Reviews

Incredible piece of art

What an emotional ride this was .
After the trailer I came into the movie expecting some things and the movie delivered that with lots of humour and fun.
At half way point the unexpected happened.This plot twist hit me like a truck .I was so confused and become unsure of my own beliefs and expectations from the characters. It felt like the biggest betrayal ever .But they managed to restore the trust and belief in the characters .Even though I thought it was impossible they created a very realistic and well deserved ending for this movie

I feel so lucky to witness this incredible movie .it really took me on an entire journey .The movie really made me feel like I'm one of the friends .I thoroughly enjoyed this movie .

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This movie is so painful, and you'll love it.

I kid you not, I had to sit down for two hours and stare at the wall after watching this. The story is heartbreaking and anxiety-inducing. The characters are painfully realistic. The cinematography is out of this world. The amount of angst this movie creates is impressive. It is a realistic portrayal of gay lives, and that is what makes it terrifying. The topic of internalized homophobia is one of the main focuses, and it is well executed and so deeply painful.
I would recommend this movie only for those knowing what they're getting into. It will literally change your brain chemistry.
Rewatch value is high, because you can understand the depth of the movie even better, but nothing will hit you emotionally like the first watch.

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A movie with wasted potential for an important topic AI

I was looking forward to the movie because of the actors/actresses and the plot, but I was very disappointed. The plot and the subject of artificial intelligence have a potential that is not reflected in the film (they should have made a series of at least 12 episodes)..Artificial intelligence is neither fantasy nor science fiction, it is the current and future reality of the world (personally I am afraid of artificial intelligence and not because I not technologically but from the dangers inherent in it if it reaches destructive governmental and private entities).
The plot was very confusing at first. (Less in the second part, but the film still suffers from many plot flaws) such as a lack of understanding of processes, which also resulted in the waste of talented actors who barely had screen time..

As for the soundtrack...the truth is I don't even remember maybe because my mind was busy analyzing the confused plot

*** And just for general knowledge, the actress Tang Wei (Chinese) is married to Kim Tae Yong who is the screenwriter and producer of the film

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HATE THE PREMISE, LOVE BIBLE

I'm in a fix, kinda.

I watched this, twice. Just to be sure of my opinion, which is - Bible's character dies and I will not have it this way.

I've got some other reasonable points to make as well, just hear me out:

First off, that wasnt being stupid, that was pure and simple internalised homophobia which isn't a very good look on anybody but more so on a Thai BL actor.

Secondly, he has the b@lls on him to say that he loves this dude and goes ahead to marry a woman, have a kid with her in a year - disgusting move cause sooner or later it's gonna come out and ruining another human being's life cause you are too ashamed of yourself isn't some act of bravery. It's pure and simple cowardly behaviour. That too in the 21st century, "it's impossible" isn't an excuse.

And lastly, just because he named his kid after the guy he mildly liked for about 9 years or so and pretended to not like, doesn't wash away the first 2 points.


Hence, I absolutely hate the premise of the film to begin with. Apart from that, their acting is quite alright, separately. Of course, I have my own biases about Bible being paired up with someone other than Build but clearly they had a better chemistry than whatever this was (it's purely my opinion).

Let's see what 4 Minutes has to offer. I hope it's as good as the plot, trailer and video poster was.

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NO Chemistry

This story has been done over and over again in both English versions and Korean. Whilst the story line itself is fine and the two leads were okay (individually) I just felt no chemistry at all between the two of them.
The only other criticism I would have was the continuous flow between Thai and Korean languages (it did my head in). Hangul choi!!!! Thai, I have to be in the right frame to listen to - this, as it was presented as ‘Korean’ I expected it to be in Korean. I do not mean to offend anyone - I love the Thai people and their beautiful natures. ♥️

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Panic disorders are scary but you know what is scarier than that? PMS!

To watch this movie you need to be in a certain mood. And I was in one of those moods; irritated, sad and depressed for no reason, which made me understand and feel for the characters. To connect with the characters I can say I was in every possible situation that they were in. It's a movie taking account two least discussed physiological and psychological problems which we often normalise as common problems, even if they are, it is different for each and every person.

A mundane movie with slow soothing instrumental music, showcasing everyday problems dealing with oneself and showing camaraderie, empathizing with people, made me pause and think. You might connect or you might not but sure you'll get a new perspective of life. Sometimes life isn't about extravagant celebrations but living in today and looking forward a better future of tomorrow makes you feel alive.

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A jewel of the Pinku Eiga aesthetic with stories of hidden obsessions and explicit desire

Hisayasu Satô, known as one of the four demons of the Pinku Eiga (ピンク映画, literally "pink film"), a subgenre of Japanese exploitation cinema, with notable impact in the 1960s and until the end of the 20th century for its erotic themes and marginal settings, is a filmmaker known for making incredibly sordid films about ultraviolence, isolation, loneliness, existentialism, obsession, alienation, perversion, voyeurism and perverse and explicit sexual content.
Recognized worldwide for films such as 'Hunters' Sense of Touch', 'Splatter: Naked Blood', 'Lolita Vibrator Torture', 'Train: Dirty Behavior de Molester' and 'Brain Sex', among others, 'Bondage Ectasy' (陶酔遊戯), from 1989, is one of his best films, but not as personal as 'Muscle'.
Famous for his "sledgehammer" cinematographic style and his "guerrilla shooting technique", he filmed countless films under the Pinku Eiga aesthetic, emerging as a response to the strict regulations of the film industry and as a bold exploration of sexuality and social taboos.
Although often associated with eroticism and nudity, the Pinku Eiga films go far beyond the superficial, offering a provocative look at human psychology and the complexities of Japanese society at the time, a kind of response to cinema traditional, by introducing subversive and political elements, which managed to establish a connection with the French New Wave through directors such as Masao Adachi, responsible for 'A gushing prayer' (1971), who was a collaborator of Nagisa Oshima.
The Pinku Eiga films frequently featured marginalized characters and extreme situations, offering a raw, unvarnished view of Japanese society at the time. This directness and cinematic audacity resonated both in that country and abroad, turning his works into a cultural phenomenon with a lasting legacy.
With low budgets, another of the characteristics of this subgenre, Hisayasu Satô's films were filmed in times of social and political turbulence, and they challenged conventional norms and became a form of expression for filmmakers who sought to break creative barriers and explore new narrative territories.
Scripted by Yumeno Shiro, 'Bondage Ectasy', a Pinku Eiga film with a gay theme, is characterized by its bold use of color, visual composition and symbolism, using the image in a provocative way to convey subversive messages and explore themes such as desire, repression, obsession and alienation.
Themes of loneliness, power and existentialism are mixed with the typical pinku themes of sex and violence in a way that only Hisayasu Satô could achieve.
The film follows an anonymous man, played by Shotaro Sawada, a young man who sees his sexual life altered after the physical and mental torture and humiliation he receives from his boss and co-workers in an office.
But this will not be the only reason for her unhappiness: her boyfriend, played by Osamu Fukuda, does not have much time to dedicate to him due to his absence both for work reasons and because he is always accompanied by his lover, a young woman, played by actress Setsuhiko Kobayashi. The three soon find themselves involved in a kind of love triangle based on sadomasochism.
After receiving a beating from his boss and having an unexpected sexual encounter with his absent boyfriend and former fencing partner, something reawakens in our young office worker. While reading Metamorphoses by Franz Kafka, the main character has recurring dreams of turning into an insect in a dream sequence and sees her boyfriend and their mutual lover as they really are. On the other hand, he observes various sexual acts of captive men with the presence of sadomasochism.
Coupled with an unsatisfying sexual event with the woman with whom he lives the love triangle, we don't have to look far to find meaning in his world of dreams and fantasies.
The exploitation that forms obsession is a manifestation that is present in the deepest internal fantasies of our protagonist.
Turned into an insect, the character also realizes that he can control those who ingest him while occupying his new body. While all of this may seem complicated and strange, Satô is able to weave the story in a way that distinguishes the film not only from his preceding work, but from the Pinku Eiga aesthetic as a whole.
The synopsis will make many believe that it is simply a pink movie with a touch of Kafka's novel. However, Satô seems to be more interested in the work of someone like De Sade.
The sleaze in 'Bondage Ecstasy' is evident from the first to the last scenes of the film. Graphic and rough sex, sadomasochism and voyeurism are present in virtually every frame of the film and create an often uncomfortable viewing experience.
While the film does not rely on effects at all, the effects present, properly adjusted to the tone and purpose of the feature film, are also very well done and much better than one would expect considering its low budget.
Another technical section to highlight is the music. The soundtrack never takes center stage, but rather reflects the tone of the film.
'Bondage Ecstasy' manages to generate reactions of disgust in some viewers, and admiration in many others. However, no one can deny the power of the film and Satô's legacy. This film is essential for all Pinku Eiga fans and for anyone interested in seeing how sexual exploitation and cinema belonging to this aesthetic can touch the sky.
Despite being filmed on video, like most of Satô's film work, the cinematography and direction demonstrate the maturity and consolidation of the Japanese director. This is evident during the segments in which the protagonist is an insect.
Towards the end of the film, 'Bondage Ecstasy' takes a turn and what initially feels claustrophobic opens up as the viewer literally becomes a fly on the wall as they see the lives of Sawada's acquaintances, those people who torture him and humiliate.
It is incredible how from a grainy VHS quality film with an extreme emphasis on aesthetics over characters and plot there is so much luminosity. Sato's work in photographing male bodies is magnificent, in an erotic way, without feeling disgusting, everything is vaguely uncomfortable but above all intimate and exciting. The Japanese filmmaker films the best combination of philosophy and softcore porn that I can imagine and at least have seen.
Each sexual gesture is strangely erotic, full of transgression, violent and pleasurable, establishing a hierarchy between a boss and his subordinate, who like to enjoy the pleasures and dangers of sadomasochism.
On the other hand, the chemistry between the two main actors goes beyond the physical sphere, but is emotional, psychological and fully satisfying.
The film portrays sexual domination that metamorphoses (becomes an insect) into the condition of society (specifically workers) and capitalism in Japan.
However, the viewer cannot classify 'Bondage Ecstasy' as a mere sexual film. The segments where Sawada's character transforms into an insect are powerful in a strange way. A man trampled by the members of the society of which he is a part has the opportunity to witness how the people who have humiliated, tormented and tortured him physically and mentally live, to discover that they are not very different from him and also struggle with your own personal hell.
From this new position, the character played by Sawada can take revenge by controlling them for brief moments. In this way, the protagonist receives a new vision of his life and, in a way, gains power.
While this power initially appears to be a positive thing, it soon begins to erode his soul until he comes to the conclusion that he is no better than his tormentors.
The film, which culminates in a graphic scene of violence, leaves the viewer with a disturbing feeling that is difficult to overcome. 'Bondage Ecstasy' is haunting, depressing and at the same time beautiful, and the emotions it evokes in the viewer never seem artificial.

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Horror and Mystery interwoven in faith and religious practices

Hoon Payon is a movie that delves into the psychological depths of grief and the struggle of a man to find the whereabouts of his brother. Throughout the movie there is an eerie atmosphere and you tend to question about the motivations of each of the characters.

The movie starts with Tham (Phuwin) entering in to a small village in search for his brother. There he learns that his brother has fled after murdering the abbot and is nowhere to be found. While he stays in the village to get to the bottom of his brother’s disappearance, he encounters strange customs and the monks’ reverence to a bizarre deity. What follows are series of deaths and further disappearances and Tham’s own life at risk.

The film's greatest strength lies in its atmospheric storytelling. The haunting ambiance, coupled with the subdued performances, creates a palpable sense of dread. The director skillfully builds tension, allowing the horror to unfold gradually, rather than relying on cheap jump scares. The constant fear of someone lurking in the corner while eerie occurrences happening around you invokes an unnerving feeling.

The characters in the film are mysterious and complex. Along with our main characters Tham, we have Te, an autistic man who is loving and caring to all but is also a victim of bullying. We also meet Jes, who sculpts statues that are used by villagers in the last rites for the dead and monk Kla who dislikes Tham and constantly butts heads with him. Tham tries to navigate through the multiple characters to learn about his brother and escape from these supernatural occurrences.

In conclusion, Hoon Payon is a horror film that lingers in the mind long after the credits roll. While it may not be a perfect film, it succeeds in creating a chilling atmosphere and exploring the complexities of human emotion and blind faith

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Balancing Act: Horror and Humor in Pee Nak 4

Pee Nak 4 successfully rekindles the magic of its predecessor, delivering a thrilling blend of horror and comedy. The plot, the performance and the emotions make this movie a must-watch for people who enjoyed the previous Pee Nak series. Pee Nak 4 brings together the exceptional characters of handsome Tho Min Jun (Mean), troubled Noht (Tar) and the chaotic duo Balloon (Aim) and First (James)
The movie revolves around our main character Tho Min Jun who returns to his ancestral place to rebuild a temple. The task proves to be difficult as it is haunted by a malevolent ghost who is closely connected to Tho Min Jun. To put the ghost to rest, Tho Min Jun joins hands with his friends Noht, Balloon and First and what follows is a fight to survive. The movie is a series of mishaps and investigations leading to the final unraveling of the mystery behind the ghost.
The movie's visual effects are commendable, especially considering the genre. The CGI is believable and enhances the overall atmosphere. However, the editing could be smoother in certain sequences.
The dynamic between the main characters, particularly the comedic duo of Balloon and First, is a standout. Their on-screen chemistry injects much-needed humor into the often tense atmosphere. However, while the film excels in generating laughs, the horror elements could have been amplified. Some jump scares feel predictable, and the build-up to truly terrifying moments could be more pronounced.
In conclusion, the movie's blend of humor and scares, coupled with its engaging characters, makes it a worthwhile watch. Waiting for the inevitable next installment in this series

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Confusing, awkward and sometimes questionable, but has a few interesting ideas

Well, that was a very odd viewing experience. It felt like a confusing hybrid of a sentimental arthouse film and science fiction drama. But whatever it was trying to do, it didn't really work. The constant shifting between stories and lack of development made the narratives seem unnatural. During the more emotional scenes, I was either busy wondering why characters were acting the way they were (mostly Park Bogum), or what exactly the character was (Gong Yoo), or why the AI were even capable of these emotions in the first place. Perhaps that stopped me from feeling emotionally connected.

Also, what exactly is the movie trying to say? It sometimes hinted at how exploitative the service was, both financially and emotionally, and how there was an obvious lack of restrictions on the service (Imo, creating an AI replica of a comatose person without their consent is completely unethical). This was interesting, but they never delve into any of these issues. Then at other times it implies that the AI, being programmed with the person's old memories and having created new ones, essentially become... almost another living being(?) deserving of love(??) That's questionable at best, if you ask me.

There was also something mildly awkward throughout the entire movie, which might have been the visuals which sometimes looked like advertisements, or the odd music placements at some places. So yeah, sadly I think it's yet another unsuccessful attempt at science fiction from SK.

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