Reviews

"Run towards the angry sea"

Boat People aka Run Towards the Angry Sea dealt with the brutal years directly following the end of the US/Vietnam War when Ho Chi Min and his party reunified Vietnam. This was the third film Ann Hui directed focusing on Vietnam resulting from stories she had heard while making the previous two. This film told the story of a Japanese reporter and the impoverished children he befriended.

Akutagawa Shiomi had reported favorably on Ho Chi Min’s government previously so he was invited three years later to see the country’s progress. His visit to a New Economic Zone is highlighted by happy children singing and greeting him. Not long afterwards he sees people being forcefully removed from their homes. Troops beat first and ask questions later when he photographs horrific scenes. He follows a girl who scooped up noodles from the street and meets her family who are fearful of him. The oldest son tells him he can photograph them on the street for a price. As Akutagawa explores the city and NEZs without his escorts he comes to find that his initial introduction had been a show and that numerous people were willing to risk anything to flee their fates.

I’m old enough to remember the humanitarian crisis of the Boat People when nearly 300,000 people died at sea. This film did not focus on the boat people but rather the circumstances that drove people to make such a dire decision. The New Economic Zones were home to “bad elements” which could simply mean having been a capitalist or having contact with western countries or having wrong ideas by virtue of living in the south. Clearing land mines or farming in remote, inhospitable conditions was not a future many people had envisioned.

George Lam played reporter Akutagawa. He gave a strong performance as a left leaning reporter whose eyes were gradually opened to the horrors around him. A young Andy Lau played a former translator sentenced to a NEZ who was determined to leave the country before being blown up by a land mine. Newcomer Season Ma was believable as Cam Nuong who did what she needed to do to help her family and also had dreams of her own.

The biggest drawback for me was the lack of a language barrier. For the most part, everyone spoke Cantonese. And while there was a segment of the society that was ethnic Chinese, the Hao, who suffered greatly under the new regime, that didn’t seem to be the case here. Lam and his buddy Inoue’s Japanese didn’t sound very authentic, but I’m hardly an expert. I also had a hard time watching Akutagawa use his camera in the pouring rain. Not sure his camera would have survived the punishment he put it through.

While Ann Hui attempted to be apolitical, this time in Vietnam’s history could easily have been a criticism of any totalitarian regime that shut down free thinking and punished those who were seen as suspicious or disloyal. The terrible conditions left from decades at war were also visible. Land mines and unexploded ordinances took their toll as much as the unsympathetic party in control. The film was not an indictment on Vietnam in our present but on a specific time in its turbulent history and the price some people paid for not being on the winning side.

Boat People won numerous Hong Kong Film Awards including Best Picture and Best Director. The transformation of Akutagawa as he went from the idealized version of events to the harsh reality was poignant. The asexual friendship that developed between him and Cam Nuong which went from caution and suspicion to acceptance and compassion also hit the right notes. Without any spoilers, Boat People was tragic and heartbreaking on many levels yet also showed the determination and resiliency of the human spirit.

28 November 2024
Triggers: Deaths from many different graphic sources. Sexual content was alluded to but not shown.

Leggi di Più

it just clicks with me

I think that this is Wong Kar-wai's cinematic masterpiece. It is a dreamlike exploration of love, loss, and the human condition. It's a film that lingers in the mind, a haunting melody that plays on repeat. I remember the first time I watched it, I was mesmerized by its beauty and complexity.

"The past is never over. It's just a story we tell ourselves."

The film is a tapestry of interconnected stories, each one a poignant reflection on the complexities of human relationships. Tony Leung's portrayal of Chow Mo-wan is nothing short of iconic. His nuanced performance captures the character's loneliness and yearning with a haunting intensity.

"Love is all a matter of timing. It's no good meeting the right person too soon or too late."

Zhang Ziyi's performance as Bai Ling is equally captivating. Her character is a mysterious and alluring figure, a woman who seems to embody the very essence of desire. Her chemistry with Tony Leung is palpable, and their scenes together are electric.

"Time is a thief, stealing the present from the future."

The film's nonlinear narrative structure adds to its dreamlike quality. It's like a puzzle, with pieces scattered across time and space. As the viewer, we're invited to piece together the fragments of the story, to connect the dots and discover the underlying meaning.

"Love is all a matter of timing. It's no good meeting the right person too soon or too late."

At its heart, 2046 is a film about the human condition. It explores themes of love, loss, memory, and the passage of time. The characters are constantly searching for love and connection, but they are often doomed to disappointment. The past haunts them, and they struggle to let go of their regrets.

"In love you can't bring on a substitute. When the Peony blooms, she stands tall. Does she mean no or yes?"

Wong Kar-wai's signature visual style is on full display in 2046. The vibrant colors, the stunning cinematography, and the evocative music create a truly immersive cinematic experience. The film's soundtrack, composed by Shigeru Umebayashi, is the perfect complement to the film's melancholic tone. It's a haunting melody that lingers in the mind long after the movie ends.

"Maybe one day you'll escape your past. If you dream hard enough."

2046 is a film that demands patience and attention. It's not a straightforward narrative, but a series of interconnected stories that unfold slowly and deliberately. But if you're willing to let yourself get lost in its dreamlike world, you'll be rewarded with a truly unforgettable cinematic experience.

"I once fell in love with someone. I couldn't stop wondering if she loved me or not. I went to 2046 hoping to find her there. But I never found her."

Leggi di Più

It is different

*Is it worth watching?*
The short answer is yes . Once you get past the appreciated but terrible subtitles you will love the movie . You will see Perth and Bas in a whole new light .

*The Plot*
The plot is not bad but it needed a bit more work . majority of the movie will be spent analyzing what is going on and in the last minutes everything is made clear . This would have been better as a mini series.

*Bl or Bromance*
Watch Bl series has thought me that there is a thin line between how Bl series are different from bromance. I strongly believe that the relationship between Boang/Kheng and Kheng/Tai could very will be bromance but there are intricate details that would support the two pairs having some romantic feelings for each other . This is no explicitly stated rather it is implied. It can very well be bromance or a Bl . However, since I’m me 🙈I am going to go with Bl.Also based on the character portrayal Kheng would evidently be gay .

*Where to watch*
https://www.dailymotion.com
https://boyslovefactory.com
Full disclaimer the subtitles suck big time . No offense to the sweetheart ❤️that did the subtitles. My guess is that if the movie is watched with more accurate subtitles it would be better understood. bye 👋

Leggi di Più

This movie does not deserve 9 stars but I loved it

Okay I am going to be honest, this movie was cringe, it was imperfect, it does not deserve 9 stars. But I really, really loved it and it made me smile so much and I had to fight the urge to rewatch it immediately after finishing it! I can't rate it lower!

It was so cute. I loved her expressions and how cute she was and the same with him! Despite all the cringe, I found them to be so cute together and I really loved the movie despite knowing how flawed it was. I can't really tell you why I loved this movie so much, but I really, really did. It may not be everyone's cup of tea, but it certainly was mine!

Leggi di Più

Diamonds Are a Man's Best Friend...!?

At the time of the release of his ‘Underworld Beauty’ in 1958, Seijun Suzuki had already been, to all intents and purposes, a director employed by Nikkatsu for a couple of seasons (his debut dates back to 1956); this role, which we could define as a ‘ alimentary’ one, saw him engaged (or rather, obliged!?) in the production of at least three/four films a year (it seems to be a sort of Rainer Werner Fassbinder ante litteram...), given the enormous demand for movies of the period.

In order to satisfy the tastes of the new film-addicted generation, Nikkatsu had embarked on a rich production of action/noir/gangster-style movies, inspired by American cinema, where often the stylistic/narrative themes of US-made genre films were adapted to the typical Japanese style and situations, so as to achieve a strong impact on the local audience (who got the message) with minimal expenses.

These were in fact low-budget works, perhaps of little artistic importance but perfectly functional at the box office and capable of bringing out a decidedly interesting generation of actors; To already established leading names such as Ishihara Yujiro and Akira Kobayashi, were soon to be added other performers such as the very ill-fated Keiichiro Akagi (who died at only 21 years of age, a sort of Japanese James Dean), Wada Koji and above all, Shishido Jo, who thanks to his connection with Suzuki himself succeeded in increasing his fame even outside the national borders.

In the midst of such a considerable amount of productions (in 1958 alone, Motion Picture Association of Japan, Inc. refers to 504 domestic productions and 169 imported films!), it was rather complex even for film critics to follow all the productions in circulation, all the more so as these genre films were often hastily classified as ‘B’ productions; but it was clear that in the midst of perhaps repetitive or easily forgettable films, it was plausible to find the classic ‘hidden gem’.

It is therefore interesting to observe how, in the context of a narrative structure that is still rather linear, at least at the outset, decidedly indebted to gangster movies made in the U.S.A. (Suzuki, by his own admission, has always been a lover of ‘Hard Boiled’ novels), ‘Underworld Beauty’ is characterised as a product of a high level, capable of also providing ‘in nuce’ several characteristic elements of our master's inimitable style:

Released from jail after three years following a robbery, the gangster Miyamoto recoups the diamonds from the crime, conveniently hidden, with the aim of reselling them to help his comrade Mihara, who was badly injured on that occasion, and his sister Akiko, a young woman with no prospects; his boss Oyane arranges an exchange with buyers, but the deal is scuppered when mysterious masked armed bandits appear; Mihara, in an extreme gesture of desperation, swallows the diamonds, but then falls from the roof of the building, dying of his injuries. From that moment on, a war breaks out between Miyamoto and his former accomplices to recover the precious stones, with the ex-con also working to protect the young and restless Akiko...

The starting premise is decidedly interesting and from the very beginning, the style appears clear, immediate, without frills or wasted time; Miyamoto -played by the mature and impassive Michitaro Mizushima- is a sort of lone wolf (exemplary synthesis of Chris D. in his fundamental ‘Outlaw Masters Of Japanese Film’) who, after having paid his debt to justice, feels obliged to ‘compensate’ his friend Mihara, who has suffered the highest price for the heist; from the very first lines, the ex-con appears to us as a sort of ‘modern Ronin’, alone against everyone, with few words and a lot of concreteness, an attitude that immediately leads him to set himself against his ex-criminal companions (and obviously the boss) who just don't want to give up the precious booty.

Curiously enough, in this ‘Underworld’ of criminals (real or could-be) where greed and lust for wealth, mixed with explicit primordial pulsions, seem to be the only values sought after, it is Miyamoto who comes out best of all, guided by an unshakeable ethic, nourished also by a double sense of guilt (first the incident and then the death of his friend) that leads him to risk himself in order to save Akiko (Mari Shiraki, perfect and always abundantly undressed), who, for her part, does not really represent the model of the ideal woman, but rather, with her youthful arrogance, sexual frenzy and unregulated life (she bullies and takes advantage of schoolgirls), she seems like a character straight out of the novels (and movies) of the Taiyozoku universe (‘Sun Tribe’), coming to characterise a sort of prototype of the more classic ‘Dark Lady’

If for Eric Von Stroheim money is always at the origin of all evil, here it is diamonds (3, in number... ) that unleash the most belligerent instincts of the characters who, in order not to renounce their earnings, are ready to do anything to recover the precious stones, triggering a series of situations that allow the skilful Suzuki to show his already characteristic technical skill, as well as his ability to synthesise (editing cuts, close-ups, sudden changes of camera angle), mixed with a good dose of his classic black humour that will distinguish him throughout his career; Emblematic from this point of view is the entire sequence with the mannequins as key figures, of great effectiveness and even amused mockery.

As far as the purely stylistic aspect is concerned, Suzuki works for the first time in widescreen, using a remarkable B/W that tends to emphasise the grey scales, with a result that is, to say the least, ‘brilliant’ (it is really appropriate to say so...) that amplifies, especially in the night sets (the majority), in an excellent play of light and shadows with an expressionistic cut, the ‘hard boiled’ dimension of the story; All this with a skilful and unconventional use of locations, including nightclubs, bars, rock ‘n’ roll, artists' studios and morgue rooms, as well as the boss's Turkish bath where the “incandescent” finale is set (in every sense of the word...), filmed with the master's decidedly distinctive trait, with clearly unconventional doses of sadism, explosions of violence and masterful shots even using a crane...

In his mature interviews, Suzuki will even refer to ‘Youth Of The Beast’ (1963) as the first film that can be considered entirely of his own from the point of view of narrative and directorial originality, but it is clear that already from this ‘Underworld Beauty’ (but in some points even from ‘8 Hours of Terror’ [1957]) the director began to set up that operation of ‘inner demolition’ of the genre which was to become his distinctive trademark, but which was to lead him, in 1967, to be sacked from the same film company for irremediable ‘artistic differences’ following his most famous picture, ‘Branded To Kill’.
9/10

Leggi di Più

simple yet charming

i didn’t expect much as i started watching mostly because of Ruki, but the movie turned out to be very good. slow pacing with interesting characters i emphasized with easily. loved the main character and obviously loved the “love interest” played by Ruki.

the soundtrack and the cinematography in this one were absolutely amazing! i had a pleasure watching the movie aesthetic-wise. the plot isn’t that much unique but it’s entertaining to watch so i had i good time. will definitely rewatch this one again!

(kinda hoped for the characters to end up together but we got what we got. y’all know how japanese movies are, haha)

Leggi di Più

"Stay broken, that's normal for you"

A Man of Reason had a strong cast that was dragged down by a generic story filled with coincidences and tropes. Jung Woo Sung and Kim Nam Gil endeavored to breathe life into the bland script with mixed results.

Soo Hyuk is finally out of prison after 10 years. He has no desire to return to his criminal life, especially after he discovers he has a daughter. Chairman Park Eung Kook isn’t ready to let go of one of his best men and sends his minion Kang to observe him. Kang takes matters into his own hands and hires “The Washer” to take Soo Hyuk out. Things don’t go as planned when Soo Hyuk’s daughter is kidnapped.

The biggest problem with this film was that director and writer Jung Woo Sung employed tropes that were stale by the year 2000. Execution is all important when treading over old ground. It felt like he attempted to integrate elements from The Joker by having a psychotic killer and his even crazier moll stir things up. The overuse of explosives and an amusement park hideout were a little too on the nose. In the end, none of the characters were developed enough to care about.

Jung and his deep voice made for a believable reformed criminal if not a particularly menacing one. Kim Nam Gil brought the crazy as the sinister “Washer.” He also provided much needed comic relief. Disappointingly, Park Sung Woong and his long-haired wig only dropped by for a small supporting role. The Big Bad ended up being a whiny, incompetent, and jealous assistant. Kim Joon Han didn’t have the screen presence to pull off this poorly drawn character.

A Man of Reason had well-choreographed fights and car chases even when they veered into incredulity. Fans of Jung Woo Sung and Kim Nam Gil may enjoy watching these two spar and banter. Unfortunately, that’s about all Jung’s directorial effort offered.

27 November 2024

Leggi di Più

An ethereal tapestry

Upon this ancestral stage, even the most virtuous are drawn in by the temptations of Maggie Cheung and Joey Wong. A rich ethereal tapestry of stunning colour, kitsch illusionism and slow-motion eroticism, Green Snake has been on my radar for a while now but little prepared me for how vividly imaginative it would end up being. A profound metaphor for the frailties of humanity and the fallacy of religion, Tsui Hark's take on the White Snake folk tale left him plenty of time to ruminate on what would happen post-1997. The snakes are depicted as creatures simply seeking to live their lives in the human world, but they face denial and persecution from strict societal norms and overzealous individuals enforcing the so-called "natural order." The primary enforcer of these rules is devoted monk, Fa-Hoi, who is also shown to be just as susceptible to desire, anger, and even hypocrisy as the snakes. While the snakes seek love, family, and hope, Fa-Hoi and his Buddhist enforcers are denying the very humanity that they claim to be upholding. Fate, love, sex, hate, religion and desire all play a role in eventually bringing down the world the two snakes attempt to build. The allegory here is obvious, Fa-Hoi’s large red surplice only means one thing: China. Beyond the film's fangs with its messaging, it's directed with all of Tsui's usual flair for the kaleidoscopic that's part art-house wuxia, part softcore smut but all beauty. Bringing weight to the proceedings are fantastic performances from its central trio with Maggie Cheung and Joey Wong turning in gorgeous performances as the sister snakes, while Vincent Zhao gets an equal opportunity to shine when the two ladies aren't bathing in the limelight. The art direction, outstanding musical score and beautiful costume design all add to the spectacle, really I only have slight niggles with the hilariously charming rubber snakes and horrendous early CGI which are thankfully kept to a minimum, other than that, Green Snake is a must-watch.

Leggi di Più

The scenes in Korea saved it for me

The good:
when they were in Korea (meant more to me because I just returned from my first visit there).
The not good:
-The acting. With some of the actors, you could actually almost hear what was going on in their minds, "Now I walk to the door, stop, turn." Wooden or over the top acting by all.
-The makeup for the FL. The pink, pink cheeks and the pink lipstick. Learn to blend the makeup, people!
-The storyline. I've seen this story 100 times done better.
-Costuming. The women all dressed so skimpily and sleazily. Are shorts, midriffs and high heels a thing in the workplace? Not a good look for anyone.
-No chemistry between leads, partially because I felt like I was watching them "act".

My rating is only what it is because of the Korea shots, otherwise it would have been even lower.

Leggi di Più

EPIC

Really enjoyed it but I don't think I would have if it wasn't for the first movie.

I didn't care much for Kyoukai's life story. As ridiculous as it was ( I mean literally Shin is running around everywhere fighting here and there with barely any sleep nor food for days and the guy is still as pumped up as when he started his journey) and as obnoxiously LOUD Shin was (typical of MANY Male manga characters), it was EPIC.

The battles were impressive but my brain couldn't switch off the fact that all these generals are literally sending people to the slaughterhouse in order to get brownie points from the King. It's all in the name of uniting Qin, but the truth is, they all want the glory, the fame, the personal army, castle and money that comes with it.

I usually flee from war stories because they're just pretty sad overall, for me it's just mindless killing for this or that King. People at the bottom honestly don't care about who rules but they sure pay the price whenever a new lord wants his own little kingdom...

This is being said, it is refreshing to see a show that focus on the big lines in history book. Forget the deaths count, just enjoy the ride through the lens of those at the top and a nutcase who has a big dream. I wish I had seen this in a movie theater though. The scale of the battle and the insane castles are worth the investment. A small screen just doesn't give it justice.

Anyway. Count me in for Movie Number 3.

A solid 9.

Leggi di Più

"Repent and turn back!"

Prolific martial arts director Tang Chia/Tong Kai only directed three movies. Having just finished watching Shaolin Intruders, I’ve now completed all three. Hard to believe Shaw Brothers only used him a handful of times as I enjoyed all three of his films. He utilized several well-known martial arts directors for this kung fu lollapalooza with deception, revenge, and secret identities galore!

Buddies, perhaps frenemies, Lei Xun and Qiao Yi Duo come to the aid of pretty acquaintance Ye Qing Hua when she is accused of murdering 2 of the 4 most powerful clans. Xun and Yi Duo discover evidence that fighters trained at the Shaolin Temple are the culprits. In order for Qing Hua to be allowed to identify the intruders she witnessed, the two men must pass three tests. When it seems the mystery is solved, the two heroes realize it might not be as simple as it seemed.

Tang Chia and Shaw Brothers brought in numerous stunt men and actors capable of stunt fighting. The six martial arts directors utilized numerous styles, creative weapons (bolo dice!) and formations to keep the action rolling, stacking, and flipping from opening credits to ending ones. Every clan chief had their own men and the Shaolin Temple was staffed well, too.
With the exceptionally large cast of bit players, you know to expect a similarly large body count.

Derek Yee played the stern and earnest swordsman while Jason Pai Piao turned on the charm as his gambling and vivacious partner. Phillip Ko Fei brought the kung fu know-how and speed as the Big Bad. Lau Yuk Pok who only worked in 10 films before retiring played Ye Ching Hua. She held her own, though one of Shaw’s other more established actresses might have given this role the darkness it needed. Ku Feng, a regular Shaw Brothers contract player, made an appearance as one of the doomed Chiefs.

The story was rather thin with just enough substance to tie the numerous fight scenes together. Jason Pai’s Yi Duo kept things lively and entertaining. Phillip Ko Fei often played smaller roles and it was nice to see him in a weightier one. The SB sets and costumes were always more opulent than their Taiwanese competitors and a multitude of stuntmen flipped, flew, and lunged through the walls and railings to sell the action. If you enjoy old kung fu films this is one to try. As always, I grade these cheap, niche, films on a curve.

26 November 2024
Trigger warning: Snakes. Lots of snakes.

Leggi di Più

Well-written and acted, very entertaining : an enjoyable and emotional ride !

This movie is centered around Lee Jung Do who becomes Martial Arts Officer for the Electronic Monitoring Division of the South Korean Police, partnering with Police officers to monitor probationers. It is a topic that I never really see approached in South Korean fictions, so I found the story pretty innovative and super interesting.

The main character is ultra endearing and touching. I love Kim Woo Bin and I never saw him playing that kind of role, requiring such purity and levity : it was extremely well-done and very nuanced. Next to him, Kim Sung Kyun which might be one of my favorite South Korean actor is doing amazing in the role of the probation officer, partnering with the hero. Their mentor-mentee relationship was one of the best part of the scenario. The secondary cast was very good and supported by good writing: frightening bad guys that are serious and credible threats for the nice guys, in addition to believable friendships and family circle.

The filmmaking was very good with very convincing fight scenes which made my heart fasten as it was pretty brutal and worrisome for the parties involved. The soundtrack was pretty good overall in setting the mood during the action sequences, not that memorable but fitting without overpowering.

I would recommend this to people that are looking for a great and entertaining police movie featuring the department that supervises the probationers. In addition to great acting and filmmaking, there are humor, thrills, emotions and character growth. Be mindful of the tags if you have any trigger, it is pretty violent with sex crimes and crimes against children being part of the storytelling.

Leggi di Più

Who is the real madman?

I’m unsure where to start, so I’ll begin with the most striking feature—the cinematography. It was visually impressive, evoking a nostalgic, old-film feel, which I assume was the intended effect. No surprises there, though I did wish for a bit more clarity, perhaps because I wanted a clearer view of Zhu Yi Long’s handsome face.

The lack of music was another effective choice, heightening the tension and enhancing the suspenseful atmosphere of the film.
The performances of all the actors were good, completely immersed in realism.

I also appreciated the timing of the story, set between the monsoon season and the onset of winter. The rain, combined with the crime, created a rich and atmospheric tone that worked well.

Regarding the main plot: I’d set aside the obvious elements, like the murders and investigation, and focus on where the story takes a more surreal turn. To me, the protagonist is disturbed by how everything falls into place so perfectly, and we, as viewers, share in that discomfort. While the simplest explanation might be the right one, the protagonist struggles to accept it.

He seems overwhelmed and stressed, especially with the pressure of expecting a child who might have a genetic disorder. His downward spiral appears to start after his superior questioned him about a Grade 3 Merit Certificate, which he thought he had already earned, but only receives after solving the case.

The film's issue lies in its synopsis—"he unravels dark secrets of the villagers"—because these secrets aren’t truly dark. Affairs and cross-dressing are secrets, but they aren’t life-altering or sinister. There is, however, one "dark secret"—the protagonist’s certificate and the puzzle pieces he flushed down the toilet. Clearly, something is wrong with him. The film awkwardly hints at a past event, suggesting his mind has tried to bury that memory. At least, that’s my interpretation.

As I mentioned earlier, his decline seems to begin with the murder, the certificate, and the pregnancy, and it seems to halt (hopefully) with the murder solved, the certificate obtained, and the healthy birth of the baby.

Ultimately, I suppose what matters is that everything ends up okay for the protagonist... Nothing really new but at the same time not a bad one either.

Leggi di Più