Reviews

They warned us twice...

They warned us twice and I believed them instantly, it wasn't just an exaggeration it was the plain truth, that this movie was gonna be sad. Honestly don't have much to say, I truly loved this masterpiece of a movie, I'm not really the type to watch much sad movies but this was a perfect balance, it make me cry, laugh, made me feel so many emotions. And I truly felt it all, all the love and care they all had for each other, everything. This is truly beautiful. Amazing movie, a must watch. 100% recommend. But have your tissues nearby. You'll need them.

Overall 10/10

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Rubber Ducks and Missed Spark

Welcome to My Side is about Chen Xiao Zhou, who experiences something strange, every time he sees something yellow, everyone around him turns into a rubber duck. His life only returns to normal after he meets Feng Jia Nan.

This movie actually has an interesting concept with a touch of fantasy. It’s quite unique and could have been great if executed well, but unfortunately, that’s not the case here. Everything feels boring, from the directing to the script. Every moment the leads spend together comes across as bland, because they failed to capture any real chemistry between them, even though the individual acting is actually great. The script is also lacking, the slow first half needed to be more engaging, but the story only picks up in the second half after the plot twist.

Still, overall, I do get the message they were trying to convey, though I expected it to be delivered much better. It’s still decent for killing time, though.

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Lovely and weird

I was deeply impressed by this movie even though it’s very possibly the weirdest film I have ever seen and that includes Eraserhead. The plot about dreaming is more of a framework for several short films whose meaning is difficult to determine. The first one, about two men and a mysterious suitcase, was my favorite. I also liked the last one, about two lovers attempting an escape on New Years Eve 2000. The acting was excellent and the imagery very striking, but at some point I stopped tryin to process it as a linear experience and just let it wash over me. If you like something different and mysterious I highly recommend it.

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Good noir vibe, but it pulls its punches

​Honestly, a lot of the low ratings are probably from people who watched it with trash machine translations or expected a standard polished K-drama. It’s actually a pretty solid, gritty movie, but I totally get why it frustrated some viewers.

​The atmosphere is definitely the best part. It really nails that desperate, dirty underground vibe. The dynamic between the two female leads is raw - they aren't your typical best friends; they're just trying to survive and aren't afraid to be completely toxic to each other.

Throwing in real-world problems like the housing scams and loan sharks gave the story some actual weight.
​But here’s my biggest issue: for a movie trying to be a dark noir, it’s way too timid. It heavily hints that Ye Seul works in the shady nightlife (the whole "blue bracelet" thing at the market), but it never actually shows what she goes through. Why be so vague about her actual job? If you're making a movie about women trying to escape a messed-up life, why sugarcoat the very thing they are trying to escape from?

It felt like the director was just too scared to go all the way.
​Instead of exploring that actual darkness, we just get endless screaming matches in cars and a super cliché sports-betting plot. It’s still a decent watch if you're into the genre, but ngl, it left me a bit disappointed. It could have been a 9/10 if it actually had the guts to show the ugly truth instead of just playing it safe.

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Conformity vs. Surrender

Kyoichi plays with theatrical precision the role of a “good man”. The reliable employee, a "good husband" who discreetly fails as an adulterer within patriarchal acceptance. His affairs are extensions of conformity, with women who are aesthetically pleasing and submissive. His life feels less immoral than anesthetized.

The sudden reappearance of Wataru, who has secretly loved Kyoichi since their college days, brings this façade crashing down. Wataru knows his weaknesses, his failures, and his ugly truths. Armed with that knowledge, he overwhelms him emotionally, as well as physically. What begins as a surrender of control gradually turns into a revelation.

The film’s explicit sex scenes may strike some as disruptive; however, their structural similarity is precisely the point. The mechanics of desire remain comparable, yet the emotional posture differs radically. With women, Kyoichi’s sexuality appears performative and rushed. In contrast, the intimacy between the two men unfolds through passion and a gentler mutuality. The difference lies not in the act, but in Kyoichi’s state.

Further within this new arrangement, Kyoichi appears generally more carefree, his laughter unforced, his gestures playful, almost boyish. Their shared space mirrors this contradiction. Though modest and framed by cold concrete and urban austerity, it radiates a quiet warmth, an intimacy carved out of an otherwise indifferent world, a fragile pleasure that seems in need of protection.

Yet the past catches up. Kyoichi’s habitual impulse to fill his inner void with trivial encounters remains omnipresent. The social “unacceptability” of their relationship, coupled with the weight of internalized shame, begins to erode their relationship. Longing turns into insecurity; vulnerability into pain.

During their ritualized separation, Wataru describes the type of woman who would best suit Kyoichi, painting an image of conformity and comfortable domesticity. In return, Kyoichi wishes Wataru a love that will grant him the affection he deserves, a quiet, guilty confession as farewell.

In his anguish, Kyoichi seeks another taboo breach, yet he cannot bring himself to follow through. Instead, he returns to old patterns, a new doll-like girl, and an outlook of domesticated security.

Wataru can't let go. Another passionate collision makes a defeated Wataru discard the small sign of hope he once left behind in Kyoichi’s space, and leave without a goodbye. Only then does Kyoichi realize the true imprisonment was neither marriage nor desire, but conformity and the emptiness that comes with it. He breaks with social comfort, choosing an uncompromising loyalty to his own emotions, even if that means solitude.

Overall, I appreciate the message because it refuses to offer an easy answer. The ending remains open and rightly so. It does not follow the formula of the romanticized myth of “I can change him” with a happy ending. Both Kyoichi and Wataru carry deeply rooted issues. Their emotional baggage and trust issues cannot simply be undone by passion. Yet it does not feel hopeless. Change will be slow and self-driven. Whether their paths cross again or not, something essential has shifted within them, especially within Kyoichi.

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Peng Xiaoran's first movie.

Reason I'm watching was because of Peng Xiaoran - my favourite actress. Lay Zhang was okay, although I would prefer to watch just both of them as ML and FL.
Story wise is quite boring, especially the past, I often speed it up. The emotional connection was not quite there. I understand being a movie of Jackie Chan of course there will be creative fighting scenes. But that is all there is...creative fighting scenes.
The worst part for me was the CGI face of younger Jackie Chan. It felt emotionally detached. There were no feel to it and in relation to the other characters. It's lifeless.
I would give it a very low rating, because of the boring story line and inconsistency. But for Peng Xiaoran's sake, I would give it a decent score, because movie ratings and review shows on her MDL page.

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This is such weird one

Wandering is one of those movies that doesn’t sit right. You watch it, and afterwards you feel this strong urge to talk about it, to explain what it made you feel, but the words just don’t fully come. It’s unsettling.
Plot**
The story follows 9-year-old Sarasa, who loses her father to cancer and is sent to live with her aunt, her aunt’s husband, and her 14-year-old cousin. Her aunt sees her as a burden and as someone who will only cause trouble. The worst part is also that her cousin does bad things to her every night. Sarasa already feels unwanted and out of place.
One day at a park, she meets 19-year-old Fumi. When Sarasa tells him she doesn’t want to go home, he tells her she can go with him. Weeks pass, and the entire country becomes consumed by the news of a kidnapped 9-year-old girl. Years later, when Sarasa is an adult, she meets Fumi again.


The story feels strange, and I’m still not sure if my understanding is completely correct.
When you watch the movie, you mostly see things from Sarasa’s perspective. In her memories, she is living in a house with a 19-year-old who feeds her and provides for her. It sometimes feels calm. Almost normal.
But then there is the world’s perspective: a 9-year-old girl has been taken by a 19-year-old man ( if you know what I mean). That is kidnapping. That carries obvious and disturbing implications.
As Sarasa grows up, her flashbacks sometimes make their relationship seem almost platonic. Yet there are small moments that hint something isn’t right, subtle signs that make you uncomfortable and question Fumi’s intentions. The film never clearly defines him as purely evil, but it also never lets you feel safe about him.

That’s what makes it so hard to interpret.
It becomes even more conflicting because Sarasa’s life before meeting Fumi was already painful and unstable. Compared to the emotional neglect she experienced at home, her time with him might feel different in her memory. And that creates this uncomfortable grey area that the film refuses to resolve.
So I wonder, is she remembering it as safer than it was? Is trauma reshaping her perception? Is the movie intentionally blurring the lines between personal memory and social reality?
I found it difficult to fully grasp what the film wanted me to conclude. It doesn’t guide you toward a clear moral statement. Instead, it leaves you in that tension, between sympathy and discomfort, between perspective and reality.
Wandering isn’t an easy watch. It’s not a film that wraps things up neatly. It leaves you questioning what you saw and how you feel about it, and maybe that lingering confusion is exactly what it’s meant to do.

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Indisputable excellent fight scenes but with a Thin plot

When the Director is famed martial artist Yuen Woo Ping + Producer, martial artist and Male Lead Wu Jing + the one and only Jet Li as a guest star, there is NO doubt that “Blades of the Guardians” will have excellent fight choreography and amazingly performed action scenes by everyone.

If you enjoy the traditional old-school wuxia fights, you are in for a treat. This movie is action-packed from start to finish. Every single actor looks like a warrior out there, no matter if you are a man or woman. The hard-hitting close combat fights, and the swinging blades and fists are sure to delight many wuxia fans. I was totally impressed with everyone putting in their hardest effort. Reading a little about this movie, I found out that the original Princess role was played by Mongolian actress, Narnaash, but she was blacklisted due to fake education records. But do not fear because Chen Ji Jun (with a martial arts background herself) took that role and RAN with it. Playing against veterans such as Wu Jing, Nicholas Tse and the handsome Yu Shi and Ci Sha, my eyes were glued to her! She was amazing in every way! If we are speaking of acting performances, everyone was great - from the veterans and guest stars down to the young boy, Little 7.

But if you are looking for a more balanced movie, unfortunately, “Blades of the Guardians” is unable to provide you with that. The plot may not be difficult to understand but most background information was provided by a few quick flashbacks. As amazing as the action scenes are, I wish the drama had sacrificed a few of them, and given me more screentime on the relationship and backgrounds of the characters. I want to know more about the Guardians, so that I can care about them more. There’s not enough breathing room in between the scenes for me to think and feel.

Since “Blades of the Guardians” is an adaptation of a manhua, the story hasn’t quite ended yet. But the movie does close its first arc, focusing on the bounty hunters, fugitives and the desert. The story should continue on in Chang’an, if there’s a second movie.

Is it recommended? Yes, if you enjoy excellent action and fight scenes. These fights are hard-hitting and brutal (not for the faint-hearted). But if you are looking for excellent storytelling, "Blades of the Guardians" is not quite there. But two hours in the movie theater did pass by rather quickly and I didn’t check for time at all. I was entertained and focused.



Completed: 2/26/2026 Review #670

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It’s just OK..

This movie was just OK. I enjoyed the beginning, the dialogue and interest between the MC’s seemed earnest. But halfway through we lose the plot completely. We get absolutely zero backstory on the main characters besides a couple lines that leave us even more curious. There were so many backstories they could’ve explored but didn’t, so the characters were left shallow and one dimensional. Honestly idk what to say, I didn’t enjoy this movie. Also that bit at the end where they’re dressed as Native Americans riding off into the sunset was weird to me, I get the point they were trying to make, but I didn’t like that scene. Anyway, on a positive note, the cinematography was beautiful and the acting was good. But plot was just all over the place, and the pacing was bad.

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A beautiful and tragic story

Finally checked out this movie and I am so glad I did!! If I could give this more than 10 stars, I would. This is an incredibly beautifully tragic film. I went into this knowing nothing more than the title and knowing people cried when they watched it and nothing else. I'm really glad I went into it that way, so everything was a surprise to me.

I loved both Jae Won and Seo Yun so much. They were both such likable characters. I love how kindhearted Jae Won was and how fun Seo Yun was. They had the cutest relationship with each other too! I knew something was up with Jae Won as soon as he gave that weird excuse to why he didn't like sports.

They're story is so beautifully tragic, it's the only way I can think to describe it. I sobbed during the last 25 or so minutes. I haven't cried that hard over a piece of media since Mr. Plankton or Life Gives You Tangerines. I had a feeling this story would end sadly but didn't realize just how emotional it would be. This film is perfect and I have absolutely no notes. Huge shout out the actors as well, this was incredible.

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Queer-positive and realistic portrayal of family relationships

This film is based on the real-life story of Singaporean drag queen Sammi Zhen. And it’s not just a film; it is a heartfelt depiction of family relationships, the responsibilities of caregiving, and the journey of self-acceptance for LGBTQ+ individuals.

"A Good Child" has made a significant impact on audiences, garnering positive reviews for its nuanced exploration of complex themes. The film does not sugarcoat the challenges of caregiving or the complexities of family dynamics or the pain of reconciliation between an estranged parent and their LGBTQ+ child. It confronts these issues head-on, offering a raw and candid look at the messy, beautiful, and sometimes painful process of coming together as a family. This authenticity is what raises this film above a typical family drama, making it a powerful and thought-provoking piece of cinema.

Richie Koh's portrayal of the drag queen Jia Hao is nothing short of outstanding. Koh brings depth and complexity to the character, capturing both the flamboyance of Jia Hao's on-stage persona and the vulnerability of his off-stage identity. Koh's performance is both captivating and moving, elevating the film to new heights. And the rest of the cast did just an amazing job as well.

One of the strengths of this film lies in its attention to character development and how their stories intertwine with the main conflict. Each character, from Jia Hao to his estranged brother and mother, is given the space to grow and evolve, adding layers of complexity to the narrative. The relationships among the characters are deeply explored, and the honesty in portraying the real struggles faced by the characters creates a more profound and impactful viewing experience.

In conclusion, "A Good Child" is a standout Singaporean film that deserves to be recognized for its queer-positive and realistic representation of family life. Through its strong audience resonance, outstanding performances, and honest exploration of complex themes, the film shines as a beacon of quality cinema. It’s a must-watch for anyone looking for a moving and insightful film.

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When the Farewell Feels Bigger Than the Love

Minamahal tries to end on an emotional airport goodbye, framing it as a grand romantic sacrifice. The problem isn’t the decision itself — her choice to leave is perfectly coherent with her practical personality.

The issue is structural. The relationship never goes through a meaningful process. There’s no real tension, no gradual build, no emotional depth that justifies the dramatic tone of the finale.

If love is meant to be tragic at the end, it first needs to feel solid in the beginning. Here, the farewell feels larger than the bond itself.

When something deep breaks, it hurts. But in this case, nothing truly deep was ever built.

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"He who shouts the loudest isn't always the bravest"

The Human Condition II: Road to Eternity picked up not long after the end of the first installment with humanist thinker Kaji in basic training further away from his beloved Michiko. The frigid Manchukuo winter was the least dangerous enemy Kaji faced during the waning years of WWII.

Now in basic training, Kaji tries to keep to himself, follow the rules, and lead an exemplary military career. He is on a “Red” blacklist and constantly surveilled. Shinjo is another free thinker who is always assigned guard duty as punishment and refused promotion. Enlisted with more time in, use any opportunity to beat the new recruits, with the humiliation and pain driving two soldiers to take drastic action. When Kaji’s squad is moved to the front, he runs into an old friend who tries to help him by putting him in charge of a rifle squad and new recruits. Kaji is able to run his barracks the way he envisions which means he chooses to suffer the blows the veterans would normally dish out to the new recruits. When the Russians invade, the soldiers find out how absurdly unprepared they are for the assault.

After attempting to help Chinese workers and POWs in the first film, Kaji concentrated his views of equality and humanity on his fellow recruits and later on the new recruits under him. Unlike other soldiers who believed Japan could not be beaten even after devastating losses in the Pacific and the Allies victory in Europe, Kaji saw the writing on the wall. Despite hating the army he was a disciplined soldier and an excellent marksman, but his ultimate goal was to survive and make it home to Michiko and for his men to see their mothers and loved ones.

Being a humanist in a savage military atmosphere tested Kaji regularly. I had read how drill instructors and higher ranking enlisted brutalized new recruits as the war went on, especially college kids. Fourteen years after the war, this film showed the civilian population a taste of the cruelty their young men experienced at the hands of their own people. In order to raise morale, Kaji attempted to inject a modicum of kindness and respect into the men he trained. By giving his recruits real reasons to live, he hoped to motivate them to train hard and survive. As the wartime situation deteriorated, rifles and ammunition fell into short supply. Adequate fire power was absent in the face of the Soviet Union’s tanks and cannons. The Japanese soldiers were all but using popguns and Roman candles against their enemy. Commanders needlessly sacrificed their men. “To die here, is to die a dog’s death.”

As this film was more a psychological study of Kaji and the violent, dehumanizing military culture, the battles were rarely shown. The final battle did involve tanks and their cannons, but even then the focus was largely on Kaji and the soldiers’ reactions in their foxholes. After the tanks left Kaji and two other survivors struggling in a charred landscape, Kaji was once again forced over an ethical invisible line within himself.

Kaji’s determination to treat all men as men and with respect was harshly challenged and he paid the price repeatedly. As in the first film, he made mistakes and used violence when he felt the situation called for it. Wins for Kaji were not measured by the tide of the war or on the battlefield, but in the small moments when his actions protected his men from the army and helped them live a more fully human life in the face of fear and death.

25 February 2026
Trigger warning: During the battle scene a person was blown up with body parts flying. Many brutal beatings. Suicide.

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