Reviews

Triplets Tame the Cold CEO (2025) is a nice fantasy romance miniseries with ML: Wen Zhi Cheng (as Huo Zhi Heng) and FL: Dong Yuan Ning (as Lin Xi) in the leading couple's roles. The cast did a good job bringing their characters to life, and the leading couple, especially the male lead, had an impassioned chemistry. There are some antagonists that threatened the female lead out of jealousy and a pair of rotten family members that kept trying to sell her, and it is at those moments that the female lead's high-quality performance is really heartbreaking, and the moment that the male lead found her is truly poignant. In the meantime, you can watch the drama on YouTube: "Impulse marriage to a one-night stand!" He's a CEO and I'm pregnant!" (https://www.youtube.com/watch?v=OX_2nyxjLz8)
Also: "【FULL】「聞至承＆董璦寧」農村實習生隱瞞懷孕，卻因總裁家族的「生理共振」被當場識破。從那天起，冷麵老闆化身寵妻狂魔，我的職場刁難、家庭糾纏，全被他一一掃平。《母憑子貴被冷麵老闆全家寵》
(https://www.youtube.com/watch?v=DxeAtGyOcBk&list=PLnMbyqp1ZG0JftQdtU70nwzYWFQQeGNCY&index=12)
** This drama precedes this leading couple's 2026 miniseries titled "I Rely on Listening to the Fetus's Heart (2026)", which has a similar plot, but it's a lot more fun to watch! If the viewer is interested, the 2026 drama can be watched on YouTube under the caption:
"By Listening to the Fetus's Thoughts, I Keep the Most Powerful Tycoon CEO Spoil me every day" (https://www.youtube.com/watch?v=E4n80N6rOWM) 

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Not the best, didn't meet it potential

this drama was visually appealing, the cinematography was nice, the acting was great but it suffer from slow pacing and tonal clash,tge show wants to be an easy watch, but scamming someone is a heavy, life altering event, It leads to major trust issues,and the show failed to respect that, it was very hard to balance between angst and "dont think aboit it much energy ", the vibes of romcom were prioritized over accountability which was shame.
For northU, they had comedic tone since begenning, which made me actually be okay with They story more than timpai story, the pair that got me hooked at first, U environment forced him to be the way he is but i loved his character development, it made me forgive him bcz he wasn't cunning, unlike Tim, i struggled with his character, he was a bad one, it didn't Matter to me his reason to scam bcz he was acting full year of loving boyfriend, did fake accident, was mean and playful after being exposed, i didnt forgive him, Pai played by mark who showed excellent performance that show wasted by pivoting it back to playfulness, He was person that struggled the most , left behind by his family after doing everything for them, he was lonely that Tim being with him was only thing keeping him together, he was way too forgiving.
Fck the grandpa and parents.
Anyway i wished the characters had been emotionally Intense, more lasting angst, accountability instead of playing it off.

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A Poignant, Heart-Stirring Drama / Beautiful OSTs

Much has been written on the other reviews, so I can only write here a concise word about this captivating drama.
This drama is quite short, yet it evokes so many feelings on how it is to be human . . .

** A Poignant Show:
The love story between Mao Bu Yu (Ren Hao) and Chu Yun Shang (Song Yiren) deeply touches our hearts, as they easily fall in love, in spite of the so-called "cat and mouse" category of their relationship. Yet, they still remained faithful and devoted with each other. With all the troubles and misunderstanding and the tragedies of seeing their fathers died, such feeling invoke pain and disappointment amongst the viewers, thus making the theme of the show as "poignant".

** It is a Heart-Stirring Drama:
Although this show has 38 episodes, with about 15 minutes on each episode; it is a heart-stirring drama, for me and for my associates who watched is. Each episode has its own scenes that awaken deep feelings of love, loss, or hope.

-- the love of Bu Yu for Shang for what she is, an unconditional love - loving a person no matter her status, flaws and all, without judgement and reservation; and so with Shang, who goes out of her way, to protect the man whom he loved most.

- the loss of several lives - the death of their own fathers and the misunderstandings of who killed them, until the real truth was known to them

- and the hope - which brought the sudden death of Luo Wu Xia (Li Yu Hao), who silently loved Shang and for several times protected her for several times. This young constable has a pure and a humble heart for he had to sacrifice and give way such love to Mao Bu Yu, for he knows that Bu Yu is very devoted to Shang.
Why is there hope in the death of Wu Xia?. It is due to the fact that his dying wish was for his Luo family to reform and repent in the evil ways of his grandfather, the Commissioner of the Gate Bureau.

** Beautiful OSTs:
The OSTs (Original Soundtrack) and the BGM (Background Music) of this enchanting drama are all beautiful and outstanding.
Its music is not just a music; it is a song for every feeling and emotion. Its song tells the audience what to feel.
Hence, the following lyrics:
"One is cold as ice, the other burning like fire
I long for it so much, I crave to return
To the Moment We First Met"

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"Rebirth" draws more attention on the poster than on screen.

“Rebirth” is a film that looks far more interesting on its poster than it actually is on screen.
While the premise suggests themes of transformation and emotional renewal, the execution fails to support that promise. The script is weak and inconsistent, preventing any real sense of narrative depth or character development. As a result, the story never fully engages or convinces.
The female lead is particularly undermined by poor writing. Instead of a clear and meaningful character arc, she feels underdeveloped and inconsistent, which weakens the emotional core of the film. Without strong writing, the performance has little room to elevate the material.
The central romantic pairing also lacks chemistry. Their interactions feel forced rather than organic, with no gradual build-up of tension or emotional intimacy. The noticeable age gap is never meaningfully addressed within the story, making it feel more like an awkward detail than a deliberate narrative choice.
Direction-wise, the film gives the impression of ambition without delivery. It suggests emotional depth and complexity but ultimately fails to translate those ideas into something impactful or engaging.
In the end, “Rebirth” is a disappointing experience — a concept that looks compelling at first glance but collapses under the weight of weak execution.

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Beautiful, Brutal, Unforgettable

Jack & Joker is one of those rare cases where a lakorn transcends its genre and becomes something closer to cinema. Not because the actors are attractive or because the chemistry is “good,” but because the entire project feels ambitious and complete: the directing, visual language, storytelling, and atmosphere form a unified work that does not need to be compared to other BL titles — it stands on its own, at a higher level.

From the very beginning, the lakorn pulls you into a world balanced on a razor’s edge — between humor and danger, tenderness and fear, love and self-destruction. In this world, nobody is truly safe, and every choice the characters make feels like a challenge to fate itself. This is not romance as decoration. This is love as a trial — painful, heavy, and yet intensely alive.

Yin and War do not simply play roles — they create characters that feel real. Their connection never comes across as staged fanservice; it feels like something born in spite of circumstances, something that exists even when it shouldn’t. This is not the usual “cute pairing” formula. It is a relationship where softness lives next to suffering, where trust is earned through fear, sacrifice, and loss. That is why viewers become so deeply attached: because their love does not feel like fantasy — it feels like truth.

One of the greatest strengths of Jack & Joker is its ability to build tension without becoming shallow. It is stylish, but never empty. Beautiful, but never superficial. Dramatic, but never exaggerated. There is a maturity in the way it tells its story — a quiet confidence that it can handle darkness, that it can portray consequences, and that it does not need to soften reality to be loved. This is a BL lakorn that does not ask the audience to simply enjoy a couple; it forces you to experience their story almost as if it were your own.

And then comes the true emotional breaking point: the Special Episode. It is crafted with such intensity that it feels as if the creators intentionally tested how far emotional storytelling can go. This is not simply a “sad ending.” It is the kind of ending that leaves emptiness behind. Even after a year, fans still talk about it as if they watched it yesterday. Many describe it as genuine emotional trauma — because the lakorn makes you love the characters too deeply before taking away the illusion of safety.

And yet, even in that cruelty, there is hope. The post-credit scene clearly shows that Joker is alive. That is why the story feels unfinished — not in a negative way, but in the sense of artistic expectation. It is not a final period. It is a comma. A deliberate pause. A chance that the creators left behind, and that chance is exactly what keeps millions of viewers waiting.

A year has passed, but a year is not long in this industry. Some sequels arrive after far longer breaks, and those returns often become legendary. Jack & Joker has already reached that status: people continue to rewatch it, analyze it, quote it, create edits, and debate theories. It still lives across social media and refuses to fade away. More importantly, it lives in people’s hearts.

Yes, Yin and War have a new project coming, and fans will support it wholeheartedly. But Jack & Joker is not just another title in their filmography. It is their flagship story — the kind of project that turns actors into something personal, something unforgettable.

If a second season or a sequel film ever happens, it will not be “just another continuation.” It will be an event. A global explosion of hype. Because some stories cannot be left without light at the end of the tunnel. And Jack & Joker deserves not only pain, but happiness. That is why fans are still waiting — not for content, but for closure, for justice, and for a love story that has already survived hell.

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Crime & Punishment

KARMA (2025) is a very dark, bloody and brutal series concerning sins of the past and karmidic punishment of fate. Karma indeed catches up with all characters. This series is very well written, and exceptionally acted, but definitely not for the faint of heart, as there are quite a few disturbing scenes.

"Bound by their harrowing destinies, a physician plagued by nightmares, a man shaken after his world was unexpectedly disrupted and a debtor drowning in private loans become caught in inescapable circumstances."

'Karma' is a dark drama that weaves a very tense, complex narrative together perfectly. All the separate character stories interlock seemlessly and came together perfectly for the ending, despite my initial doubts. At only 6 episodes, this series feel very tense and the the plot very tight.

This series deals with some heavy elements in a very skillful manner. Some aspects might be hard for viewers such as murder, rape, organ harvesting, and all other sorts of crimes. It definitely depicts a gritty, criminal underbelly of society rather than sugarcoating anything. Highly recommend if you have the stomach.

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Boss Celll ■ Preposterous Premise □ Praiseworthy Performance °7.3° °VG° ?%?

As Un🔓MB opens, it's the turn of the millennium and Y2K is the current panic. Y2K had a lock on the zeitgeist. It turned out to be low fizz kombucha. Good for the inner workings, a tad sour, and mostly forgettable. Seo is a kid and he's hanging with his mom. He's clipping his toenails and doing other very un-techie stuff. He isn't thinking about the corporate ladder and the fierce competition in the business world. That comes later.

Fast forward a couple decades and tech is still front and center. We survived Y2K but will we survive Y-AI? As always, machines aren't really the problem. People are. And in the realm of IPOs and product launches, psychopaths seem to rise to the top. Our villain is one of them, and true villains are excellent at hiding their true selves.

Seo. He’s SO over it all. He's been toiling away looking for a job. He's always told he doesn't have experience. How can he get experience if he never is hired? Why does life have to be such a conundrum? Ahn Nae Sang (The Devil Judge-8.2, Racket Boys-8) makes an appearance as his dad. I haven't seen him do much comedy, and he's pretty funny. Seo’s parents are cute together and create a buoyancy the show floats upon.

Un🔓MB is a 2023 release that is rated 91 on AWiki. Director Lee Chul Ha brought us Spirit Fingers & Okay! Madam, while screenwriter Kim Hyung Min also penned Sweet Home-8.4 & Smashing on Your Back. Un🔓MB is 1 season consisting of 12 60-minute episodes where one can gaze upon the boyish face and guileless smile of Chae Jong Hyeop (Castaway Diva, Love All Play). That will be enough for some, but even with a near cringe-inducing name like “Unlock My Boss,” this show delivers more than wistful smiles. For anyone in the know, however, this is a full 404 error as viewers who understand tech will probably dislike it. They don't get remotely geeky with the plot or try to explain things. The viewer is expected to treat tech like magic.

Back to Seo. His interview doesn't go well. In ep1, our 2 leads collide when he's on his way in for “questioning”. They bump and her coffee goes all over his shirt.

Him: Meltdown.

Her: She grabs him and drags him to the bathroom to switch shirts. He acts like a blushing maiden through the entire encounter. She moves with emotionless efficiency. Thus, they meet. He's pretty depressed, now, so he doesn't notice how cute she is

Seo Eun Soo (Duel, Missing: The Other Side-8.3) is Jung Se Yeon/”Yeo”. She works for that tech company which is why she was there,running into Seo on the day of his interview. When we first see her, we have to wonder if /she's/ a robot. (Her boss, the CEO, says she's more robotic than AI.) We'll soon learn why she's emotionally stunted: She's in deep debt from providing for her mother's hospitalization while the shy-🔓s never stop compounding the interest. So, Yeo's under mega pressure. While she seems listless, she's merely been squeezed into a very tight spot and has lost all joy in living.

She has a head crusher following her every move. He's relentless. (Kim Sung Oh from Money Heist: Korea & Secret Garden-7.6 is Jung Ju Seong, or Ma Fi, for Mafia. Sometimes he's “Uncle Mafia," as CEO Kim's daughter refers to him.) Ma Fi cranks the show's rating up by a full point. He is almost comic relief as the relentless leg-breaking juice man. He can easily trade bosses, but the job remains the same: When he must guard an elderly female patient in a hospital ward, he gives all the infirm, elderly women at the ward the same cold, dead stink-eyes he would when threatening a rival gang member! The women are perplexed and vaguely terrified. Everyone looks sus to Uncle Mafia 😅. The only person who chinks Ma Fi's armor is the CEO ‘s baby girl, Kim Min A (Gi So Yoo from The Good Bad Mother). He's actually started to practice /smiling/ in the mirror 😬 ~ all for her.

I didn't realize this was going to have a fantasy element, but wouldn't you know, CEO Ju from the company the Seo applied to, was attacked. His consciousness (his soul?) was transferred into his phone which Seo picks up. The phone starts talking to him! CEO Ju (Kim Seon Ju, played by Park Sung Woong who was adorable in Man to Man-6.7), this CEO is going to need help, and he will need this secret kept in absolute confidence.

Looks like Seo is SO hired! He is to act as the CEO's replacement. He's under the constant supervision of the CEO by way of his earbuds. In that way, it reminds me of Ratatouille-9. It's an acting gig! Seo has always wanted to be an actor! In his past, standing up for a coworker against a sexual-assaulting boss short-listed his entertainment career.

Yeo is a smart girl. She becomes suspicious very quickly. Before long, she knows too much and is rooked into being Seo's assistant - in the deception as well as the job. They're now 2 super agents in their own cell of 2. It's cute.

As of ep7 it still felt quite a bit like set up. The plot is just beginning to get rolling at that point. Our ML is a cutie while the FL is still a mystery as she's so quiet. The corporate machinations and sabotage are a tad heavy and outrageous, but all in good fun. Perhaps the best thing that can be said is that, with 12 episodes, Un🔓MB doesn't wander, it keeps its focus, and maintains a level ride - no detours, crashes, or stutters.

Unlock? The boss is locked in a cell… a cell phone. The title may sound like a cheesy romance rag, and the premise may seem very silly, but they tie it together well. Un🔓MB is competent. The art of the show is mostly good. Early in ep1 there's a nifty little sequence where Seo and CEO Ju are contrasted. Seo is in his cramped, utilitarian apartment eating a cheap, utilitarian meal with his roommate. “Turn out the light, it's too bright in here,” Roomie says. Seo doesn't feel like getting up so he throws /trash/ at the light switch and turns out the light. Next, there's a quick cut to Ju entering his spacious, open-floor-plan mansion. “Turn on the lights," he speaks to his AI. Boom! Let there be light! That's all they needed to show the contrast between the two men's lives. The OST is above average. I Shazamed:: Red Dragonfly by Cho Yong-pil, HOME by BUMJIN (that one is a 10) & Lie to me by Sion.

The show coasts by, but in ep10 when many Kdramas start to lose their way, Un🔓MB goes deeper and adds tumblers. First, they reinforce the dignity of the cleaning lady. Next, they set up a contrast between CEO Kim (a VIP among VIPs) and Seo's mother, (a penniless nobody). They become equal when they each become comatose. In fact, Ma Fi ends up rescuing each of them, reinforcing their connection. There is no escaping the human condition, ultimately. In the face of launching AI that has now surpassed us in intelligence, that appears to be the theme.


QUOTES🗣

We don't need to abide by the law against those who tossed it to the dogs, do we?

Skirting the foot of the hill by myself, I come to a lone well by a paddy and silently look into it. Therein is a man as well. I hate him, but I know not why. I turn away from him and go away. While going away, I come to feel compassion for him. I return again and look into the well. Therein remains that man. Again, I come to hate him and go away. While going away, I come to long for him. In the well there is the moon, shining bright, clouds flowing by and the sky spreading open. A blue wind wafts. It is autumn. And the man, therein, is but a remembrance.
~Self-Portrait~


IMHO〰🖍


RATINGS 🎬7.5 🖊6.8 🎭7.8 💓6 🦋5 🎨7 🎶8.8 🔚7.3 🤗6 ▪ LEVELS 🌞5⚡4.5 😅3 😭4.5 😱4 😬3 🤢2 🤔5 💤0



Age 14+ for scattered language and violence

Re-📺?
This one's in the good-to-pass-the-time category, but I may never pass this way again….

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A High-Potential Matryoshka of Mysteries with a Forced Happy Ending

This was a drama that put extra effort into creating a mystery within a mystery. The pacing is very fast, so you might occasionally struggle to understand what is going on. Just when a mystery is revealed and you say, “Ah, so that’s how it is,” you soon realize that what seemed resolved actually isn't. With constantly shifting truths and character identities, it has a structure that peels back layer by layer, almost like a Russian nesting doll.

However, the drama’s biggest problem is that this complex structure lacks sufficient control. A good mystery surprises the audience but also makes everything feel like it falls perfectly into place when looking back. Here, some plot twists feel tacked on later; they aren't organic and are aimed more at creating shock value. This causes a sense of disconnection while watching. The time travel and flashback plot was unfortunately poorly executed and fell short of expectations.

Another notable issue is the lack of a clear timeline. It is sometimes confusing which event takes place in which time period, and the chaotic transitions between scenes make it difficult for the audience to keep track. Combined with the mystery plot, this creates unnecessary confusion rather than a sense of "depth."

The narrative constantly jumps from one thing to another, taking a different direction right after events or mysteries are seemingly resolved. Character relationships are not deepened enough. Characters added in the newer episodes are often thrown into the story without a proper introduction to who they are, and they immediately start using their powers. Frankly, since I liked the side characters, I thought their pasts, developments, and powers should have been explored more. These characters needed to be integrated into the story in a more natural and balanced way.

The power scaling also feels highly inconsistent. Some characters are portrayed as overly powerful or unnecessarily weak depending on the script's needs. This breaks the audience's immersion and damages the credibility of the universe's internal rules. In particular, pushing Ji Ling's story too far into the foreground made the dragon (Wu Shi Guang) character feel much weaker than expected in the finale.

The inability to eliminate the main villain is another problem. The story revolving around a single main antagonist creates a sense of repetition after a while and severely lowers the perception of threat.

In summary, it has a constantly shifting and layered mystery plot, but this structure doesn't always rest on solid foundations. The stories of side characters are underdeveloped, and character relationships lack depth. In my opinion, the writers sometimes tried to create forced mysteries. Despite its disjointed narrative, it remained a watchable drama. The fantasy elements, creativity, and CGI were not bad. The world-building, cities, and spatial details could have been handled better. With a more balanced narrative, strong character building, and a consistent power system, it could have been a much more impressive piece of work.

Coming to the finale, we partially see the consequences of the changes made in the past. It was a nice detail that Wu Shi Guang retained his memories. The encounter between Ji Ling and Lu Wuyi at the end, where they don't recognize each other, was emotionally effective, but their story could have ended differently. Looking at the fates of Wu Shi Guang, You Chi, and the demon hunters; it's very clear that the writers strove to create a forced happy ending where the characters who died didn't actually die. After such a shocking and fast-paced storm of mysteries, a happy and relatively stagnant finale is presented. It feels like a story that couldn't reach its full potential—despite having the makings of a longer, more detailed, and grander work—due to a lack of budget or weak writing. How well it fits the general flow of the story to forcibly turn a drama that was heading towards a dark, tragic ending into a bright finale through alterations in the past is highly debatable. Finally, seeing the deceased demons—whose powers were sealed in the ring—and the demon of loneliness help Ji Ling by opening portals within portals was a really nice touch.

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Starts Very Well

Okay. First of all, it's not 10 out of 10. And I am only on episode 3.

However, I always give generous ratings to good stuff and I don't understand people giving low ratings because it's not to their taste. Drama doesn't mislead you. It's a eerie, horror, teenage drama from the start. And it is executed very well.

I got chills. I am intrigued. Even though the concept is not a brand new thing, I highly enjoy it.

If you are not a horror fan, of course you are not going to like this. If you are going in thinking everything has to be so rational and realistic... maybe supernatural horror is not for you.

I watched a lot of horror movies and tv series, and I can confidently say: this is good.

I will revise my review after I finish the show. But until now:

- script is good. I am intrigued, curious, and slightly scared. That's all I wanted from this show.
-directing is good.
-actors are really good. They are new to me. I only know the guy from Cheer Up. But I like them all so far.

If you like horror and kdramas, give it a chance.

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One of the most unforgettable dramas I’ve ever watched.

From the very beginning, it completely pulled me in with the story of Song Yan and Xu Qin, two people who loved each other deeply in the past but were torn apart by family pressure and life circumstances. And when they meet again after years, it doesn’t feel like a “fresh start” romance, it feels like two broken timelines colliding, still carrying everything they never got to say.

What makes this drama so powerful is how real the emotions feel. The tension between them isn’t just romantic—it’s painful. You can feel the weight of everything they lost in every interaction. Song Yan’s cold restraint at the start, Xu Qin’s quiet regret and hesitation… it all builds this emotional pressure that slowly becomes impossible to ignore.

And when they finally start reconnecting again, it hits even harder because you’ve already suffered through their separation with them.

I cried so much watching this drama. Not just once or twice—I mean full sobbing during some scenes. The scenes where Song Yan is risking his life as a firefighter while still silently carrying his feelings for Xu Qin destroyed me. And Xu Qin, as a doctor, constantly saving lives while trying to fix her own broken heart… it felt so human and raw.

Their love story isn’t easy, and that’s what makes it so good. It’s about healing from years of misunderstanding, family pressure, and emotional damage. When they finally start choosing each other again, it feels earned. Not rushed. Not forced. Just painfully real.

The firefighting storyline itself is also incredibly strong. It adds so much intensity and respect for Song Yan’s character. Every rescue scene feels life-or-death in a way that actually matters emotionally, because you care about him and his team so much.

The family conflict also adds a lot of weight. Xu Qin’s struggle between her controlling family and her love for Song Yan makes her character very tragic but also very relatable. That said, one thing that frustrated me at times was the contrast in how she handles situations: at work, she is sharp, direct, and doesn’t let people push her around, but with her family she often falls back into obedience and silence. It reflects how deeply conditioned she is by her upbringing, but it can still feel emotionally inconsistent or frustrating to watch before her gradual breaking point.

Even with that, her growth is still impactful as she slowly starts choosing herself and stepping out of that emotional control, especially as her relationship with Song Yan strengthens.

Another thing that really bothered me was the adoptive brother subplot. The way the drama frames his attachment to Xu Qin sometimes comes very close to a borderline romantic or possessive undertone (highkey incest), which felt unnecessary and uncomfortable given their family-like relationship. It felt like the story was trying to create extra tension, but instead it just distracted from the main emotional core of Xu Qin’s journey.

And the ending… it was so satisfying. After everything they went through, seeing them finally overcome the past, choose each other, and build a future together felt like emotional release. Their quiet moments after all the chaos, the idea that they finally got peace it genuinely felt healing to watch.

Overall, is not just a romance drama. It’s emotional, painful, intense, and beautiful all at once. I loved almost everything about it—the storytelling, the acting, the chemistry, the emotional depth. It stayed with me long after it ended, and I know I’ll come back to it again someday just to feel it all over again.

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Credible about a housekeeper in Singapore.

Film debutant Anthony Chen has made a low-key and thoroughly credible drama.“Ilo Ilo draws the viewer into what feels like real everyday life where personalities grow and people influence each other.

Sometimes you don’t need big dramatic gestures, moralizing messages or tear-jerking resolutions to touch. Sometimes you just need something as simple as the story of a family and their housekeeper. Where you only feel a faint but lasting scent of emotions such as need for affirmation, jealousy and pride.

The film is director Anthony Chen’s (who made the award-winning short film Grandma) feature film debut and is based on his own diffuse childhood memories from the 1990s, which subtly play their own role as a time period in the film. The story takes place in Singapore, in a family struggling to make ends meet in an economically troubled society.

The pregnant mother (Yann Yann Yeo) is trying to keep her rebellious, 10-year-old son Jiale (Koh Jia Ler) in check while maintaining a perfect facade while the father (Tian Wen Chen) is secretly tinkering with his career and finances. In comes Teresa, a Filipino housekeeper in search of a better life in order to support her own child. Jiale shows her aversion to the new housemate early on, but soon the lives of all four begin to affect each other in ways they never expected.

We're not talking about Mary Poppins here - Forget all the Hollywood ingredients. Unlike its story-related cousins ​​like Intouchables and Niceville, this is a quiet, low-key film that never gets boring. The sensitive, neutral acting combined with the lack of music and natural lighting almost makes it feel like you're peeking into a real home. It is not an extraordinary family with quarrels or escalating arguments, but at the same time personalities that grow, albeit slowly. You feel that something is happening and want to know what.

There are credible and titillating scenes here that build up the relationships. Like the son's bullying of the housekeeper, which in a laundry scene turns into a friendly water fight, or the mother's clumsy handling of her jealousy of her son's loving relationship with the housekeeper. The film's strength is spelled realism - Meetings and confrontations are like in reality, quiet and repressed, whether they are happy or painful.

There is no hint here that Chen is a debutante. It is an extremely well-directed film that lures the viewer in with small, effective means. Possibly a little too cold and stripped down for some. At first, the characters may seem a little unsympathetic, especially the son who is spoiled beyond all limits, but gradually we are drawn into their worlds whether we want to or not. You don't even have to like them, but we want to see that everything somehow works out.

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