Reviews

"Early worms get eaten first"

How to Make Millions Before Grandma Dies showed how the vultures come out when an older relative is near the end of their lifespan. For the most part the writers made the distasteful somewhat palatable and at least one character had a change of heart.

M’s friend/cousin Mui makes her living off of becoming the #1 of dying patients, when she’s not hosting her Only Fans site. When M discovers his grandmother has terminal cancer he decides to become her #1 and begins to take care of her. Other family members also have their eyes on the old woman’s house, the only thing of value she owns.

Taew Usha Seamkhum as the grandmother gave a wonderfully nuanced performance as the woman who accepted life and people as they were. Grandmother was aware that when people visited, it was because they wanted something. She also saw the potential in her ne’er do well grandson and had pity on her deadbeat son. Even though she knew M's motivation for being with her, she could at least take pleasure in having someone to eat and play cards with and go to chemo with. Some of the supporting actors were stronger than others.

I’ve been around long enough to see the relatives crawl out of the woodwork in order to try and get what they can from a dying person. In real life, they rarely learn any meaningful lessons from a beloved elder, their eyes only on the financial prize. For most of the film the only people I felt any sympathy toward were Grandmother and Sew, her daughter. It was, however, disappointing that Grandmother failed to learn the lesson she suffered from as a daughter when her parents died.

While this film had a patented redemption arc, and I love a redemption story more than any other kind, it didn’t move me as much as I would have hoped. Perhaps, it was a more realistic portrayal of the selfish children and grandson but I spent much of the film being irritated with their myopic vision. It is the nature of children to be involved in their own lives and neglect older members of the family, but when the clock was ticking down on the matriarch’s life, I found their behavior inexcusable. The elderly may not want visitors who “are counting the minutes” before they can leave, but they also crave those precious minutes with beloved children and grandchildren when their own minutes are slipping away.

13 April 2025

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Between Metaphors and Symbols: Dreams and Death

In an unknown future, the introverted young man Ariyoshi Jun (Ryuhei Matsuda), who works at a gay bar, is one day arrested for killing one of the bar's customers after being sexually assaulted. What baffles the police is that he mutilated his rapist's corpse in a fit of absolute violence, and this reaction doesn't allow him to avail himself of the right to self-defense.
In prison, he meets Shiro (Masanobu Ando), a striking young man with unusual tattoos who has known violence since his earliest childhood and is now back in prison for murdering a young man, for no apparent reason.
In prison, Shiro, a strange young man with a dark past, who served time for raping the prison director's wife, quickly demonstrates his brute force and becomes the leader of the other inmates. The shy and defenseless Jun is drawn to everything his strange companion embodies. Jun is the only person Shiro opens up to, and they accept each other as they are. This situation leads them to understand that they cannot be without each other. Together, they will establish an intriguing and intimate relationship that will only be interrupted by a mysterious crime.
Imprisoned for murder, and despite their apparent differences, at the end of their empty and destructive lives, the two young men with exactly opposite personalities share only their instincts, but this is enough for them to discover the emotion of love.
However, at the end of their love lies another murder, with Jun as the accused and Shiro as the victim. 'Big Bang Love, Juvenile A' (Japanese: 46億年の恋, 46-okunen no koi?, literally translated in English: '4.6 Billion Years Of Love') is based on a posthumous manuscript by Ikki Kajiwara, titled "Shōnen A ereji (少年Aえれじぃ)" and written by his younger brother Hisao Maki under the joint pseudonym Ato Masaki.
The film, which has a script by Masa Nakamura, follows two detectives who attempt to uncover the culprit of the murder and the cause of the crime through interviews with inmates and prison employees about events in the lives of Jun and Shiro. Among the suspects in the crime is the prison director, who may be interested in wanting revenge for the rape of his wife and subsequent suicide.
The use of the technique of interspersing testimonies throughout the film is striking, as the viewer themselves can participate as an investigator.
Premiered at the 56th Berlin International Film Festival in February 2006, the film tells the story of how the two inmates form an intensely close bond, in which Shiro protects Jun with fanatical intensity and violence from the other inmates, although his intentions toward his fellow inmate are unclear.
The highly symbolic images and dialogue contrast with the routine nature of the police investigation, creating a somewhat surreal commentary on the nature of violence and salvation throughout the film.
Viewers and critics at various film festivals, such as the Hong Kong Film Festival and the Sitges Film Festival, were quick to praise its director, Takashi Miike, for exploring an experimental and poetic path with the film. There's nothing real in this film, but the truth of the human condition crawls and scratches at the surface, in this claustrophobic fever dream.
Takashi Miiki brings together a highly professional cast, including Shunsuke Kubozuka (as Yukimura Sumio), Kiyohiko Shibukawa (Tsuchiya Makoto), Ryo Ishibashi (Warden Tsuchiya, the Prison Warden), Kenichi Endo (Assistant Inspector), Renji Ishibashi and Jai West (Deranged Prisoner), Kanamori Jo (Hero), and Mitsuishi Ken (Prison Warden), among others, to create a cinematic spectacle.
Also noteworthy is the work of Matsukuma Shinichi as Lighting Technician, who collaborated on the creation of this strange and sad film, full of memorable visual images, in which Takashui Miike examines abuse, domination, violence, and determinism in an experimental style, in which all that remains is destruction and shattered lives.
The symbols anchor the viewer in their seat, the metaphors cloud the senses, the lighting is out of this world, and the visual design surprises us by being both theatrical and abstract.
"What kind of man do you want to be?" This is the big question and the impression the film leaves me with. The two protagonists are caught up in a cocktail of provocative generic influences, ultimately speaking about the impulses that keep us alive: love, the madness of desire, violence, jealousy, truth, and lies.
To help us understand what kind of people they are and the feelings they are experiencing, the director uses metaphorical symbols and eccentric external views, such as the butterfly in mid-flight around the protagonists, the image of an Art Nouveau CGI rocket about to launch into outer space, the gigantic and ancient Mayan pyramid, the colors, the tattoos, the ghosts, the timelessness, and the spatial minimalism, all serving to physically express Jun and Shiro's inner world.
While the rocket portrays the world of reason, science, and rationality, based on its use as a way to explore the stars beyond human reach, and as a clear proposal to leave this world together and move forward, the historical precedent of the Mayan temple points toward a more intuitive and contemplative realm of the heart and spirituality, the possibility of heaven, and the fact that this attraction they feel is neither new nor exclusive to them, but rather stems from an affection dating back to human origins. Hence the film's title, which is the approximate age of the Earth.
Takashi Miike carefully and intelligently intersperses these poetic and philosophical scenes throughout the narrative, once again breaking the formal expectations of what a cinematic narrative should be.
While deliberately cryptic and at times confusing, the film overcomes the self-imposed difficulties of its narrative thanks to brilliant staging, a disturbing dramatic pulse, and a cinematic conception that is entirely revolutionary within the context of its director's artistic proposal.

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THE BEST IN ITS GENRE !! Horror + Comedy + Beautiful Emotional Love Story.

This is One of My First THAI HORROR COMEDIES that I had watched long ago n still One of the BEST for me!😄
(I still remember almost every scene, that's how strong this movie had made an impression 🥰)
AN ICONIC MOVIE IN ITS GENRE !!👌🏻

A VERY BEAUTIFUL, yet a SAD EMOTIONAL LOVE STORY with a GOOD TOUCH of HORROR and COMEDY 👌🏻

*** STORY:
Movie is an adaptation of a story/ Legend which is based on Thai Folklore.

The Story itself, is Legendary n Iconic!
Their Love is Pure n True💖, such a Tear-jerker! 😒
Even Death Can't Separate them!!🤧
n that Ending, for such a Story is Inevitable!! 😒

Usually, sad endings are tend to be avoided by many n won't be interesting to rewatch.
Here, Though a sad ending n though there are many adaptations of this Thai folklore legendary story, it's never tiring or boring to watch this story n its adaptations.
Such a Beautiful Love Story! 🥰😒

This story being sad n emotional, can be adapted into a serious horror or a comedy horror.
Good that this team chose to add comedy element to this beautiful sad story n made this serious horror😒 as a comedy horror 😄😂

***
Set in War Times n so U can see the old Thai dressing style🥰

Direction, Screenplay, Cinematography Production (apt to the war setting) n Pacing, EVERYTHING IS RIGHT TO THE POINT!👏🏻

***
FL Davika is very pretty 😄
ML Mario is cool
They are cute together as a couple💕

***
Thai Comedies (horror or rom-com), as usual, are always CHAOTIC !😂

The friends Gang is SUPER HILARIOUS!
Lot of Goofy n Loud Screaming👌🏻😂
They are the sole reason for this movie to take a turn from emotional to comedy👏🏻👌🏻
Without their scenes n their comedy, this would just be a sentimental one🤷🏻‍♀️

Even the scenes of Buddhist monk helping the team to ward off the ghost, are funny😂

Came to know actor Phuak from this movie n watched some of his other Horror Comedies 😄

(If U are aware of Thai comedies, only then, U can enjoy this.
Every country has its OWN TONE OF COMEDY, especially Japan or Thai comedies are not for everyone 🤷🏻‍♀️)

My RATING is 9 / 10

***
I watch Horror genre alot, almost covered many horrors of many countries, Asian, Western, Turkish etc etc😄
n so watched The Indonesian adaptation of this, "Kang Mak From Pee Mak".
Though it's almost scene to scene remake, loved this original Thai movie ONLY.
THE VIBE, THE ACTING n THE COMEDY, EVERYTHING IS RIGHT n INTERESTING here 😄

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This is easily one of the most beautiful films I’ve ever seen.

The tears started flowing early and didn’t stop until the very end. It reminded me of my grandmother and how much I miss her. I think that’s why it touched me so deeply. One of the film's strengths is how relatable it is. It doesn’t try to force the audience to cry or manipulate emotions; instead, it beautifully portrays the complexities of family relationships and the inevitability of mortality, making it truly impactful.

I loved how M and his grandma found their way back to each other, rediscovering their bond and how M came to better understand his family. Those last 20 minutes were some of the most moving I’ve ever watched.

The cast deserves huge praise for bringing these characters to life, especially Billkin and Taew Usha Seamkhum. Their performances added incredible authenticity to the film.

Watching it left me with a renewed appreciation for life’s fleeting moments and the meaning they bring. It’s a movie that will stay with me.

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A Masterpiece That Captures the Reality of Same-Sex Relationships

At first, I was confused by the imagery of the characters walking in a straight line—but by the end, everything made perfect sense. The title, “Life: Love on the Line,” resonates so deeply now. It’s not just a metaphor—it encapsulates the entire journey of Akira and Yuuki, who meet at 17 and grow old together until they’re 82.

I can’t believe this was released in 2020 and I only came across it five years later. This is far from the typical Thai university BL series filled with light-hearted romantic tropes. Instead, it's a deeply mature and realistic portrayal of a same-sex relationship navigating the complexities of life, family, and societal expectations.

Akira was the first to feel attracted to Yuuki, initiating their first kiss. He was drawn to Yuuki from the very beginning. But after living together for 11 years, it becomes evident that Akira faced immense pressure—from both his parents and friends—to lead a so-called “normal” life: marriage, children, and conformity. That inner conflict resonated with me on a deeply personal level. I found myself in tears, overwhelmed with emotion, because I too am in a similar situation. In my early 30s, still closeted, I continue to face pressure from family and friends to marry and start a family, all while hiding who I truly am.

Akira, like many, may have momentarily lost sight of the person who truly loved him—Yuuki. Sometimes, people don’t realize what they have until it’s gone. That realization can come too late.

Many viewers may feel anger towards Akira for leaving Yuuki, but the context matters. Yuuki’s mother was open-minded and supportive, while Akira’s mother was not. Akira simply wanted to be seen as "normal" in the eyes of his family. But in the end, he recognized the mistake he made and showed genuine remorse. His confrontation with his mother was powerful, emotional, and incredibly realistic. He not only stood up for himself but also supported his sister through her own struggles.

It begs the question: Does living a “normal” life truly bring happiness? For many parents, like Akira’s mother, being “normal” means avoiding gossip or judgment. But happiness doesn’t come from fitting in—it comes from being with the person you love, someone you want to spend your life with, regardless of what society expects.

What I loved most about this series was its realism. The chemistry between the two male leads was profound, the storyline was compelling, and every moment felt authentic and powerful. It’s an absolute masterpiece—10 out of 10.

I wholeheartedly recommend this series to everyone. Japanese BL dramas hit differently—they don’t just entertain; they make you feel, reflect, and relate.

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Providence

I will make 3 points about this slow paced gem of a movie. First, it introduced me to a concept of Inyeon, and for that reason alone i am grateful to have seen it. Inyeon is a Korean concept referring to the connection between people, and this movie explains that every meeting has a deeper meaning. In Christianity we talk about providence and souls. So Inyeon is not happening at random. Instead, it is guided by Gods providence and shows that we are connected not only in body but also in spirit.

Second point, I watched "Past Lives" after a recommendation from a Korean friend and it made me really think about her and our relationship. In fact I have many Korean friends that touched my soul so watching this was very nostalgic and heart-warming for me. I especially appreciate how clean the movie is.

This brings me to the third point. I was mesmerized by the actors and the honest emotions that they expressed. In some instances their acting felt distant but I found substance in it. It was poetic and full of grace and honest. Rarely you see a story that is so open and - I repeat myself - honest. This is how we should all live.

PS. Stay for the post credits and enjoy the song.

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Two of my favourite actors running forever on a long chase through beds of reeds, long grass, forests at night full of mines. 2024 film.

Worthwhile watching, this is an ok movie about a long struggle to defect by a NK sgt. (played by Lee Je Hoon), pursued relentlessly by a Security dept. major who was his childhood friend (played by Koo Kyo Hwan). Good cinematography generally.

As always, KKH and LJH demonstrate absolutely unforgettable bravura individually, and the 9 is for them. One of them is tethered to the past and the other to an imagined future, but they both are absolutely at the limit of their emotional endurance. The two do not interact much except to both stubbornly and tenaciously keep moving forward.

The setting is not specific in time and space. This could be 10 or 20 years ago or yesterday. Perhaps it will age better this way, but I didnt experience the thrill of new connections that I hoped for. I am a sucker for landscape, politics, love of the land and complicated feelings, and I expected a richer texture.

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This is not a bl, this is psychological horror

At first I was apprehensive to watch because it was a short film, but it's definitely worth the watch

My thoughts:
The story is a bit shaky but it strangely makes sense, the way they subtlety flirted before they hooked up was portrayed well by the actors; the NC scene didn't feel forced and the actors had great chemistry. The police officer did really give off a slight vibe of violence and I was surprised that I was right; the emotion of betrayal and anger protryed by Hao Zhe when he caught Player hooking up with someone else gave me chills, it felt very real, it's the same for the emotion of fear protryed by Ting Chen after seeing the police officer beat up his hookup and the way he moved while opening the gift box then being coerced into sex by the situation felt very real. I also liked how there was no music until the end of the film, it made the whole thing very eerie but in a good way.

Final thoughts:
I loved the acting, the setting is really solid, the mood is a good eerie, and this short film is a work of art. This short film is just not for everyone.

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"Might be better on a second watch?"

I love how the movie feels light and easy to watch, but for me… it just kind of exists. If you're a fan of both leads, you'll definitely feel giddy and thrilled watching them together—but if you're looking for emotional depth or layered storytelling, this might not hit the mark.

Personally, I expected more—especially from the title. The plot had great potential, but I was really hoping they’d dive deeper into Jolo and Sari’s individual stories. It felt a bit rushed, like there was more to tell but not enough time to tell it.

I guess part of my disappointment comes from the fact that both of these amazing actors have delivered incredible performances before—like in Linlang and What’s Wrong With Secretary Kim. So my expectations were kind of high. Maybe it’s also because it’s a movie, and there's only so much they can fit in without dragging the story.

Still, I really hope they work together again in the future—but next time, in something more meaningful and emotionally rich. Something like Paulo Avelino’s I’m Drunk, I Love You—now that’s my kind of film.

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I would do anything just to watch this series for the first time again!

There are a lot of things that I like about this series. First of all the amazing story, I really love the childhood best friend trope. They really capture the essence and the story of reuniting with your childhood friend. Furthermore, the utterly gorgeous cinematography like guys, I CANNOT begin to explain how freaking every shot or camera angles makes me feel. You can perceive the intensity when they capture the hands of Ho Tae gripping Dong Hui's clothes like AAAAAAA. And lastly guys, the BEAUTIFUL ACTORS! omg! like whyyyyy is the casting so amazing!!!! and of course the music, the pacing, everything!!!! I think this series first placed in my heart and in my list! Only thing though that I would like to add is that It could have been longer like AAAA we need more of Dong Hui and Ho Tae. Definitely will rewatch!

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happy to finally see it officially

Overall: I'm ecstatic that this finally has an official international release on GagaOOLala https://www.gagaoolala.com/en/videos/5208/no-touching-at-all-2014 I gave it a bit of a rating bump because it originally aired in 2014 so I'm trying to judge by those standards instead of today's standards

Content Warnings: manhandling, past bullying, homophobia

What I Liked
- their different personalities
- that Shima had a reason for acting like he did
- the cliche plot was not for a long time
- being smart during that phone call towards the end
- how people grow together

Room For Improvement
- whiff of the gay for you trope
- Shima felt a bit too unrealistic with his level of prickliness
- the ending is fine but I enjoy a more clear ending

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River of time

River was a quirky time loop film centered at an inn on the scenic Kibune River. The guests and workers are forced to face their own emotional loops and discover how to resolve an actual time loop that occurs every two minutes.

Waitress Mikoto and clerk Kohachi realize they are having a conversation for the second time. Within two minutes Mikoto is transported back to the river’s edge. The situation is repeated for all of the guests and workers wherever they might be. Together they seek to find the cause and breadth of the time loop. As the affected people begin to despair, tempers fray and secrets come to light.

I enjoyed this revved up Groundhog’s Day where everyone was in on the situation. I did pity the actors as many of the repetitious scenes involved the characters running upstairs, not an easy task for the women in kimonos. There was a continuity issue of the changing weather. One moment it was green and sunny, the next there were several inches/cm of snow and ice on all of the surfaces and then back to greenery. The camera work and acting weren’t very advanced, but not overly distracting. Thankfully, the story moved forward even if time did not. Many of the characters were stuck in their lives and afraid to make decisions or share feelings. The repeated two minutes gave them time to think about their obstacles and relationships, helping them to resolve their problems. And for one chef, the chance to act out his revenge fantasy. That might come back to bite him when the clocks started up again.

10 April 2025

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