Reviews

A wonderful show!

The King and the Clown is an enjoyable movie about a clown, who is so beautiful, that even the king coveted after his beauty.

It shows the tyranny of the king and the helplessness of common folks like the clowns. Even though the beautiful clown wanted to leave the king's service, he couldn't because he was helpless. He was forced to serve the king's tyranny even though he didn't want to. His friend lost his eyes simply because he tried to protect the beautiful clown.

It showed friendship. I like how the partner of the beautiful clown protected him and tried his best to keep him safe. Also, one of the clowns sacrificed his life to protect the beautiful clown.

Also, it depicts a subject much frowned upon by society-- male prostitution. The theme that even in the past, beautiful males are subjected to sexual abuse is shown in this movie without reserve. The beautiful clown was often subjected to sexual abuse because of his beauty... first by official, then by the king.

Furthermore, it explored the corruption in the palace-- how officials accepted brides and how a queen could be wrongly killed. It explored the repercussions of such a corruption-- how the king turned up the way he did partly because his mother was wrongfully killed.

Overall, I enjoyed this show.

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"Who can throw a stone?"

Love Letter was actress Tanaka Kinuyo’s first film to direct. WWII was over and the censors had left so she could address sensitive issues about American G.I.’s having Japanese lovers. The subject for her first film was a tough one and the 1950’s attitude of the male lead was difficult to sympathize with.

Five years after WWII, Reikichi lives with his younger brother, Hiroshi, who pays most of the bills. An old friend brings him into his business translating and writing love letters in English for women who have been involved with American soldiers. Most of the women are asking for money and Yamaji makes the letters flowery and eloquent. Reluctantly, Reikichi begins work there to bring in more money. He’s despondent because he has never forgotten his first love who married someone else. When he discovers that she’s a widow he goes to the train station every day to search for her. As luck would have it, she comes into the shop to have a letter written to an American soldier who had fathered her baby.

First the positive. I enjoyed Tanaka’s fluid directorial style. Despite the year and cultural values, she showed Michiko in a mostly sympathetic light. Mori Masayuki gave a wonderfully complex performance, even when I wanted his character to erupt in flames. Yuga Yoshiko brought a damaged, yet sweet spirit to Michiko. Michiko was a woman who had lived through her own hell and was still able to be kind to others. The supporting characters were also strong. Tanaka made a guest appearance as a woman needing a letter written by Reikichi but instead received an earful about her lifestyle from the sullen man.

Much was made of Reikichi’s loyalty in waiting for Michiko for five years. They made a point of him standing next to the Hachiko statue, the dog who had waited faithfully for his deceased owner every day at the station for nearly 10 years. For Michiko to have sullied herself with a foreigner from the country that had defeated them was too much and the diatribe Reikichi buried her in was vile. That she’d also given birth to a “blue-eyed baby” who had died made her acts even worse. He knew nothing about her and the struggles and pain she had faced. He was unable to comprehend that the man she’d been involved with had been what she needed at the time. This kind of overly precious attitude about women’s virtue struck me as false given the horrors the Japanese military committed against women during the war.

What saved this film for me was that both Hiroshi and Yamaji called Reikichi on his stupidity and stubbornness. “Who do you think you are? A saint? You can’t be proud of the way you lived.” They knew that the war years and post war years were brutal for women, especially single women without a family to support them. For Hiroshi, Michiko’s actions could be forgiven as she had only been with one guy, unlike the prostitutes who made a living off the white bread foreigners. Michiko was a kind and elegant women who condemned herself for being “depraved” which was awful to hear. Reikichi wasn’t exactly a great catch. Though well educated he’d been sponging off his brother since he came home.

Japan had much to process after the war. Soldiers had experienced traumas and civilians had lived through their own. Most people had either visible or invisible battle scars. Reikichi was learning the hard way that forgiveness was hard to come by and sometimes harder to give when clinging to rigid ideals.

30 August 2024

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Revolver with misfired bullets

An extremely classy looking loot revenge crime thriller that was made up of 100% pure melodrama without any action sequence. Despite its stylish appearance and full of dark conspiracy threats, the storyline never really takes off into anything worthy, it didn't had enough pressure or stakes to make it intimidating, and the side characters are mostly useless for the story. At the end the mission seems easily fulfilled without shock ending or huge fights, after all the extended buildups it turns out to just be an underdeveloped arthouse film that only feels like a revolver with misfired bullets.

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The best out of all of them!

I placed spoilers at the end of this review.

The series/original movie: This had an interesting storyline. The script was simple but good. However, I’m the first to admit it had some weak parts to it. Although it had one story element I’m not a fan of, it does make sense in this series. The cast was incredible with their characters. There was only one exception which is often seen in Korean BL series/movies. As for the 2020 movie version, they did a great job editing the episodes into a cohesive movie. There were a few scenes that were deleted or cut short. There were also a few major scene placement changes towards the end of the movie. My only complaint was they removed the internal monologues from the two main characters. Both had beautiful cinematography, but the coloring in the movie version was more vibrant.

The director’s cut movie: The biggest plus for me was bringing back the internal monologues that was missing in the 2020 movie. Just like the 2020 version, they did a great job with the editing. There were some scenes that were deleted and some major scene placement changes towards the end of the movie. There are a few added scenes in this version. In my opinion, all of the changes greatly improved the quality of the movie. I also enjoyed the added behind the scenes footage at the end of this version of the movie.

Random Notes:

After watching all 3 versions, I strongly recommend watching the director’s cut because it incorporated the best qualities from the series and 2020 movie.



******Spoiler Alert******

The usual exception of course was the kiss scene. if they are not going to show an actual proper kissing scene, I would have settled with a kiss on the check or them hugging. Not every BL series needs a make-out/kiss session at the end.

Although it had a three-year time jump, it does make sense with this storyline.

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Too short but still worth it for the interesting context and the cast

Disclaimer, this review only relates to the 29 minutes short film, not to the additional bonus making of / behind-the-scene which lacked subtitles.

In a nutshell, I found the premise very interesting and quite subversive (especially given the fact it was released in 2009) as it features the romantic relationship between two guys separated while one is doing his mandatory military service. In a very short time, I found the movie made some very compelling points, with scenes showcasing how somewhat taboo their relationship is seen by Korean society. Unfortunately, the film is too short to really get to the bottom of the conflict and remain relatively superficial on the turmoil faced by the characters.

The acting was good and it is quite pleasant to watch some familiar actors that I had seen in other works, here at the very beginning of their career, in an indie movie. The production value is quite limited, you feel the budget constraint. Even though it felt very strange because of the shift of tone, I enjoyed the opening and ending generic. It was quite fun to watch with some joyful folk music that I appreciated.

I would recommend this movie to people looking for an indie BL short movie. It approaches love between men within the mandatory military context in Korea, which is not a very common topic. It felt unfortunately a bit short in terms of storyline and what it is trying to say, mainly because of its short length format. Still, given its short duration, it is worth giving it a shot, especially if you want to see performances of Yeon Woo Jin and Lee Je Hoon at the beginning of their career.

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Exciting adventure thriller with excellent performances

All the Hollywood action thrillers want what this movie has. The plot starts mid-action and always keeps moving, the tension never lets up, the fight sequences are nail-bitingly visceral, and the soundtrack balls out the whole time. Pair these with layered leads plus some scene-stealing side characters, and you have a winning addition to the North/South Korean political action drama pantheon. Besides, in this era of bloated scripts, Escape deserves extra points for its refreshingly trim 90 minute runtime.

Not sure why this only has 8/10 on here; it deserves at least a 9 in my book. Go and watch it!

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How is it possible for an horror movie to feel so boring ? Cast could not save it

This horror movie about a MMA fighter confronted to evil had too many flaws to entice me. Its main qualities reside in its cast as well as in its filmmaking. Indeed, the esthetics was quite good as well as the special effects, you can feel there was quite a big budget.

However, the scenario in itself felt poor and repetitive. The editing could have been better to amp the angst as well. The villain is quite a blank canvas and the introduction of the hero to position him in the action takes up almost half of the movie. The pacing of the film is sluggish at best, which is kind of a big issue for a movie belonging to thriller/action/horror genres...

It is my first time seeing Woo Do Hwan and even though I found the character clearly lacking in terms of motivation and background, I'm curious to see what he can do with a better script. I am quite biased toward Park Seo Joon, so he was the saving grace for this movie to me. He is always good and believable in action scenes, and here again he brings the charisma up. Unfortunately, as for the antagonist, there is not a lot offered by the scenario for him to do much acting-wise with his character.

I would not recommend this movie to people unlike you are really a big fan of one of the main actors. If you are an avid fan of horror movie, you might like it but honestly because of its very generic story and strange pacing, I don't think it is worth the watch.

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The emotions are on fire!

I don't really know how to rate this one, my emotions are so mixed

Okay, lets say, logically, the movie is well-done but emotionally, it's not satisfying for me, lol.

The movie depicts exactly what it says, method acting. It shows how 2 MLs really show us what method acting looks like, leaving us unsure if what they have is real or unreal. I must say, I get totally immersed into it myself and totally think they are in love and want them to stay that way, which obviously is where I tripped myself up emotionally

Acting is SOOOO good for both actors, its definitely top notch KBL with quality acting, the emotions they express, especially by Seung Hoon. Their chemistry is sooo good and the kiss scene is hot af

The play itself is very dark and its quite hard for me to watch honestly, so I don't really enjoy this part, nor the ending

But then, again the movie is well done, its just not my liking as I prefer happy ending, So i'm rating logically, although ive such a mixed feelings. I so badly wanted them to be together. Oh well...its just, method :)

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It's a film that stands out for its ability to create an eerie and immersive atmosphere. Kim Jee-woon's direction is masterful, with an impeccable use of tension and suspense that keeps you on the edge of your seat. The narrative is complex and layered, inviting the viewer to unravel the mysteries and relationships between the characters.

The performances are outstanding, especially those of the two leads, who manage to convey a deep emotional charge and vulnerability. The cinematography also deserves a special mention; each shot is carefully composed to heighten the sense of unease and beauty at the same time.

However, while the story is captivating, it can be somewhat confusing at times, which may leave some viewers a little lost. Still, the film manages to be a memorable experience that stays with you long after the end credits roll.

Overall, it's a standout work in the psychological horror genre, with an execution that almost borders on perfection. A film that undoubtedly deserves its place among the greats of Asian horror cinema.

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It is a horror masterpiece that masterfully blends Korean folklore, police intrigue, and supernatural horror. The atmosphere of the film is incredibly dense, filled with meticulously built tension, enveloping the viewer in a world of mystery and darkness. The performances are exceptional, especially that of the protagonist, who manages to convey a sense of growing desperation that feels very real. The plot is complex and full of unexpected twists that keep the viewer on the edge of their seat. In addition, the film addresses deep themes such as faith, doubt, and the internal struggle of good versus evil, which adds a layer of depth that elevates the experience beyond simple terror. It is a film that leaves a lasting impression and deserves to be seen more than once to capture all its nuances.

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It Just Feels Edgy

I'd heard some vague things about this one before watching and assumed it'd be similar to Dangerous Drugs of Sex (DDoS) in quality. I was incorrect..

Copius amounts of sex, but thats to be expected considering the setting. One thing I did like was that the sex scenes, literally every one of them, were not particularly sexy. Explicit, but they all maintained a relatively high level of discomfort and....anxiety, almost? The explicit scenes do feel a bit like they exist primarily for shock value because the story kinda fizzles out and loses itself. There's one implied gore scene that could have been interesting, but it's potential was castrated, making it also feel like a shock value prop.

Really good use of silence to build discomfort. Awful use of tongue, I've never seen a better campaign against french kissing. Good storytelling/editing for the first lart at least. Awful use of a goat, sir please.

Aizen type ending. This is what really ruined it for me. Its like the screenwriter just said, "fuck it whatever" at the end and used the laziest, most tired bs plot point. And the main character is just like "omg no youre so crazy anyway heres some money. okay lets fuck." Like Im sorry, what?????? The story was mildly interesting but they spent so much time adding sex scenes every other minute that they just nuked the ending.

A really disappointing watch. I enjoy watching dark content, but this was just....bad? Its not really dark, just edgy. I imagine one might rewatch this if offered a large sum of money to do so and literally no other reason.

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A good movie to pass the time

It's a good movie to pass the time. Cliché, but still good! However, I would have liked to see a few passages from Gib's life at university and the difficulties she encountered. What she liked and didn't like about her classes, whether she had any friends, etc. I'd also have liked to see a few more romantic passages between Gib and Tor, to see their relationship develop over time. In addition, a little time lapse at the end of the film, about the couple and Gib's new studies, would also have been a good addition to the movie to end it all on a high note.

Otherwise, the side story with the youngsters was also good and a good touch to the film.

Overall : 7/10

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"Everyone has their limitations"

Director Marilu Diaz Abaya crafted a daring film about four female friends in 1982. Moral talked about martial law under Ferdinand Marcos while he still held power. There were frank discussions about premarital sex, married sex, sex between men and women, men and men, and women and women. One character spent as much money on weed as she did on cigarettes. Marital rape was brought up as was abortion. No subject seemed to be taboo in Ricky Lee’s script.

Pregnant Maritess and Dodo tie the knot in the opening scene with guys taking bets on how long the marriage will last. Present at the wedding are Maritess’ best girls-Kathy, Sylvia, and Joey. Maritess moves into a large house with Dodo’s even larger extended family. Kathy is determined to become a famous singer and isn’t afraid to use any of her wiles to make it happen. Sylvia is a divorced mother with a child around 5 years old. She still loves her ex, Roberto, but Roberto loves Celso, a dancer at a gay bar. Finally, Joey is adrift with no place to call home spending the night with whoever will take her in. She dulls her emotional aches with marijuana and sex with strangers. Her heart belongs to Jerry, who is heavily involved with the fight against the government and is in love with Nita. The women are about to graduate from university with many decisions personally, professionally, and socially to come to terms with.

There were less love triangles and more love conga lines. At one point, teacher Ernie loved Sylvia, who loved Roberto, who loved Celso, who loved sleeping with other men. Sylvia’s relationship with Roberto and Celso was the most endearing. The three became emotionally involved if not sexually. Maritess found herself repeatedly pregnant and caged in a house with 20 children with little say in her life. Like a trapped raccoon she was ready to chew her arm off to escape. The price for fame began to take its toll on Kathy as it became more apparent she wasn’t a very good singer. Joey lagged behind the others in growing up until she hit bottom and had to make some hard choices.

Moral showed the moral choices the women had to make that were breaking new ground in a conservative society. Sylvia was deemed immoral for not wearing a bra to work, imagine the horror if someone found out she shared a bed with two men. Joey was talked about for being promiscuous, something that was a right of passage for male students. Kathy slept with a woman in order to further her career. Maritess had to decide whether to be a voiceless babymaker or stand up to have a life of her own. All four women were three dimensional characters who had their own growth arcs. The men were not vilified though some of them behaved in the entitled way they were accustomed to in 1982.

Scenes from the film were censored for being offensive to the army, not surprising with two characters actively involved in the New People’s Army. Moral was not a box office success or one with the critics back in the 80’s. Over time people were able to see its groundbreaking themes and emphasis on women’s challenges and lives in a changing society. The negatives of the film were badly degraded, damaged by time and mold. L’Immagine Ritrovata spent 2600 restoration hours working to salvage it with the restored film being shown in 2017. There were still some issues but nothing distracting.

Even here near the end of 2024, films about women, directed by women are all too rare. In 1982 I cannot imagine what it took to get this film made and distributed. Especially a film where women were the powerful agents of their own lives. No wonder it didn’t get a positive reception, Marilu Diaz Abaya and Ricky Lee were treading on new territory and it would take time for people to catch up with them. The film had its flaws and some performances were stronger than others, but given its age and the courage to make it I was generous with my rating.

Favorite line---“Next time you see Ernie, tell him his mother is a whore.”

29 August 2024

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