part of the movie, you already get the feeling of where all the characters will end up, but you can’t help but stay for them and hope things would turn out differently. The image of the fish tank and the last scene are gonna haunt me for some time.

Bank, Sydney and Jomjam did amazing in their roles. They made me feel so much for their characters. Bank lost weight for his role. I thought he just lost weight, but he actually did it for this role. This is my first time seeing Sydney and Jomjam, and it takes skills to portrays their characters. They both nailed it. I hope to see them all collab on a project again, hopefully a more happier one, so I can move on from this one lol.

I actually don’t have any criticisms for this movie. It was well executed given the characters, storyline and themes. The only thing I may want is for it to be a series instead, so we could have gotten more into the characters of Mild, Som’s mom and Peach. But again, stories like this won’t appeal to everyone, so maybe it was a safer bet to go the movie route.

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Streetdancing is Fun to Watch If You Like Something Upbeat!

Finally, I got to see this movie after waiting almost a year for the English sub! It's rare to see Wang Yi Bo in non-patriotic dramas/movies nowadays, so One and Only is a nice breeze. I don't watch Street Dance of China he frequently hosted, so I didn't know how good he was in street dancing! This is definitely one entertaining movie to watch!

The version I watched is dubbed in Thai. Although I don't mind hearing the Thai language since I also watch Thai dramas, but knowing they are Chinese people speaking Thai it's kinda odd. So, I ran both versions, the Chinese language version with sound on and the Thai dub version with sound off to read the subtitle, and it worked perfectly. Info for future watchers just in case you can not find the original version subbed in English.

Wang Yi Bo played Chen Shuo, a young man who is passionate about street dancing and wanted to make a name (and living) professionally, but to be able to fulfill his dream he works several jobs. So the story is not new, we see tons of motivational shows like this. What makes it unique is the street dancing theme. It's probably not interesting if you don't like street dancing (unless you are Wang Yi Bo's fan) because there are a lot of dancing performances and practices. But if you're into something upbeat and lively, this movie may be right up your alley.

The acting is great, especially since a lot of them are professional dancers. Wang Yi Bo shine as Chen Shuo, he did a lot of dances by himself (although I wondered if the exclamation point movement was supported by wires, lol). I was pleasantly surprised with the acting of veteran actor Huang Bo who played E-Mark's (their dance team) coach, lol. The supporting characters who played Chen Shuo's family members are nice too. Although I think romance is not necessary in this movie, the appearance of Song Zu Er as Li Ming Zhu, Chen Shuo's love interest, gave me melancholic hope if I will ever see her project in the future or not. FYI, the romance is very light, as the main focus is Chen Shuo's journey to achieve his dream.

If I have to make a critique, is the casting of non-Chinese or foreigners in a national dancing competition in this movie. I see this very often in Chinese dramas or movies, in which they cast foreigners during competitions that result in the Chinese team's winnings. It's ok if the competitions are international, but for a national competition is laughable. It's like China wants to show off its supremacy among other races/nations thru their shows.

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Dark and Disturbing... When Parasite met Poetry....

" As I watched the sunset in the dessert, I felt that I too would like to disappear as if I never exist"

This movie on the other hand is one of those that will most certainly not disappear silently, and makes sure you know it existed. As it is a highly acclaimed movie and it did have me thinking what am I. missing here, what is actually happening and will I understand this better if I watch this a second time? As there are quite a few moments of confusion planted there to make you question pretty much everything in this movie, including the meaning behind it. making my mind make loopholes so much my head hurt.

There is quite a bit of absurd extremely dark humour here and there .Some pretty deep lines and extreme tension in silence.

I also feel like i must warn you that this movie gives new meaning to the word greenhouse and you may have trouble looking at the Nam-sham tower (or any tower) the same way again.

And while some parts are kind of extreme, there seems to be quite a bit of social criticism, if I was to compare this to Parasite I would say that they share some of the same issues but this one is more psychological, young and most certainly more raw than Parasite. Catering to the critics rather than to the popular audience, something that adds brilliance and depth but removes some of the main stream entertainment value that i must say a peasant like me can adore.

However compared to Lee Chang Dongs (the director of this movie previous movie Poetry, this one has more action and entertainment value making me understand that a lot can happen to a director in 8 years... So on a scale of Mainstream/entertainment to Artistic depth this move is right between Parasite and Poetry

Defiantly a movie worth a watch and worthy of all its praise

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A Birth of a Priest

For a long time I was searching for this movie, and finally I saw it and I must give it a 10/10 because I am so happy that it was made. This is not a typically entertainment movie but a historical biographical drama about the "adventures" of Andrew Kim Dae Geon, first Korean Priest.

The film is very long, but I watched it over four days with great excitement and interest, and that's why I wasn't bored at any point. I enjoyed every scene. The cinematography of the film is excellent. Every scene is detailed and beautiful as a photography. The actors are also very good. The flow of the plot is a bit fragmented as it covers a lot of topics and events, but that is understandable for this type of film. I think that those who are already familiar with the life of Andrew Kim will enjoy the film more because they will be able to recognize future saints in some of the characters along with the main character who is the trademark name of Korean saints.

Many elements from the film I already knew before, I have been to many places in Korea that are shown here, even on the small boat Rafael on Jeju Island. As a priest, I had a very emotional experience watching the challenges faced by the first Christians, accused of collaborating with foreign enemies and disrespecting the king, and especially the situation with priests who had to be ready for martyrdom and death.

That is the message of this movie. This is not about the birth of one man, but about the birth of a priest, the birth of a new Korea that will be open to the gospel, and a spiritual birth through baptism and martyr's blood, because what is death if not a new birth? Listen to the last words of the main character of this movie, priest Andrew Kim Dae geon: "I have held communication with foreigners only for my religion and my God. It is for Him that I die. My immortal life is now on the point of birth."

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Ordinary People/Present Day Allegory

This movie reminds me of Parasite and the constant battle of the haves and have nots. It is easy to view this movie in its apocalyptic setting of a massive and devasting earthquake in a city as congested as Seoul, yet the true story here is the way people treat each other when any resource is at stake. It doesn't take a catastrophic disaster for that to happen--just everyday human greed and inhumanity. We see that now and we have seen it in the past and will see it in the future in every war and in every conflict, great and small.

The greatest disaster to ever befall mankind will always be ourselves. This movie will leave you thinking about it long after the credits roll and maybe change who you are. At least, I hope it will. We are all ordinary people though, so it probably won't.

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Film saved by Jang Hyuk's particular set of skills

The Killer tread a familiar action movie path. Did it matter? Not with Jang Hyuk showing off his particular set of skills as many times as the writers could work a fight scene in. His quiet confidence and proficient use of a body well honed by real life martial arts training kept me engaged from beginning to end.

Retired killer, Ui Gang, is maneuvered into babysitting the seventeen-year-old daughter of his wife’s friend when the two women embark on a three-week vacation. A reluctant sitter at best, Ui Gang finds himself dragged back into his profession when Yoon Ji is repeatedly kidnapped by human traffickers. The killer never breaks a sweat or even raises his voice as he works his way through the bad guy hierarchy. There’s never a moment when he doesn’t look completely in control, even when facing a gang of axe wielding thugs.

If I laid out the plot in detail, few people would find it surprising. If you’ve seen Nowhere Man, John Wick, or Taken or a jillion other movies with a similar story you’ll have the whole thing figured out in a matter of minutes. With this kind of genre, execution matters, and The Killer executed it well. As in there were executions aplenty. The action drove the story and rarely slowed down long enough for the viewer to start counting plot holes.

Jang Hyuk is an accomplished martial artist in real life and it showed in his agility and quick moves. The brutal and bloody fights were well choreographed and exciting to watch. Ui Gang dispatched the baddies with a number of different weapons or whatever sharp object happened to be nearby. Shadowy scenes were often Illuminated with neon lighting making the action seem otherworldly.

The Killer didn’t have the most inventive script. Luckily this genre doesn’t require uniqueness, only thrilling action. Would the film have worked without charismatic Jang Hyuk and his martial arts skills selling the action? Thankfully, we didn’t have to find out.

4 February 2024

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Whirlwind of love and revenge on a tourist island

He works for a dolphin and sea lion show at Fantastic Ocean. He works at a karaoke bar on a beach on the Chinese island of Hainan, where they both live. He is a talented trainer of aquatic mammals. He succeeds in his traveling business, in part because he bears a striking resemblance to the late Chinese actor and singer Leslie Cheung. He waits for him with dinner ready and both of their underwear clean. He is a daring and handsome boy who also has sexual relations with women and walks around the beach, the streets and the house half-naked. He, in silence, awaits your return. He, drunk, comes home late after playing with other men. Both help in an illicit business, while committing petty robberies and other mischief, such as recovering their assets seized by the police.
Li Qi (Shen Shiyu) and Ren Yu (Zhao Bingrui) are two young men who live a wonderfully simple life as a couple. Happy, between the two of them they have built their own earthly paradise.
However, things change when an attractive young woman, Bai Ling (Yue Yue), comes into their lives and drastically shakes their reality. When the daughter of the illegal beach food vendor joins the two men, a three-way relationship seems possible. Li Qi shines around him. She shines around Ren Yu ('Marriage Proposal Say Yes!', 2013 and 'Love in Late Autumn, 2016'). In this classic love triangle, does the girl know about Qi and Ren Yu? Does he know they are a couple? The truth is that the three of them intend to test the limitations of their own sexuality.
The lovers now face difficult decisions because they want to explore their sexuality further and include Bai Ling ('A Woman', 2022; 'Mother in the Mist', 2021), in their relationship. At times, the loving trio disappears to become a secret couple again, but now between Bai Ling and Ren Yu. But the latter will not accept his proposal to be her boyfriend and live in a distant city. Could love for Li Qi be the reason for his rejection? Don't you want to enter an uncertain, but promising future? Why then does he kiss her and while they are living their idyll, the tragedy occurs that will shake the three of them to the depths of their being?
The film, which begins at the end, initially tells us how one of the main characters commits a heinous crime motivated by revenge and then goes to the roots of the conflict to expose the reasons that motivated the revenge.
Also skillful is the location of the plot in one of the tropical and paradisiacal beach areas of Hainan (in Chinese, 海南; pinyin, Hǎinán; literally, 'South Sea'), the smallest and southern province of the People's Republic of China. The site surprises by becoming another protagonist, the fourth, of the film. Its streets and shops show the wounds of the passage of successive typhoons that hit what is now the largest Special Economic Zone of the Asian giant.
Like an island from which you can only leave by air or sea, our protagonists will also find themselves unable to escape their own destiny. This is marked from the very title of the film. The main reason to chew Asian betel nut or areca nut is for its stimulating and slightly euphoric effects. The person who consumes it obtains a greater feeling of alertness, a sensation of heat throughout the body.
Subtle and masterful use of metaphor to mark the destruction of the paradise in which Li Qi and Ren Yu have lived with the interweaving of the Chinese tradition of consuming betel nuts with the risks to human health associated with the prolonged use of these seeds. , since this practice has led thousands of people to an early death.
Released in April 2017, the film, by Chinese director and screenwriter Hu Jia, won the China Stard Best Film Award 2018. It was also presented at the Berlin International Film Festival, Seattle International Film Festival and Hong Kong International Film Festival, in its 2017 editions.
The yaoi genre romantic drama 'The Taste of Betel Nut' (槟榔血) depicts a story of revenge and young love, a story about the growing desire for intimacy between two men and a woman.
Very cleverly, Hu Jia makes unique decisions in writing the script and developing the plot of the film. The choice to include few dialogues does not discourage the viewer. On the contrary, it awakens in us an interest in discovering where the film story will take us. This way, the audience will be able to appreciate the images and focus more on the characters' actions.
The writer and director creates a fractured storyboard that unfolds like a puzzle: fundamental pieces are missing to finish the work. Together, he and the viewer, we will have the task of, as the footage rolls, compare the fragments we have with those intentionally omitted, in order to advance through the incomplete scenes that have kept us in the dark until we reach the light. and with this the understanding of the narrated events.
The ending is open. The viewer, once again behind the cameras, has several pieces of the puzzle in their hands. According to his wishes, only one of them may be the right one to complete the puzzle: on the terrace of his house, between sheets swinging in the air, Ren Yu, with obvious scars on his shaved head and with a slow, hesitant step, has been able come out of the coma and now turns his face and smiles at someone who approaches. Is it Li Qi who has been able to escape the fury of the bullies? Has Ren Yu waited for him during his years in prison for the crime committed? Is it just Ren Yu's imagination? Like Ren Yu, Li Qi has also died at the hands of the gang and they both meet again in another paradise, but this time heavenly?

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Tetsuya Watari is just Lupin III in this

and I'm okay with that.

Weird, wild, and nearly incomprehensible, Seijun Suzuki's Tokyo Drifter directly responds to his mounting boredom and dissatisfaction with the common yakuza thriller, reimagining it as an excessive pop-art James Bond cartoon. Absurdly funny yet strangely surreal, the studio-imposed limitations on Suzuki never become a hindrance, radiating with excessive coolness and often filled with flights of outrageous excesses and ballistic action. An anything-goes, in-your-face rampage of narrative disorientation and inspired lunacy, Tokyo Drifter incredibly sends up its own genre identity with a degree of flagrant and rapturous craftiness in a total gunbutt attitude to everything conventional.

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