This review may contain spoilers
Watch for the tension, not for the plot (trigger warning: sexual harrassment)
This film was not a waste of my time, because I felt like it lit a spark in me that I have not seen for a long time (possibly because I took a break from films and dramas that are like these).I would recommend this if you simply need a mere tick-in-the-box for "enemies to lovers" or even "Dance BL". Also if you like one character being like ice or snow, and the other being like fire or sunshine. That said, there are a few options that are far better. I suppose this film is a manga adaptation, so I don't even think I can blame the directors for everything that I am about to complain about.
The love shown in this film does remind me of this quote from another Japanese film, Happyend, which states, "You can say important things without words". A lot of the development of this relationship seems to be like that - without words. But in a way that seems to be almost unhealthy. The avoidant character Shinya Sugiki shows hardly any signs of true character growth. It appears that what drives his character growth is a quote about dance I find to be rather cringy - "love is what makes [dance] whole". Honestly, it seems like whatever minimal character development happens for him is pinned on this quote. Shinya Sugiki is actually a fascinating character in general, though. A lot of dichotomies. Like being self-sacrificing and also a control freak.
DON'T GET ME STARTED on the amount of boundary violations and questionable things this promotes (nothing new to BL). Stuff like Shinya Sugiki pushing his genitals against Shinya Suzuki at the start and he never even apologises for it. SEXUAL HARASSMENT HELLO? And then Shinya Suzuki literally forcing himself on Shinya Sugiki after Sugiki pushes him away. CONSENT WHERE?!!!
Cultural misrepresentation is there of The UK to some extent (I live here and it's not all old white men and women - but I suppose the ballroom scene might be like that still). But primarily of Latin American culture. The idea that Latin American dance and culture is simply "sexual" - i.e. how Suzuki describes it - is a stereotype. The British (in my eyes partly represented somehow by Sugiki) are not that cold either, although we certainly have plenty of courteous avoidants if you look in the right places, like for instance my former taste in men.
The plot makes no sense whatsoever, like how does calling someone lame then suddenly result in a surge in romantic closeness (I suppose I can see why perhaps because its like maybe the character who was called lame was like "He's the only one who sees me and will call me out for my mess"). But the reason why Sugiki keeps pulling away emotionally and physically is never made that clear, although of course self-image issues do play a role. You know what, I should give this film a bit more credit because there is at least some reasoning behind the push-and-pull dynamic. Like Sugiki talks about how he sort of became the "grim reaper", i.e. how while he wanted to replace the person in power during ballroom dances and become like a more chivalrous and warm version, he inevitably (as humans do) enjoyed being in power, and we can sort of see this leaking into his life in general.
Also, the women are sort of just supporting characters. Although they have distinct personalities, nothing about their background or story is well-developed. So if you are a fan of having side character women who actually have their own story (I know not all of you are), then this is not the film for you.
Anyway, that's it. In sum, watch for the steaminess and the aesthetics (I'll leave complaining about the smoking aesthetic for another day), but keep a critical mind and separate this romance and the cultural depictions from reality as much as you can. Or maybe that's what I need to do with my pattern of being drawn to avoidants in the past.
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A good time
This is a really good comedy thanks to solid jokes, dialogue and situations in which our characters find themselves in. The chemistry between the actors is really good, Kang Ha Neul and Han Sunhwa are definitely the standout with the unhinged and savage performances, while Kang Young Seok delivers a very fun character and Kim Young Kwang some heartfelt scenes. The friendship is the best part of the story.While I really enjoyed this film, I can't help but feel The First Ride missed an opportunity to properly develop mental health issues in the aftermath of a tragedy. In one hand, I am glad this wasn't a sob fest but, at the same time, sometimes this issues were used as a punchline and even forced the story to be more emotional when the set up was already touching enough.
Overall, this is a good watch and I recommend it.
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Where Pain Meets the Brush: Finding Yourself in the Lines of Life
I went into The Lines That Define Me because I wanted to see someone finding meaning or healing through art. And that’s exactly what I got, which is why I ended up really loving it. I watched it, finished it, and then just sat there for a while. Not because anything huge happened, but because the feeling stayed with me.The movie is quiet and slow in a very intentional way. It doesn’t try to shock you or force emotions out of you. Everything happens gently, and a lot of it sinks in later rather than all at once. The way it shows grief and figuring life out feels real nothing dramatic or overdone, just steady and ongoing, like ink slowly spreading across paper.
At its heart, this story isn’t really about sumi-e painting. It’s about standing in front of an empty space and realizing you still exist, even after life has taken so much from you. Sosuke Aoyama isn’t chasing success or recognition. He doesn’t even know if art is his thing at first. He’s just drifting, unsure of what he wants, until life unexpectedly puts something in his path and asks him to try.
Sumi-e itself is simple and unforgiving: black ink, water, and space. No erasing, no fixing mistakes. Every stroke stays. And maybe that’s why it reaches Sosuke the way it does. When he encounters it for the first time, his body reacts before his mind can catch up. He breaks down without understanding why. That moment says everything: sometimes pain recognizes beauty before we’re ready to name it.
Kozan Shinoda, the master, isn’t the kind of teacher who lectures life into you. He embodies it. He paints the way some people breathe without panic, without apology. What he teaches Sosuke is deceptively simple and devastatingly profound: art is not about copying what’s in front of your eyes, but revealing what has already taken root inside you. Skill is secondary. Presence is everything.
And then there’s Chiaki brilliant, burdened, sharp edged with expectation. Living in the shadow of genius can dim even the brightest talent, and her struggle feels painfully real. Watching her move through self doubt, pride, resentment, and longing is like seeing someone untangle themselves from a legacy that both shaped and confined them. Her connection with Sosuke isn’t clean or romanticized it’s tense, awkward, and human. They help each other quietly through art, challenging one another, sharing small moments of understanding, and finding a way to stand on their own while still meeting in the space between ink and silence.
The visuals are impressive, and the acting is so good, really bringing the story to life.
What makes this film quietly devastating is how it understands contradiction. Love that nurtures and wounds. Care that exists beside cruelty. A past that both shapes you and suffocates you. Sosuke’s history marked by neglect, violence, sacrifice, and emotional whiplash doesn’t get neatly explained away. It lingers. It stains. Just like ink does.
The visual language mirrors this perfectly. Sumi-e paintings aren’t loud. They don’t beg for attention. They leave space. White space. Breathing room. And in that emptiness, meaning grows. Watching Sosuke paint feels like watching someone slowly grant themselves permission to live. Every brushstroke becomes an act of defiance against numbness.
This film believes something quietly radical: that people are not finished products. That we are unfinished lines, constantly redrawn by pain, love, chance, and choice. That even when life breaks us, it doesn’t erase us. It just changes the way we move across the page.
It isn’t flawless. It doesn’t try to be. Some moments are familiar, some emotions arrive softly instead of explosively. But that’s exactly why it works. Life rarely gives us climactic speeches. It gives us mornings we didn’t think we’d survive and somehow did.
By the end, The Lines That Define Me doesn’t leave you with answers. It leaves you with a feeling: that it’s okay to start where you are, with trembling hands and an unsteady heart. That meaning isn’t found it’s practiced. Daily. Imperfectly. Honestly.
Watching this film feels like borrowing someone else’s grief and realizing it fits disturbingly well. Like discovering that healing doesn’t always look like happiness sometimes it looks like sitting still long enough to let yourself feel again.
This isn’t just a coming of age story.
It’s a quiet reminder that even after everything, you are still a blank page.
And the lines you draw next are yours.
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The other is an elephant - a large, expressive presence with his own mind and inclinations. Bong isn't in the MDL database and I'm not sure how Adrien would feel about adding him in, but the film itself appropriately recognises him as 2nd lead in the credits.
The movie is set entirely in Thailand, with Thai cast, crew and dialogue, but Singaporean screenwriter/director Kirsten Tan brings a different tone to it. She's also lived, worked and studied in several countries so perhaps this film doesn't truly belong to any one country. The film-making itself is quite capable (it's her debut feature-length). Aside from the elephant, the story is solid but unremarkable - it's a road film. The people they meet along the way are a mix of generic and more realised individuals, though the individuals are also types.
The more realised individuals are treated with respect. As characters, they're both unconventional and obvious, in that indie road movie fashion. I'm of two minds on this - Tan could have done more, but the familiarity of the types also brings a sort of calm normalcy to it, like the mundaneness of a job-induced moment of mid-life crisis and the way life is full of individuals if we bother to take the time to notice them.
At times there's a gentle, dry, slightly absurdist (because elephant) humour. The overall indie vibe tone is familiar - in many ways, I wanted something less generic and a distinctly Thai feel, especially the freedom and spark we see from many Isaan directors. But this is solid indie fare.
With an elephant.
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Love Untangled: 9/17/2025
I enjoy romance movies, however the usual downside is they aren’t done well. By this I mean when things such as the romance fall flat or the storyline feels rushed, usually one of theses things takes place. However in this movie they did not, though I do kinda wish the story was longer the pacing was really well. I also really liked the romance, it developed naturally and felt fitting. I also love how the ML loved the real her and not the girls she was trying to become, it was something really refreshing. The only thing I didn’t like was the forced breakup arc, it felt dumb but at least it was easily resolved. Overall an amazing movie and I definitely recommend watching.Was this review helpful to you?
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L♥DK: 7/21/2025
This movie honestly had so much potential but it just fell flat. Like I know the plot was pretty stereotypical but I expected more. Don’t get me wrong it some pretty quite romance scenes but at times I felt there was not development happening between the two characters. It also felt like it was taking forever for things to happen at the same time to. I honestly only really liked it cause of the cute romance scenes that did happen and the cast, however I have no intention to watch the sequel to moving seeing as the main cast is completely new actors but same characters. Personally feel like that’s a sign that maybe the movie shouldn’t happen, so I won’t watch.Was this review helpful to you?
Best gay-themed feature out of Asia in a long time.
Exceptional.This will def end up in my top ten, as soon as I watch it a time or two more to pick up on all the things I'm sure I missed.
That said, while I'm always thankful to anyone who takes the time and trouble to sub a film, the subs I saw for this are hella confusing at times, plus there are times the subs disappear altogether, which is, of course, frustrating.
It was refreshing to see a gay friend group presented as something other than a collection of annoying, predictable gay stereotypes. I'm looking at you, "Love In the Big City."
Second lead Kim Hyun Mok is a gifted talent to watch. His characterization is rich and full. He drove the film nearly as much as did the lead, who is not listed above, but who I'm going to try to hunt down and add to this page. He too is excellent, plus being extremely attractive in a unique way and having a rocking bod.
Great acting, direction, production values, cinematography; now if I can get clear on some plot elements... :D
I did not get the ending I was aching for, but that's OK. A lifetime of Hollywood flicks tied up with a perfect bow at the end are the source of that ache, but seven years of Asian films, especially Korean, have taught me that not getting what I want can deepen the viewing experience. Even as I pined for the ending I wanted, I somehow masochistically liked that I didn't get it. :P
Highly recommended
9.5/10
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poise & pain
I felt like I was being suffocated right alongside Saori because she is just a walking, open wound for two hours. Satomii just let herself be ugly and it felt so painfully real. She is frantic and aggressive and looks like she hasn't brushed her hair since Miu vanished. I didn't see a single shred of poise left in her. I saw a woman being eaten alive by the fact that she was at a concert when her kid went missing and the internet will not let her forget it for a second. Watching her scroll through comments from trolls who decided she deserves this pain was devastating. I could feel every ounce of her self loathing."If I don't read them, it is like she has already been forgotten. This is the only place people are still talking about her."
I think she feels so dangerously authentic because Satomii doesn't try to make her grief look cinematic or poetic. It is just heavy and exhausted and mean. I felt the weight of her emotions in the way she breathes and the way her voice cracks when she is screaming at people who are just trying to help. She made me feel that desperation as if it was my own life falling apart. The media in this was actually nauseating for me to watch because of how they egg her on when she is at her lowest point. I can't get that scene out of my head where she actually proposes holding a birthday party for Miu and the news crew just leans into it because they know it will make for a pathetic sensational shot. I could see Yutaka absolutely hating the idea but he is so drained that he just stands there while they light the candles.
"I feel like I'm already dead. I'm just moving because I have to find her."
It broke my heart to see her so desperate to keep her daughter's face on TV that she starts performing her own grief for the cameras just to keep the search from dying out. I felt like Yutaka trying to be the stoic anchor just felt like abandonment to her and I watched their house become a pressure cooker where they just end up lashing out at each other in the dark. The brother Keigo is obviously another part that really got to me. He was the last person seen with the girl and because he is socially awkward he becomes a target. Seeing Saori turn her rage on him because she needs someone to blame and I think it shows how a tragedy like this just fractures a family until there is nothing left.
I was completely captivated by the way Satomii inhabits this specific, haunting brand of misery. I saw her standing in that yellow crossing guard vest at the end and it just gutted me. There is no magic resolution. She is just there in the street protecting other people's kids while hers is still gone. It is a quiet and miserable kind of strength. I felt like she was forcing me to sit in the wreckage with her until the very last frame.
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Mood of the Day? More Like Mood Ruined
This movie is honestly just a waste of time. Calling it a "time-wasting movie" is even being too kind. It’s just pointless.So, the story’s about this guy who is a player, sleeping with women like his life depends on it. He meets his latest victim on the train only to discover that she’s not like the other girls. She’s different, or so she claims.
But nope. Plot twist: She’s exactly like the others. She ends up wanting the same thing ( if you know what I mean) every other woman in town has already had.
What’s even worse is how the movie tries to make their connection seem special. But the thing is, if he had spared the same energy and time to get to know any of the other girls, he probably would’ve fallen for them too. But oh wait- Mr. player doesn't give the other women time of day because they gave in too easily the first time despite the fact that he’s also giving it up the first time and not just once, but multiple times at at that. I just do not see the appeal in such character.
At the end of the day, this movie doesn’t offer anything new or interesting but rather offers quite a shallow story.
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impressive low budget school movie on the disturbing theme of bullying
an excellent compact low budget school action movie about bullying in korean schools 、it makes its point in 80 minutes where similar movies or dramas take much longer。
it's main strength is its realism、 the low budget and noir filming actually contribute much to the realism I think、 as also how the bullying starts from seniors down、 the slight female and parent involvement is more true to life and it helps the actors actually look as though they are school boys not twenty or thirty year olds in school uniform。
it even manages to show the impotence of teachers in schools where adult discipline is absent and a law of the jungle where students substitute their own power structure and gangster discipline of survival of the strongest [interesting it includes a corporal punishment episode with seniors beating their juniors like the teachers previously did、 ironic students see this is needed where "enlightened" adults abolish it]。
the hesitation of the main protagonist to fight against students from stronger age group is convincing、 unlike some other fight dramas where the fighting skills of the heroes require much suspension of disbelief。
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A Year-End Medley: 1/4/2026
This movie was real good but I personally think it would have been better as a show. This is mainly because you are following so many people throughout the movie that at some times it is just all over the place. I also feel that it prevents you in a way from building any connection to characters. Also which I think it it’s most fatal flow is that because all the stories also overlap it get confusing at times and it just wait backup what is going on. Besides this and just looking at what was given it was a really good show, and while I usually don’t like remarks I hope one day they remake it into a show.Was this review helpful to you?
The Emperor's Country
This film is *terribly* well done.I hated the first hour, I freely admit it, because it was definitely on the far side of "too much". I am always the first one to point out that Japanese manga adaptations have their own style and that's how it is; and if you know what I mean by that, imagine it ten-fold that and you have a good approximation for how this film is done. I really struggled with the shouting and the overdone reactions and the wigs and ... everything, really. But for some strange reason, I also could *not* put it down.
It was all worth it for the ending -- I won't say anything to not spoil it, but let it be known that I had to get up, paced there for several minutes and then shouted "That's so clever!", and I meant both Teiichi's actions *and* the writing.
This film is set in an oligarchic and patriarchial society, both in the "adult" and in the "school" part of it -- it reminded me of the Kaiserreich society of around 1900 (go and read "Der Untertan" and "Unterm Rad", if you haven't yet!), others might think of England's Edwardian public schools, Japanese viewers will probably think of their own Imperial era. That oppressive, hierarchical society, governed by ties of obligation and old history which span generations, with its homosocial enviroment and the (homophobic) (or do I mean homoerotic?) bromances, the sizzling rivalries and the masochistic self-degradation towards the powerful -- and then, for a minuscule moment, a glimpse of a dream, of change, of humanity -- or maybe not?
All of this is perfectly distilled into the set designs and the costumes, into the use of light and color, into the pace of the ceremonies with the ritualistic stand-bow-sit and the hard-and-short applause, into the perfect timing of every single actor, and even into the kumi-daiko with half-naked men.
With this in mind, it makes a lot of sense that the female characters barely have screentime, that the younger sister (who is maybe about 13?) carries a teddy bear whereever she goes, that in his moment of victory, Teiichi leaves his girfriend(?) and runs towards his number one lackey to embrace him. Actually, that makes it even more clever that the girlfriend(?) is the only voice for egalitarianism in this film.
It would take a while to talk about all the different layers of meaning that hide behind the manga-esque facade, so I'll just point out that there are many, and leave it at that -- I think every viewer will find their own preferred reading.
And in the end, even on the day after finishing this film, I sit here and ask myself "Who is the real Teiichi?" and "What the heck is Dan hiding?"
Very much worth it.
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Legends of the Condor Heroes: The Gallants
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Where the hell is the storytelling in this film?
I hesitated whether to write this review, but since I invested my time and made it to the very end, I decided to do it anyway.The film started off quite nicely in terms of visuals. The opening scenes caught my interest, but soon after that came a major disappointment. First and foremost, the overuse of very artificial CGI and green screen was impossible to ignore. The film was advertised as showcasing breathtaking landscapes, yet there were only a few such scenes; most of the “outdoor” settings were clearly shot in a studio. There was far too much music, and for the most part it completely failed to match the atmosphere—rather than immersing me in the world, it constantly pulled me out of it. Unfortunately, these are not the most painful issues this film suffers from.
The two most serious flaws are the problems with the plot and the poor acting.
Where the hell is the storytelling in this film? The film fails to establish any overarching stakes. It does not build its characters. The viewer is told that they are supposed to care about the characters’ fate, but is never given a real chance to root for any of them—we never see how their relationship develops, how it grows, how feelings are born between them. Instead, we are simply informed: “these two love each other, you should root for them.” There is no chemistry between the main characters. Every scene is constructed according to the “tell, don’t show” principle, which in a medium like film is frankly insulting to the audience. Perhaps Tsui Hark assumed that absolutely every viewer had read the books, and that it was enough to say “this is the Venom of the West, he is their enemy,” without ever showing the audience why that is the case. But that assumption is a fundamental mistake. A film must stand on its own as a complete work—and this one does not.
I move on with pain to the acting, which I found shockingly disappointing. I consider Xiao Zhan to be a good actor with a natural style of performance. In his earlier works, he was like a breath of fresh air—sincere, genuine, full of emotion. Here, he was a pathetically wooden presence. There was no subtlety whatsoever. The performance hits the viewer over the head with stupidity and pathos. Yes, this may have been the direction chosen by the director for the character, but that only means the actor’s potential was completely wasted. If I had not known Xiao Zhan from his other roles and had seen this film as my first exposure to him, I would have assumed he wasn’t an actor at all, just a wooden log dressed in a costume.
Do I know what kind of personality any of the characters in this film actually has? No. Do I remember any specific scene from this film three days after watching it? Only vaguely, and not in full. Did this film have any positive aspects at all? Both female actors were beautiful and clearly tried their best, but with material like this, they had nothing to work with.
My positive points go exclusively to the costumes, the horses, Khan, and both female actors. And yes—even though his role was poorly written, Bayaertu truly showed class.
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Su WuKong!!! The Monkey King, Need I Say More??? His Golden Dragon Staff Is So Awesomely Beautiful!!
1ST I MUST SAY HOW GORGEOUS, AND BEAUTIFUL THE MONKEY'S SU WUKONG GOLDEN DRAGON STAFF IS!!! THAT THING IS LIKE SO FREAKIN PRETTY!!! ESPECIALLY THE ONE IN THIS MOVIE!!!Let Me Start By Saying I Had Watched This Movie Almost 18 Years Ago... So... I Might Not Remember Every Detail. When My Mother Told Me That Jackie Chen, And Jet Lee Were Going To Be In a Movie Together, I Was Like Impossible, I Didn't Believe It At 1st, Because Both Are So Well Know For There Martial Arts Skills. Then When She Told Me It Was Going To Be About The Monkey King, I Was Like No Way, Because I Knew Niether Would Play The Monkey King As A Character. (Ha Ha Ha I Was Even More Truly Shocked To Find Out That Jet Lee Was Playing The Mischievous Monkey King. I Have To Say I Laughed My Behind Off!)
I Did Really Like Jackie, And Really Respected Him, As An Actor, And A Singer. I Liked Him Even More After He Sang This One Song, And He Said That The Song Meant This World Is Not Yours, This World Is Not Mine, This World Is Not Not Theres, This Is Our World, Etc.
But I Saw Something On Him, And I'd Hate To Say This, But I Found Something Out About Jackie Chan, That I Really Didn't, And That I Am Not To Proud Of Him For, ESPECIALLY Because It Has To Do With His Daughter, But... I Feel Really Sad For His Daughter, Because She Is Still His DAUGHTER, And Family. It Is His Preference, And His Choice To Be The Way He Is, But It Makes Me REALLY DISAPPOINTED IN HIM!!! More So, Because It's When His Daughter Needed Him The Most. Even Though I Am Upset, With Him, I Will Not Let This Affect My Review Or Rating, At Least I Hope I Won't...
The Movie Was Actually Was Really Good, And Fun, Action Packed. It's More Then I Expected Of A Movie About A Magical Monkey King Called Su WuKong!!! By The Way I Knew That Su WuKong Was Magical, But I Didn't Know He Was That Magical... In Short One Of Strained Of Plucked Hair Is, Was Magical. Boy Was It Magical!!! JUST 1 LITTLE STRAINED OF HAIR!!! 🤯🤯🤯
Jet Lee Did An Excellent, And Amazing Job Playing The Monkey King... At 1st With All The Make-Up On, And All The Stuff For The Monkey King Outfit, Costume, Crown, Hair, Ect., It Was Hard To Tell It Was Him. From Scratching His Head To Moving Around Like The Mischievous Monkey King. He Did An Awesome, And A Wonderful Job Recreating The Monkey King Su WuKong!!!
He Did Played 2 Different Characters Some Of The Monkey King, And Then Some A Monk. Both Monkey King, And The Monk Both Fought Crazyly. The Monk Was On A Mission To Find The Golden Dragon Staff, Now This Is Where The Strained If Hair Comes In, But You'll Have To Watch It To Find Out.
So A Young White Boy That Loves Martial Arts Videos Goes To Buy Kung Fu Movies From A Elderly Man (Jackie Chan). The Golden Dragon Staff Is Passed On To The Boy, By The Elderly Man, Because The Elderly Man's Shop Is Being Robbed. It's Covered By A Cloth So The Boy Has No Idea What It Is, All He Knows Is To Keep It Safe, And To Protect It With His Life, Because The Elderly Man Told Him To. The Elderly Man Told Him He Was The Keeper Of The Staff, And He's Been Protecting It All These Years.
The Young White Boy Get Sucked Back Into The Past In Antcient Times, I Believe, Because Of The Staff, And He Comes Accross, A Drunken Master Who's Immortal (Jackie Chan), When They 1st Meet, WOW!!! 😂🤣😂 I Just Remember It Being Way To Funny!!! CLASSIC AMERICAN/ CHINESE HUMOR, I GUESS YOU WOULD CALL IT!!! English, And Chinese Lost In Translation... Maybe Not Knowing English, And Not Knowing Chinese!!! But Then, Wahlah English!!!
Anyways The Boy, And Drunken Master Come Accross The Monk, Where Both The Drunken Master, And The Monk Fight Eachother, Which Was Pointless, Because They Both Matched One Another With Martial Arts Skills!!! (My Mom Had Said The Director Of Forbidden Kingdom, Said When Jackie Chan, And Jet Lee Fought, He Didn't Have To Direct, Or Choreograph Anything, Because They Already Knew What To Do. I Said Of Corse, Because They Both Know How To Fight!) Anyways They Both, Dunken Master, And The Monk Agreed To Disagree In How To Train The Kid In Martial Arts. At Times I Felt Like They Were Just Messing Around With Him, And Pulling His Leg.
All 3 Came Accross A Pretty Young Chinese Girl Named Sparrow, Who Wanted Avenge Her Family, I Believe. The Young White Boy, Was... IN LOVE AT 1ST SIGHT!!! She Had A Specific White Jade Sparrow Hair Pin, That She Was To Use, And Kill with. I Can't Remember Who It Was That She Wanted To Kill, If She Even Killed Them, I Do Remember Her Fighting At The End With The White Jade Sparrow Hair Pin, I Believe. I Can't Remember Did It End Good For Her, But For Sure Not Until They Go Back To The Present Time. I Guess Technically In The Present Times It's Still Not The Same Girl Sparrow, Just A Look A Like, Or Doppelganger!
As You Know Jackie Chan Played 2 Characters The Elderly Man With The Shop, And The Drunken Master. He Did A Great Job Playing The Elderly Man, Because When I 1st Saw Him Too, I Couldn't Tell If It Was Him Or Not... (I Guess The Make Up, And Costumes, And Stuff For Both Jackie Chen And Jet Lee, Was That Good, So They Were Unrecognizable.) Anyways Back In The Present The Elderly Man Was Back, When Last Saw Him , Before The Boy Got Sucked Into Antcient Times, You Think That He's A Gonner, Because Of The Robbery... Back In The Present World He Told The Boy, He Was Immortal. Sparrow Was A Different Person, But Looked The Same, If I'm Not Mistake, Her Name Had To Do With Sparrow Too...
SADLY I DON'T REMEMBER THE MUSIC, IF IT WAS GOOD OR BAD... BUT I GUESS IT WASN'T THAT BAD, BECAUSE IF IT WAS I WOULD REMEMBER THAT... I Usually Remember The Bad Songs... Anyways I Rated Music 8.5, Because I Am Not Sure, Don't Want To Give To Low Of Rating Or To High, Because I Just Don't Remember.
Anyways As Far As The Ending Goes, I Really Can't Remember It... Ha Ha Ha I Know Lots Of Detail Above, But I Don't Even Remember What Happened To The Monkey King, I Do Know The Movie Was Based On Him. I Will Say This... The Monk Had To Do With The Monkey King, And The Money King Had To Do With The Monk!!! They Connected, And Intertwined Together Some How. That All I Can Say. The Rest Your Going To Have To Watch, And Find Out On Your Own.
If I Happen To Come Accross The Movie Again On T.V. Again I'll Write Another Review... Because I've Seen It On T.V. At Least 3 Times. Not As Of Lately Though. =0/
January 6th, 2026 @ 2:10 P.M (Fell Asleep In Between Writing The Review.) -9:43 P.M.
Posted At 9:47 P.M.
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Disjointed-felt pieced together with plot holes
I didn't watch the drama of the same title & have not encountered the webtoon, so I had no preconceptions going into it. I see that the female lead is different from the 16 episode series of the same name, which made me wonder why this felt as if it could be just bits & pieces of the 16 episode drama series chopped, spun & thrown at a wall for the end product. By the end I had questions still unanswered. It definitely didn't make me want to watch the drama series ! For me, I would have rather seen the female lead with the second male lead, violent though he may be, at least he was an open book & easy to understand.Was this review helpful to you?
