Reviews

Bizarre, reminds you of 'Midsommar'

Watched during our scary movies month, the acting in this is great. I hope to see the FL in many more!!
The filming and scenes are well done, I loved that old house and the fields. Well-done and recommend watching and leans towards how Midsommar left me feeling. Twists are good, very weird! /posi

The audio is also pretty decent for the gore sounds, you can see the care put into it which is refreshing in this genre. Some things were disturbing, some made us laugh, the ending makes sense and I don't want to spoil anything and let everyone go in with fresh eyes if possible.

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Confused by the Story, Intrigued by the Idea

Tale of Cinema was quite a confusing watch for me. It took a while to realize that the **first part is actually a film within the film**, while the **second part follows the real people behind it**. Once I understood that, things made more sense, but it still felt emotionally distant and hard to engage with.

The concept is interesting — showing how cinema and reality can blur, and how someone might try to live out what they see on screen. However, the pacing is very slow, and the story drifts without much emotional connection. The performances are subtle, but the overall tone feels detached.

There are thoughtful ideas about regret, obsession, and imitation, but the execution left me more puzzled than moved. It’s clever in theory, but not something I’d call enjoyable. I think it would worked well in a book.

A smart idea that doesn’t quite work. Worth a watch only if you’re into Hong Sang-soo’s unique storytelling style.

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A Tight, Smart Thriller That Keeps You Guessing

The Vanished is a well-crafted mystery thriller that wastes no time pulling you in. From the very beginning, the tension builds steadily, and there’s never a dull moment. The story is tightly written, filled with clever twists and turns that keep you second-guessing everyone’s motives until the final reveal.

The direction and pacing are spot on — nothing feels dragged out, and every scene adds something to the bigger picture. The performances are solid, especially from the leads, who manage to keep the emotions believable while maintaining the suspense. The atmosphere stays dark and intense, which suits the story perfectly.

If you like thrillers that make you think and keep you hooked till the very end, this one definitely delivers. A sharp, exciting watch that’s both entertaining and satisfying — **10/10** from me.

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Great Cast, Underdeveloped Relationships

I watched this for Xin Zhi Lei and Huang Jue, only to learn that Zhao Li Ying is a big deal too.

This is a rather simple story about an older sister that sacrificed her future to secure the future of her younger sister. Younger sister becomes a successful actress and brand ambassador, whereas older sister is stuck in an unpleasant life in Myanmar. Older sister's husband decides to extort money from the saved younger sister, and chaos ensues.

Having slept on this film, I think I see a major story issue problem. The husband was a device to introduce desperation and violence to the story, to keep it from being a thoughtful character piece. And that was a huge mistake here. His character should have been erased entirely.

In screenwriting there's a very important question the writer must answer correctly: who's story is this? I don't believe it was the younger sister's story at all. I believe it was the older sister's story of sacrifice given paid off with filial abandonment.

The evidence here is the final scene where the sisters are hanging out together at a street vendor, kind of like best of friends. Well, if they were capable of being such friends, why weren't they already on this page together? Why did older sister show up so mad? Clearly she was dismissed and forgotten, but as the awkward mid-story flashback revealed -- they left on good terms.

I also believe the casting should have been reversed, where Xin Zhi Lei was the big famous actress and brand ambassador, since... she already is one, lol. I would have made the victimized sister more sympathetic, less attractive.

This is that tragedy when a rough draft isn't refined but made into a film instead. The film is certainly watchable, and the direction and production values are solid -- if not sometimes compelling -- but I have so many other Chinese films I'd recommend to someone before I'd recommend this one I'm sorry to say.

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I Want to See This Film

I ‘ve wanted to be able to see this film, since hearing about it, almost two years ago.

I refuse to watch on my phone, with ads, on Daily Motion or bilibili.

When will a major streaming service pick up this film?

I pay for three streaming services for Asian series & movies, so I’m highly disappointed that none of them have decided to air this film, for whatever reason.

I had to leave a rating in order to post this non-review, but I’m certain, from all I’ve heard & read that I will love it.

All the best gay films are, unfortunately, depressing, I’ve found.

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The loop to find happiness

We know the drill. You have the worst day ever. Everything goes wrong. You make the silliest mistakes or the worst choices. Feels like the universe is out to get you. Eventually, you end up reliving it all over again. Only you're not lying in bed at 2AM, scrolling through the 'worst moments of my life' highlights reel in your brain. You're literally living it. Over and over again.
We know the drill with time loops.

But what happens if the time loop is your horror movie, which somehow transitions into a rom - com, only for you to end up realising that.. your time loop is not yours to control after all?

Some Day With Someone took that exact trajectory, and has become one of my favourite time loop stories in the process. Without giving too much of the story away (it's a good story), this had everything you look for in a groundhog day feature, while also being heartfelt and grounded.

I loved that the FL, Mesa was so relatable. I loved that I could personally relate to her on so many levels. I loved that the ML, Ben was the dorkiest sweet pie ever.

The humor was understated, the romance slapped and the acting was wonderful.

I walked into this expecting a quintessential - finding true love - kind of story but this was so much more.

I hope you like this when you watch it, because I kind of want this review to have convinced you to give it a try! I kid, but seriously, give it a try :)

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Heads gonna roll...

The eccentric archaeologist Hieda Reijiro, a novice demon hunter, and Masao, the son of Professor Yabe, find themselves teamed up in the hunt for the terrible creature Hiruko, an evil spirit capable of possessing its victims. The demon has appeared in the rural school attended by Masao himself. The young student, who has seen his classmate Reiko Tsukishima—with whom he is shyly in love—inside the school, comes to the same conclusion as the archaeologist: A mysterious portal may exist in those places which, if opened, would spread the gates of Hell, releasing other demonic creatures.

Conceived in the summer of 1990, “Hiruko The Goblin”, the second movie by the extraordinary director Shin'ya Tsukamoto, ranks among the first two chapters of the “Tetsuo” saga in the filmography of the Tokyo-born author, appearing almost as a sort of “foreign body” within his cinematic vision.

Produced with a substantial budget by Shochiku, the project attracted the interest of Tsukamoto, who was seeking funding for the sequel to his sensational debut film, “Tetsuo: The Iron Man”. Although the script is based on a non-original story (the source is a series of tales from a manga by Daijirō Moroboshi), "Hiruko" proves to be a work of extraordinary imagination and genius, highlighting the great eclecticism of the thirty-year-old Tsukamoto, who is perfectly at ease even in a more “commercial” production.

Clearly indebted to a certain horror classicism of the 1960s—with a little imagination, one might think of the various Kaidan movies or episodes of Yokai Monsters— “Hiruko The Goblin,” somewhat in keeping with its comic book origins, moves in a sort of amused equilibrium, perhaps a little off-balance, with that ability, at times masterful, to jump between the most disparate genres, from pure horror to exaggerated gore, to comedy that is at times surreal, alternating frenetic rhythms with almost meditative pauses.

The narrative structure finds its natural place in many classic Japanese clichés, starting with the school location, set in a bucolic countryside setting during the summer holidays (almost in contrast to the “urban/industrial” style found in “Tetsuo”), continuing with the particular representation of the (terrifying) demons of Japanese tradition and folklore. However, these elements are mixed and reworked by Tsukamoto in a referential key, also through elements typical of American horror, which was so successful in those decades.

It is impossible not to notice the various references to the movies of Sam Raimi or John Carpenter (but in the finale there is also room for James Cameron's contemporary “Abyss”); While the swirling tracking shots that introduce the demon immediately bring to mind “Evil Dead”, archaeologist Hieda's vintage equipment (who rides a bicycle like Doc from “Back to the Future”) seems to come straight from “Ghostbusters”. Where technology fails, a good insecticide, perhaps even with a broom, achieves the desired effect!

The mystery features are spot on, with Masao's classmates “disappearing” one by one, the school location, which is decidedly creepy at night, and the characterizations. The combination of Masao and Hieda is a dynamic duo with strong elements of a buddy movie and a mentor-student relationship, while the school building's caretaker is reminiscent of many characters from American made movies. However, it is Reiko, with her chanting, almost siren-like refrain, who is truly unforgettable.

More grotesque than hyperkinetic, Tsukamoto's style in “Hiruko” is perhaps a little regimented, less subversive, and adapted to the classic conventions of the genre. undoubtedly less experimental, but still not without some of his characteristic visual solutions, such as stop motion, accelerations, and, to a lesser extent, body mutations, the Tokyo director nevertheless displays a truly remarkable formal elegance, especially in moments of apparent calm, at times even poetic, capable of creating the right atmosphere that inevitably leads to the most typical horror.

For many, Hiruko is considered a minor feature or a transitional work in Tsukamoto's filmography. In several analyses, some complain about a certain decline in the ending, perhaps a little too naive compared to the development of the story, but it should be remembered that this is still a commissioned work, over which Tsukamoto could not have full control and that, probably, the film company forced certain solutions;
Moreover, the substantial budget had been exhausted, forcing the director to abandon certain stylistic and narrative choices.

Personally, I've always loved it, ever since I first saw it; it was often shown on TV in late-night programs, slotting it in between the first two “Tetsuo” movies; I believe its strength lies precisely in this uneven, comic-book style, ironic and caricatural, in its perhaps naive and even slightly retro style (before the overdose of special effects, CGI, etc.), that artisanal taste, now almost completely lost, perhaps anachronistic for many (not for me, for sure) but undoubtedly fascinating and visionary, which has contributed to making it that cult object that still resists today.
8 ½

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Highly Recommended Gem!

I initially watched this film solely for Kim Taeri and didn't have any high expectations. I was genuinely blown away by the beautiful visuals and found it unexpectedly emotional. The OST is great too.

There's been some online criticism saying that Kim Taeri and Hong Kyung weren't as good as professional voice actors. I think that this is unfair because a lot of their recording was pre-scored before any animation was done, which was a tough job. I watched the same scene (Nan-Young's video for Jay) with Korean, English and Japanese audio to compare, and found that Kim Taeri has the nicest voice and gave a more emotional performance.

I really enjoyed the movie and have rewatched it several times. 😊

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The Price of Every Step Up the Social Ladder

This is another hidden gem of Korean cinema from the 1960s, providing a classic depiction of the wronged female vengeful spirit (wonhon).

This black and white film's plot of betrayal and revenge, use of dramatic music, and creating tense scenes out of mundane incidents like making a small noise when trying not to get caught, was similar to what we have come to expect from Alfred Hitchcock movies.

For those who appreciate social commentary, the film's main theme of social climbing and its price is a great appeal. One such example being the use of the staircase itself as a visual metaphor for the desire for social elevation—a technique still used in modern classics like Parasite.

Despite its sometimes slow pace, the film managed to keep the viewers' attention through it's use of various horror and suspense elements; from the ruthlessness demonstrated by a man who will stop at nothing to achieve his goals, to the retaliatory psychological torment.

Though not my first recommendation, this is definitely an interesting watch for fans of the golden age of Korean cinema or Korean horror enthusiasts looking to watch a film which had an influential role on the genre.

Overall Rating: 3.5/5
Quality: 3.5/5
Enjoyability: 3/5

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Pretty Crazy Was So Entertaining

It's been a while since I wached a movie that made me laugh, cry and then laugh again, everything was balanced it was entertaining but emotional at the same time. 
YoonA was amazing in the movie she nailed the two characters she was playing, I especially enjoyed nighttime Seon Ji's scenes, she was so much fun and childlike in her behaviour but deep down she was a kind person who was treated with cruelty so she had to protect herself by behaviour that way.
Ahn Bo Hyun was also amazing I liked that he cared for both of them.
Overall this movie was great, definitely recommend.

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The Action Film That Hits You Right in the Heart

Wow. What a ride.

This movie had me hooked from start to finish. It’s dark, emotional, and seriously intense — the kind of film that stays with you long after it ends. Won Bin absolutely *nailed* his role as Cha Tae-sik. He barely talks, but somehow you feel every bit of his pain and anger. His quiet, cold exterior hides so much heartbreak, and when the story starts to unfold, you really get why he’s the way he is.

The bond between him and little So-mi was the heart of the whole movie. It wasn’t overdone or cheesy — it just felt real. Watching him risk everything for her was both heartbreaking and beautiful. Kim Sae-ron was incredible too; for someone so young, she delivered such a powerful performance.

The action scenes? Brutal but amazing. So well done — sharp, fast, and not over the top. I loved that the movie didn’t rely just on the action — it actually had *feeling*. The ending left me emotional but satisfied.

Won Bin was born for this role.
Emotional, brutal, and unforgettable

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Beautifully shot with best soundtrack

Japanese romantic tearjerking genre is my favourite kind and I knew I definitely have to catch this. Though there are too many cliches and coincidence but I guess I can see past them because the cinematography is simply gorgeous. I think the casting for Eiji Akaso works best here. Some gorgeous male lead might be a hit or miss when it comes to acting but I think when he has those sad puppies eyes, my heart totally cry for his predicament. The second male lead was great too but I find him annoying. I think it’s the way the character was written. The FL has the weakest performance here, that felt stiff and awkward at times.

Another highlight for this movie was definitely the OSTs. 366 Days and 恋して by HY definitely elevate this movie with the expansive orchestra arrangement or that vibey saxophone solo. Plus the vocals by the singers are chef kiss. The last verse of 恋して perfectly summaries the sentiments of ML with the dying FL and I can’t help to cry everytime I heard it. Rarely, I will praise a Japanese drama/movie OST because they are usually not memorable. But I think these two songs are really the best choices.

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