Reviews

Secrets in the Hot Springs looked like it might be a funny spooky ghost tale set around a family hotel. Looks can be deceiving. While it might be humorous depending on your funny bone, it turned out to be more of a story of healing and friendship.

Hsiao Chin/Xiao Gin/Xiao Jin is on his third high school in five years. His parents died when he was nine and he’s lived with an aunt and uncle on and off since. At his new school he inadvertently saves two boys from being bullied and they latch on to him for dear life. When he’s called home due to his grandfather being ill, Little Princess and Lu Qun follow him to his family’s hotel. Unlike the website’s pictures of a luxurious spa, the hotel is run down and his grandparents nickel and dime guests at every turn. The trio end up bonding as they encounter spooky apparitions. In the face of their fears, Hsiao Chin will have to decide whether he is going to continue in the family business or not.

I am a fraidy cat when it comes to spooky stories and this was about as tame as a “ghost” story can get. The main thrust of this film was Hsiao Chin’s healing and coming to terms with his parents’ deaths and also developing friendships with an unusual duo. I found some scenes humorous, but admit this film wasn’t exactly my cup of silly tea. Everyone’s sense of humor is different and I’m quite sure others will find it more to their liking. My biggest complaint was that not much happened for the first 40 minutes of the film and the direction of the film was highly foreshadowed. The friendships were cute if overly stereotyped and everyone was able to grow and have problems resolved in a playful manner. Not likely a film for horror fans, but perhaps more for comedy friendship fans.

13 October 2025

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"The face is the door to the soul. When the face is closed off, so too it the soul"

The Face of Another explored the masks that we wear and how some of them lead to social isolation. And whether it’s more personally efficacious to be seen or to engage in banal invisibility.

Okuyama suffered a disfiguring accident at the factory where he worked leaving his face unrecognizable. His wife attempts to lift his spirits but he accuses her of patronizing him. When she spurns an awkward advance, he becomes enraged. He visits Dr. Hori, a psychiatrist and scientist, who is capable of making natural looking human masks. Hori develops a mask for Okuyama but warns the new face could cause his personality to change.

Nakadai Tatsuya gave a subtly nuanced performance as the deeply scarred man. At times he wore the burned skin or had his head completely swaddled in bandages. At other times his face was buried beneath Hori’s concoctions which had to be claustrophobic. And ultimately, he had a mish-mash of the different masks he wore. In all these iterations he was unable to use his expressive eyes and yet still gave a compelling performance. Kyo Machiko as Okuyama’s nameless wife hit all the right notes as a woman who strove to help her husband and was also deeply hurt from his emotional taunts. Hira Mikijiro as Dr. Hori was the epitome of a mad scientist, constantly pushing Okuyama’s emotional buttons, seeing how far the mask would transform his patient’s personality.

The film’s dialogue was heavy handed in describing the masks we wear. Masks that help us fit in, masks that set us apart, masks that enslave us and masks that set us free. Dr. Hori kept telling Okuyama that the mask was changing him. I’m not so sure about that. Okuyama was an unlikeable and manipulative character before the mask. The mask just emboldened him to act on his baser impulses. I didn’t comprehend Hiro’s declaration that if everyone wore one of his masks that there would be true freedom with no crime and there would be no need for trust or betrayal. No one would have a home so there would be no home to escape from. There was also a secondary story that never overlapped with Okuyama’s. A beautiful (nameless) young woman who suffered with scars on the side of her face due to the bombing in Nagasaki appeared periodically. Like Okuyama, she received unwanted negative attention for being different. She worked at a mental hospital populated by WWII soldiers. Desperately afraid that another war would hit the country, she seemed to represent the traumatic scars marring the beauty of Japan. Or she was a random character. This film had a lot of symbolism.

Director Teshigahara Hiroshi created a surreal world complete with a German beer garden and a hallucination inducing mad scientist laboratory. His use of different effects bordered on the gimmicky but I quite enjoyed his style. The acting was exemplary and the darkly lilting music perfectly enhanced the story. The story, however, was difficult for me as it wallowed in hopelessness and despair. Despite everyone wearing different masks, there were some that were unacceptable. Disfigurement meant exile, the crushing pain of rejection, or invisibility. Okuyama and the scarred young woman faced the price of a society unable to see past their scars, both physical and psychological. Death or madness was all that awaited them. Fair warning, The Face of Another was unrelentingly dark. Pass the popcorn and the Tylenol.

12 October 2025

Trigger warning: brief nudity and a brief incestuous situation

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With its gentle tone and emotional depth, Past Lives sets the stage for a friendship that almost became more but remains most powerful in memory. Beautifully written and produced, it reflects the bittersweet truth of past relationships. A beautifully crafted reminder that some connections shine brightest in the past, even when tinged with sorrow.

In all, the story unfolds like a conversation with the past; soft, tender, and profoundly human. Every scene lingers with the ache of what might have been, reminding us that some connections are not meant to last, but to shape us. Thoughtfully written and gracefully produced, Past Lives captures the delicate balance between fate and choice, love and timing. This film doesn't offer closure for anyone who’s ever wondered about the one that got away; it provides understanding.

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A Strange Affair in Old Korea

A Case of Bachelor Abduction is one of those films that starts with an intriguing idea but doesn’t quite know what to do with it. Set in historical Korea, it follows a group of mischievous male students who become victims of a mysterious woman’s assault. Determined to uncover her identity, they launch a strange investigation full of peeping, spying, and awkward misunderstandings.

At first, it feels like a light mystery with a comedic twist — something bold and different. The period setting is well done, and the costumes and atmosphere give the film some charm. There are a few funny and unpredictable moments that make it mildly entertaining.

But the tone is all over the place. What could have been a sharp or thought-provoking story ends up being an uneven mix of erotic farce and slapstick. The subject matter is handled too lightly, and the characters never grow beyond caricatures. By the end, it’s hard to know whether the film wanted to be a comedy, a mystery, or a social satire.

It’s not boring, but it’s definitely odd. A Case of Bachelor Abduction is a film that tries to be daring but ends up feeling confused — interesting in concept, but lacking depth or direction.

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kang ha-neul looked fiineee

Honestly, I think the movie was really good and super interesting. The fact that everything was streamed by the ml added such a unique aspect to it, and Kang Ha-neul’s acting was absolutely top-tier (added to the fact that he looked extra fine).

However after finishing it I found myself quite confused, and I don’t know if that was due to the fact that I had a poor watching experience since the subtitles were terrible (they literally gave me a headache) or because the movie itself gets quite confusing towards the end.

Overall, the movie holds a strong message about the reality of media, and I think they portrayed it in a really creative and interesting way.

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Simple, Sweet, and Just the Right Amount of Crazy

I’ve really missed seeing Yoona in movies and dramas, so Pretty Crazy was such a nice treat. It’s funny, light, and gives that fluttery “crush” feeling, nothing groundbreaking, but charming in its own way.

Story-wise, it follows the familiar rom-com formula. It’s not exactly predictable, but it does feel a little short on depth, like it could’ve explored more. Still, it’s touching in small moments and doesn’t try to be more than what it is which is a fun, feel-good watch.

📌 Watch this if you want a short, funny, and easy-to-enjoy rom-com sprinkled with Yoona’s charm that’ll leave you smiling, even if just a little.

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Moving message but lackluster execution

I came across The Closet while doing some digging up in Kim Namjoon Gil's filmography. When I read the blurb and saw that Han Jung Woo, another actor who has caught my interest, was in it, I became interested. I am a big fan of horror movies, especially if they involve children and familial relationships so I naturally decided to give it a try.

I liked the setting and the gloom atmosphere that was established from early on. The cold and dark color palette gave me the impression that I was watching a horror film made in late 2000s-early 2010s. The cinematography was overall good, especially during the exorcism and ritual scenes. The soundtrack that accompanied the scenes added a more dramatic tone while in some cases, it highlighted the emotional impact of the story, especially towards the ending.

The story, albeit not groundbreaking, hold my attention forthe most part. The first half focused more on Sang Won's troubled relationship with his daughter, I Na and the events that occurred in their new house before I Na's disappearance. The writers tried to immerse us in their new life and while preparing the ground for the supernatural elements, the film wanted to highlight the father-daughter dynamic and how it contributed to I Na's disappearance.

The relationship between Sang Won and I Na was very complex to say the least and it was one of the aspects I was the most curious about. After the death of his wife, Sang Won and I Na were clearly traumatized and they were still grieving her. Due to his hectic work schedule, Sang Won wasn't able to spend too much time with I Na, leaving his wife looking after her for the most part. As a result, I Na had formed a close bond with her mother, a bond that came to an end after her passing. Due to their limited time together, the father and the daughter are unable to communicate with each other. Sang Won continued to prioritize his work and he tried to win over I Na by gifting her dolls. But even though his intentions were good, it was clear that he wasn't doing enough.

I must say that even though I came for the horror element, I didn't expect the movie to dive deeper into some themes regarding parenthood and child abuse. The second half was heavy in that aspect, especially towards the ending. There was a scene with a montage of the mistreatment some of the dead children had endured from their families that put some tears in my eyes. The mere thought of defenseless creatures like them being abused by the people who are supposed to care for them made my blood boil. While I was obviously rooting for Sang Won to save I Na, I began questioning the motives of the ghosts and I felt for them once the story progressed more.

As much as I overall liked the movie, I must say that compared to what was promised, it was underwhelming and poorly developed. First and foremost, the horror was little to nonexistent. Yes, the atmosphere was there and there were some jumpscares here and there but overall, I wouldn't say that I felt particularly scared. Granted, not every horror movie will be able to cause fear but I expect it to elicit some type of reaction. For the most part, I was quite indifferent. Moreover, I don't mean to insult the filmmakers by saying this but the usage of CGI in order to create the ghosts was...questionable to say the least. It would have been better if they had relied on something more simple because for me, the effects did nothing.

The story and the writing in general felt lackluster. The intentions of the writers were clear but the execution left much to be desired. I appreciate the attempt to add more depth in the story instead of making it a mere horror movie but the film's length didn't leave much room for proper development. The events were rushed and Sang Won's tainted relationship with his daughter was handled in a superficial way. I wish we had seen more of them trying to deal with their trauma and emotional distance. If the film had highlighted more their relationship, the second act would have been more impactful.

The characterisation was also quite poor. Sang Won's character had so much potential but the movie didn't utilize him. It was interesting to see how guilty he felt for his wife's death and how it impacted him but the story didn't elaborate any further. Additionally, as much as I appreciated Han Jung Woo as an actor, I couldn't help but feel that something felt off with his acting in this film. In his previous film, Hijack 1971, he delivered a powerful and emotional performance but in The Closet, his portrayal felt rather flat. Sang Won barely expressed any strong emotions, even when I Na got missing, I barely got the impression that he was worried. I think that the director is mostly at fault for this but nevertheless, Sang Won's character felt shallow for the most part.

I had a blast watching Kim Namjoon Gil as Kyung Hoon, the enigmatic and eccentric exorcist who assisted Sang Won in his search for his daughter. His character immediately caught my attention after his introduction but alas, I'm afraid that like the rest of the movie, the writing fell short pretty quickly. I expected more from this character, especially regarding his connection with the ghost but the movie didn't delve deeper into that part. As for his relationship with Sang Won, while their interactions were fun to watch, their dynamic was criminally underutilized. I wish we had gotten to see more of them bonding and working as a team, there was so much wasted potential.

As for the child actors, I enjoyed both Heo Yool as I Na and Kim Shi Ah as Myung Jin. I was already familiar with the latter one after having watched her in Kill Bok Soon and Walking On Thin Ice but her acting in The Closet impressed me. She pulled off her role very well and her performance in the final act deeply moved me and made me connect with the character more. As for Heo Yool, she was phenomenal. She perfectly portrayed I Na's complex feelings and she switched her emotions once I Na got possessed masterfully!

All in all, The Closet was by no means a bad movie. It just was lackluster due to its short length and poor writing. I would recommend it to someone who's looking for a simple horror movie but do not expect a lot.

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Cast = stars. Story = rushed.

I haven't read the book or comics or whatever this is from. I'm not an upset Jisoo stan or purest. I enjoyed the movie for what it was. A solid B+.

I feel like it could've been a mini series. I was only invested in the characters because they are famous actors. I enjoyed the idea of the story, just wish it was told better and given more space to grow. I'm definitely going to watch again because movies and shows aren't good right now. If this came out last year it'd be a low B to a C+.

Great acting as you'd expect from this type of A list cast. Highly recommend if you are a fan of fantasy type movies.

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For the Itazura na Kiss fans

I feel like this movie is definitely more so for people that are already Itazura na Kiss fans, or for people that want to watch an adaptation of it without committing to a drama series.

I have been a big fan of Ita Kiss for 11+ years at this point, and even now as I am ending my 20s / about to enter my 30s, I still love this story, faults and all. I have watched majority of the film, drama and even anime adaptations they’ve made for this manga from Japan, Taiwan and Korea. I think this movie might be my new favorite “shorter” version—for when I want to rewatch the story without actually sitting through 16+ episodes.

One of the things I unfortunately disliked from this movie was actually the mom’s character. I found her a bit more childish and cringey than in other adaptations. That being said, even though Reina and Sato weren’t perfect, I do think they were pretty good fits for their roles. I like that they weren’t as exaggerated as in other adaptations either (even though I still like some of those other actors better).

I did feel like this version’s Kinn-chan was not very memorable, either. A side note but I also liked the settings and fashion quite a bit.

All in all I think this was a very solid adaptation and I would probably rewatch it whenever I feel like consuming my comfort story (Ita Kiss), and I also can’t wait to check out the next 2 movie parts.

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When the Past Calls, No One Is Safe

The Call is a masterpiece of suspense and psychological tension. From the very first scene, it pulls you in with its eerie atmosphere and never lets go. The story — about two women connected across time through a mysterious phone — is one of the most clever and original thrillers I’ve seen in a long while. The writing is razor-sharp, and every twist feels perfectly placed. Nothing is random here; everything comes together with shocking precision.

What truly elevates this film is Jeon Jong-seo’s phenomenal performance. She doesn’t just play Young-sook — she *becomes* her. Her transformation from lonely and misunderstood to terrifyingly unhinged is absolutely magnetic. Every expression, every shift in her voice, makes her both fascinating and horrifying to watch. She carries so much raw energy that she practically steals every scene she’s in.

Park Shin-hye also delivers a strong, grounded performance that balances the chaos perfectly, but Jeon Jong-seo is the heart (and darkness) of this film. She’s unpredictable, complex, and unforgettable — easily one of the best acting performances I’ve seen in a Korean thriller.

With its smart writing, flawless pacing, and chilling ending, *The Call* proves how powerful great storytelling and acting can be. A film that will stay with you long after the credits roll.

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Brutal but heart-warming

The only people I would NOT recommend this to are those who can’t handle bloody fights.
But for everyone else I highly recommend it!!

The story is simple, yes, but it brought out all kinds of emotions, frustration, worry, sadness, hope, excitement, relief and content. There wasn’t a boring moment.

The only reason I don’t want to give it 10 points is because it was just too short. I wish we could have seen more. Not of the fights or training, but of the boys bonding. Them laughing, crying, working and surviving together. It all went by too fast.

Other than that I really don’t have anything to complain about. The acting was great, the music was good and the camerawork was equally as great.

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