Reviews

Mean, moody and magnificent

I loved this movie, and most reviews focus on the erotic scenes featuring the smoking hot bar hostess (played by the stunning Mami Fujimura), and on the horrific and difficult to watch train rape scene. However, a less memorable copulatory episode earlier in the movie served the purpose of introducing the unpredictable, aggressive and flawed nature of the Nozawa Shunsuke character (played by the mean, moody and magnificent Ren Osugi). Therefore, it is probably worth a mention in the interests of completeness although the scene pales in comparison to those involving the gorgeous Fujimara.

On leaving the bar on conclusion of the opening sequence, Nozawa is scouting a vehicle for temporary use in the hijack he is about to carry out, and soon chances upon a car parked up in a secluded backstreet location. At this point we are presented with an overly-long and drawn out seduction and lovemaking session involving a sleazy married commuter who has managed to coax a naïve and top-heavy high school girl from the subway train back to his parked car.

“Nice tits” quips this smooth operator with a smirk, as he nonchalantly removes the bra and panties from the submissive girl. By the time Nozawa arrives on the scene, the short-lived romance is being vigorously consummated, and the girl is so overcome with passion that she does not notice the short-tempered Nozawa ominously striding up to the vehicle, pistol in hand. The shocked girl is then confronted with the black-leather clad Nozawa tapping on the window and demanding that she get out immediately. Apparently feeling that the confused girl did not respond fast enough to his command, Nozawa grabs the girl roughly by the hair and brutally pistol-whips her, before brutally dragging her out of the car and depositing the partially-clothed girl on the concrete with about as much care as he would dump a bag of trash.

It is worth noting that our hero treated the romeo who had been exploiting the girl’s naivety much less harshly, with an almost apologetic Nozawa explaining that he would leave the car undamaged and in an easy to find location once he has finished with it. The scene is purposeful as it dropped a hint to the viewer at an early stage not to get too emotionally attached to the male lead, although later we do see a more compassionate side of Nozawa, particularly regarding his doomed relationship with the beautiful Rinko.

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My January 2026 recommendation

Watched this for my Recommendation Challenge from 𝑲𝒂𝒕𝒆. Let’s talk movie…

The story centers on Wei Yihang (YH), a cynical and reclusive teenager who has undergone brain surgery for a tumor. Living in constant fear of a relapse, he gradually distances himself from the world—and even from his own parents—to avoid causing them further pain. Seeing himself as a burden, YH chooses to retreat into his own isolated bubble.

His life begins to change when he meets Ma Xiaoyuan (XY), a bright, optimistic girl who also had brain cancer. Unlike YH, XY embraces every moment of her life, firmly believing that even a limited lifespan should be lived to the fullest.

At first, YH tries to push XY away. However, her warmth, optimism, and unwavering positivity slowly break through his defenses. XY teaches him how to see the world differently, encouraging him to find joy and meaning again.

XY even teaches YH to dream again.
They travel—to Paris, to the sea, to faraway skies—all within their imagination, yet feeling more real than anything else.

For a while, everything feels peaceful and perfect… until it doesn’t.

So what happens next?
Will their illnesses return, or will they be granted the happy ending they both long for?

That's pretty much the story without giving anymore spoilers. Now what I like and don't.

What I like:
+ This movie teach us how to find the positivity even in the dark moment
+ The amazing family YH had. Seeing how his entire big family support YH’s dad for his treatment is something we rarely see in dramas or even in real life
+ Amazing acting from every actor(ess) involved. We can see the pain in YH’s parent's faces, the despair in YH’s eyes or the positivity in XY.

What I too like:
- A little boring at first. But If you’re just a little bit patient you get the prize in the end. Haha…

Overall this is one of the good movies to watch.

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Understands loneliness better than most films bother to try

I don't think a film has ever left me smiling and laughing, then shifting to uncontrollable sobbing, so many times before. There was a particular point in Rental Family wherein Brendan Fraser's character is asked if he'd ever consider using the same service he's providing to so many other people; it really got me thinking about how much I miss members of my own family and what I wouldn't give to see them again, however brief, for one more time. It understands loneliness better than most films bother to try. There's a beautiful sense of heart and deep emotional love at its core, daring to ask what it really means to interact with fellow humans and how the roles we play in life shape our reality and our perception of it. It all bathes in a subdued light: low lamps, quiet kitchens, rainy streets that blur into bokeh, Tokyo is a presence, not oppressive, just honest, a city of people close yet worlds apart. Hikari directs the film with a wonderful amount of softness, offering the comfort of a warm hug within, never becoming overly melodramatic or heavy-handed as it's all handled with tenderness and careful thought. It doesn't try to be revolutionary in its storytelling, yet for this reason, the depth of human connection we witness is tremendous. Brendan Fraser is simply phenomenal, chewing through scenes with masterful restraint. He doesn't demand the spotlight or steal scenes from equally exceptional co-stars; he elevates those around him with emotional quietness. An endearing tour of empathy, compassion and a glimpse of humanity at its best, yet equally so quietly devastating, Rental Family serves as a small yet meaningful reminder of the importance of kindness and human connection in a world that seems to be losing both.

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A Howling Success for RabGel

I’ve just stepped out of the block screening of A Werewolf Boy, and I walked away genuinely impressed. This 2026 Philippine fantasy romance, produced by Viva Films, Studio Viva, and CJ ENM, is an official remake of the beloved 2012 South Korean film starring Song Joong-ki and Park Bo-young. While it’s not an original story, this local adaptation confidently stands on its own, offering a polished, emotionally grounded adaptation that stands confidently on its own.

The film follows Sara, a teenage girl who moves to the countryside with her family and discovers a mysterious, feral boy hiding on their land. He’s unable to speak, driven by instinct, and clearly not like anyone she’s ever met. Instead of fear, Sara responds with patience and kindness, slowly teaching him how to eat, behave, and connect with others. What begins as curiosity grows into a tender, unconventional romance shaped by trust, care, and quiet understanding. As their bond deepens, outside forces—including an entitled and dangerous suitor—threaten their fragile world, pushing both characters toward difficult choices rooted in love and sacrifice.

What could have felt uncomfortable is handled with surprising care. Boy’s dog-like devotion is framed as emotional intimacy, not ownership. Their shared moments are soft, ordinary, and disarmingly gentle, and that’s where the film truly shines. This isn’t a werewolf movie driven by horror tropes or jump scares. There are no mystery deaths or fear-fuelled twists. Instead, A Werewolf Boy chooses connection over spectacle, tenderness over terror. It’s emotional without being manipulative — yes, it made me cry — but it’s also warm, comforting, and quietly uplifting.

Directed by Crisanto B. Aquino, known for My Future You and Instant Daddy, the film marks a confident genre shift for him. His direction feels steady and intentional, balancing fantasy elements with intimate emotional beats. Rabin Angeles headlines the film as the wolf boy in his first leading role, opposite Angela Muji as Sara. Candy Pangilinan is a delight as Sara’s warm and humorous mother, Aling Rosa, while Albie Casiño is impressively effective as Jojo, the arrogant and abusive antagonist. Lorna Tolentino’s special participation as the older Sara adds emotional weight and gravitas, reminding us why she remains one of the country’s most respected actresses.

Even without having seen the original Korean film (which I now fully intend to watch), this adaptation works beautifully on its own. In terms of acting and overall execution, it really delivers. Candy Pangilinan is effortlessly funny, Albie Casiño is so convincing as the villain that he genuinely gets under your skin, and Lorna Tolentino brings depth and restraint that elevate every scene she’s in. Beyond performance, the film excels in how carefully and thoughtfully the Korean story is translated into a Filipino context. The adaptation feels meticulous rather than mechanical.

Angela Muji and Rabin Angeles truly step up here. Having seen them in lighter or more commercial projects before, this feels like their strongest work yet, both individually and as a pair. Their chemistry is natural and unforced, and even the simplest scenes carry emotional weight. Rabin takes on a particularly challenging role with no spoken dialogue, relying on physicality, expressive eyes, and silence to convey longing and vulnerability. Angela brings warmth and sincerity to Sara, making her easy to root for from the very beginning. If this film is meant to introduce them as a love team, it’s a smart and promising launch.
From start to finish, the film’s pacing is smooth and engaging. Nothing feels rushed or out of place, and the storytelling allows emotional moments to breathe. The visual effects are used sparingly and effectively, enhancing the supernatural elements without overwhelming the narrative. The supporting cast adds texture and balance, making the world feel lived-in and emotionally complete.

There are minor stumbles, particularly with period consistency. While the story suggests a setting somewhere between the 1960s and 1970s, some language and technology choices don’t always line up perfectly. These details are noticeable but ultimately forgivable, functioning more as small distractions than real flaws.

Overall, A Werewolf Boy is a well-crafted Filipino adaptation that honours its Korean predecessor while carving out its own identity. It’s tender without being cloying, emotional without being manipulative, and polished without losing its heart. If you’re a fan of fantasy romance or simply enjoy stories about love, belonging, and quiet connection, this one is well worth watching.

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Just watch it lmao

Honestly the best way to explain this is, the first half is the narrow and straight. Then the last half is just hilarious nonsense. Not all of it will hit good. But the really funny bits are classic Kitano. The plot is basically told twice but with comedic changes in the second half.

Honestly first part isn't even that bad pretty simple gangsta setup lol
Kinda reminded me of like improv shows. You could tell the actors were having fun with the constant snickering. I've never seen Tadanobu Asano act like this before haha so it was ever funnier.

If you like Kitano and to waste a random hour, why not lol

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Do yourself a favor, hug your children

I finally got around to watching the World of Kanako. This movie is hard to watch in many ways. The subject matter is tough. The editing is tough. The pace is frantic. The movie feels like a knife dangling above your head at all times.

This movie is like 80% tension. And I love it for that reason. But what I don't appreciate is how it was edited. The major thing I need to address immediately is how the movie is edited in such a way that makes it really frustrating to watch. There's so many cuts and angle changes. It feels like they were definately trying to recreate the pulpy 70s movies but didn't understand quite the reasoning for the cuts.

I really liked the acting. It was extremely well done. Showa was unlikeable but had some redeeming traits. He was a very complex main character and I was not expecting him to be so messed up with his morality. But I suppose Kanako wouldn't be the way she was unless she had parents like that. Nana Komatsu plays the role in a fantastic way. She's every bit as irredeemable as her father and has such a fantastic turn. I liked how her character just gained layer upon layer. It was my first time seeing Nana in a major role and I enjoyed her. Great way to use her. AibHashimoto only appears briefly but you could tell she was a rising star from the little time she had. I wasn't so sure about the main boy. I couldn't really pull one way or the other if his acting was good or not.

All of the side characters were really lived in. The world felt gritty and fucked. Particularly the guy playing the crooked cop. He seemed so cartoonishly evil.

The cinematography was top notch despite the editing. Some really fantastic noir-esque shots and great ambience. There's a really coherent feeling throughout the movie. There's a few particular shots I really liked. Like when the mother or her glass down on the photos or when The dad fell and the blood was black like the wings of death.

The music was too much. Like it felt like the movie never was breathing because of how much music was crammed in. I think the editing and music lengths hurt this movie greatly. Too much style over substance. If they tightened this up I think it would of easily slid into a 9.

I do think it's a ok watch if you are in the mood for some tragedy. It's good but could be better.

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Sometimes there is no reason

This movie portrays how people judge by looks.
Like how every bullying victim is portrayed or treated.

The only person who didn’t (couldn’t) judge someone by their looks became the source of courage and strength for a victim.

A son who tries to uncover the truth about his mothers passing.

And the Ugly truth at the end.
That, often, there is no real reason.
It’s the personal taste of how society often describes a person “beautiful” or “ugly”.
And the one who couldn’t judge by looks judged by his assumptions.

And this movie proofs only God sees us how we are, from our inside, our hearts. ♥️

This movie has a good plot that hooks you till the very end.
Yeon Sang-ho Did a very good job on that.
The actors did their work so well that you completely empathize with the victim. You also want to know the truth about what really happened.
Park Jeong-min played both parts so well, I was really impressed by his acting.
I hope to see more great work of him.

The other reviewer said that the “why” was misplaced. If you watched till the end you know what happened and WHY.

This movie deserves more recognition.
It really tells a deeper meaning.

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Incroyable !

Ce film était dans ma "watchlist" depuis un bon moment et je regrette d'avoir attendu aussi longtemps pour le regarder.

L'acting était est top, le méchant de l'histoire était très bon. Ça n'a pas dû être évident de jouer un personnage aussi malsain et pervers.

La guerre psychologique entre KSH et JKC est le meilleur aspect du film, qui est assez impressionnant à regarder. Âmes sensibles s'abstenir.

L'œuvre a réussi a dépeindre à la fois la douleur, la tristesse et la revenge.

La scène de fin m'a fait un peu mal au cœur.

Un film que je recommanderai sans hésitations

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Jackie Chan Never Disappoints!

A little bit of back story about why I watched this.

My fam called me to ask whether I want to watch Jackie Chan’s movie in theatre. Thinking it was action movie, I said yes. But then after the ticket was bought, I read the synopsis and learned that the film’s genre is not action, but more towards family drama.
I was actually reluctant to watch this as I am not in the mood for crying.

But after watching it, I don’t regret it. This film feels close to my heart. As a child with parents whose age are over 60, this film makes me realize, how short our time with our parents is. As we get older, we get busier with jobs and our own side hustle. But we sometimes forget that our parents are getting older too. We need to keep making memories with our loved ones. Lesson learned🫶

About the casts:
Jackie Chan always delivers! His acting as someone with dementia brought tears to my eye.
I saw a familiar face, Lin Bei Xing! She is here!
The ML he acted well that I want to watch his other dramas.

Overall, a must watch if you like a family genre, and even better if you watch with your family🫶

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Sweet riff on Mae Nak

You will get more from this if you've seen Nang Nak first - the 1999 film is the clearest, most straight forward, classic retelling of the Mae Nak legend available on the internet. The more familiar you are with that story, the easier this one will be to follow and the more its emotions will resonate.

Mae Nak has an important enough place in Thai culture that they make films about making films about her story - any way to revisit Nak, Mak and their love. There are dozens of adaptations and it's quite naturally assumed the audience knows the core story already. If you're only here for Krist, or only think about Thailand in terms of BL, can you not spare a couple of hours to learn more about this facet of their rich and complex culture?

My ratings and the rest of my review are provisional until I'm able to watch this subbed. I know I didn't catch a lot of the banter between the filmmaker characters but for the rest it was easy enough to go on vibes, visual recognition of elements from Nang Nak and what Thai I could pick up. Fern Passakorn as Salee was a favourite - I always like the energy she brings.

It's a sweet riff on Mae Nak. There's a lot of fun, plenty of silliness and of course a lot of love. Perhaps some brief commentary on the constraints fans put on actors' personal lives and loves. On its own, the love story between the leads may feel underdeveloped - but this isn't meant to be watched on its own. It's a recent addition to a long lineage of story.

If you short yourself on that background, you're shorting yourself on the emotions this one conveys. The choice is yours.

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truly stunning

I got curious when 10DANCE popped up in Netflix’s New & Hot section and hit “Remind Me” more out of interest than excitement. I wasn’t even sure it would be my kind of film. Still, I’ve always thought Keita Machida is a reliable performer (yes, Kurosawa from Cherry Magic), so I trusted the acting would at least be solid. A few days after release, I finally pressed play—and honestly, I didn’t expect it to surprise me this much, let alone in such a good way.

10DANCE is a 2025 Japanese romantic drama that adapts Inouesatoh’s BL manga into a sleek, atmospheric film set in the competitive world of professional dance. It follows two elite dancers with the same first name but wildly different styles. Ryoma Takeuchi plays Shinya Suzuki, Japan’s fiery Latin dance champion, while Keita Machida is Shinya Sugiki, a polished and exacting master of Standard ballroom. Because they dominate different disciplines, they’ve never directly competed, yet a quiet rivalry has always lingered. When Sugiki suggests they train each other and aim for the gruelling 10-Dance competition, Suzuki reluctantly agrees—and that’s when friction slowly turns into respect, connection, and something deeper.

What immediately charmed me was the symmetry of it all: two Shinyas, two disciplines, two ways of moving through the world. If you’re even remotely interested in dance, this film is a treat. It dives into technique, discipline, and the psychological pressure of competitive ballroom with surprising detail and authenticity. I was genuinely impressed by how real it felt. Ryoma brings intensity and physical confidence to Suzuki, but Keita absolutely stunned me. His movement is elegant, controlled, and fluid, with impeccable posture and clean lines that make every step look effortless.

The romance is a slow burn, but I didn’t mind at all. I got so absorbed in the dancing and the push-and-pull between Sugiki and Suzuki that the gradual pace felt intentional rather than frustrating. During training, it’s mostly just the two of them, and the tension simmers beneath every movement. There’s a constant undercurrent of competitive flirtation—subtle, restrained, and quietly charged. It’s understated, yes, but that restraint is part of the appeal.

The performances are a huge strength. When the two Shinyas train together, you can feel the tension through the screen. Their contrasting styles—Sugiki’s controlled elegance versus Suzuki’s expressive Latin flair—create something visually stunning. The chemistry is undeniable, and every movement feels precise and purposeful. The production backs this up beautifully: the cinematography captures the dances with grace, and the music perfectly matches each mood, whether it’s slow and sensual or sharp and driving.

The supporting characters, especially the female dance partners, mostly observe from the sidelines. Aki, in particular, becomes an emotional anchor, gently recognising Suzuki’s feelings before he’s ready to admit them himself. While I did wish the women had been given a bit more narrative weight, the performances themselves were strong and grounded.

What really elevates 10DANCE is how it celebrates the human form and movement without relying on explicitness. The dialogue is playful and provocative at times, but it’s always tied to character and discipline. Suzuki lives and breathes Latin dance, while Sugiki embodies the structure and tradition of ballroom. Watching those worlds collide and slowly merge is where the film truly comes alive.

Visually, the film is gorgeous from the opening credits. The mix of music styles, poetic dialogue, and manga-inspired flair gives it a stylish, almost noir-like atmosphere. It’s sensual without being excessive, polished but never cold. There’s a richness to the mood—colours, textures, rhythm—that pulls you in completely.

I’ll admit, the ending left me slightly confused. The film sets up the 10-Dance competition as the goal, yet we ultimately find ourselves at the Asian Cup ballroom championship instead. That shift felt a little unclear. Still, the final dance sequence more than makes up for it. It’s mesmerising. Keita Machida, in particular, completely blew me away, and I found myself lost in the movement and emotion of that closing medley.

In the end, 10DANCE is a classy, immersive film that goes beyond romance. It’s about discipline versus freedom, structure versus passion, and how growth often comes from allowing yourself to change. The chemistry between the leads is visceral, the dance sequences are breathtaking, and the emotional journey lingers long after the credits roll. Even with a few narrative hiccups, this film stayed with me—and that, to me, says everything.

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This movie SCREAMS early 2000s.

It’s an extremely cheesy film, and just as fun. It’s great to see our Gojira in action. It’s a shame that he is, in fact, almost a secondary character in his own movie. Still, I actually like the main and subplots. It’s a very cool concept that could easily work as some kind of series (ahem, Kaiju No. 8).
That said, even though this is exactly my kind of generic action movie, it’s frustrating how little screen time Gojira gets. But trust me, when he does show up, it’s absolutely insane.
The final takeaway is this: this movie is for fans of Godzilla and low-budget action films. Also, this is my favorite Gojira design, along with Godzilla vs. Biollante.

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