Reviews

Tori Matsuzaka is mesmerizing

Tori Matsuzaka was the perfect choice for this role! After watching this movie I can't imagine anyone else playing the character. To tell you the truth, he is the only reason to watch this. The perfect, gorgeous, psychotic killer with the mesmerizing eye and devilish grin!

The FL was ok, at least she didn't turn into a damsel in distress. For some reason Mackenyu was in this even though his character was almost non-existent. The rest of the characters were pretty much Japanese crime movie 101.

I would love to see the story fleshed out more. Who is this captivating ML and how did he get his powers? Turn this into a series and watch the cat and mouse games continue!

Another movie to watch after turning your brain off. Don't worry too much about a deep story line and don't expect any life lessons from this. Just enjoy the ride. And the eye candy.

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Profound, thought provoking, Wong Kar-Wai inspired, the movie will worm into your heart.

“Love You To Debt” At first, I thought it was a teenage romcom with forced laughs. Not at all. It’s a drama about Thai society viewed through an improbable love between a debtor & debt collector. The movie is a remake of Korean “Man In Love”. There are many beautiful scenes, some with influences of Hong Kong movies. Wong Kar-Wai provides inspiration for several scenes.
The movie is more profound than anticipated, giving you good food for thought, entertainment, philosophical perspective on life partnership, or even as a cautionary tale on what not to do in life. In the end, it worms its way to my heart. After watching, it’d be best to be neither a debtor or a lender. And if you are in love, hope the two will make each others’ lives better.
(Translated from a review in Thai by movie critic Phitsanulok Review.)

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It wan not a movie, it was a whole journey

which is more painful? the agony of a mother who almost lost her son in an accident and now in coma or the agony of the lover who was in the accident but survived . this story drives into many directions and open up new ways of seeing and accepting the reality. the situation they both face might not the same , the pain, the regret and guilt is the same. the mother and the lover both taking care of one person they treasure the most ,only hoping to see him open his eyes and smile again. this journey is not only about the son but also how the mother accept the lover and support them throughout .

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"Whatever happens, we'll come back for you"

Onoda: 10,000 Nights in the Jungle told the true story of one of the last Japanese holdouts after WWII. Japan surrendered on September 2, 1945. The war ended for Onoda Hiroo 29 years later on March 9, 1974. During his training as an intelligence officer he was told he had to survive at all costs and that "Whatever happens, we'll come back for you.” Onoda learned the hard way that the military was not as loyal to him as he was to the mission.

“We will be back for you. We will be back. Whatever happens---survive!”
Late in WWII, Onoda Hiroo fails pilot school because he has a fear of heights and dying. He’s recruited to train as an intelligence officer and in guerilla warfare in December 1944. Before he leaves, his father (mother IRL) gives him a dagger to kill himself with rather than be captured should the need arise. When he arrives on Lubang Island none of the other officers will help him with his mission which was to disable the airstrip and port. Most of the soldiers are hungry, demoralized, and/or ill. The Americans take the island shortly after his arrival. Soon the only Japanese soldiers not dead or captured are Onoda and the three men he chose to work with him---Kozuka, Shimada, and Akatsu. Believing they must hold their ground until more Japanese forces arrive, they set up camp in the jungle and cause damage to the farmers’ fields in order to keep the locals afraid of them. They subsist on whatever they can find or steal, taking up residence in caves or homemade huts. The small group of holdouts refuse to believe the war is over and patiently wait for reinforcements.

“Try to change the way you see things”
Two different actors played Onoda and his second in command, Kozuka. They all performed admirably as the characters aged and learned to survive in the jungle and rely on each other. The film confined most of the shots to the men and their duties which displayed their arduous methods of staying alive. Bound by their limited outside contact, their lives seemed incredibly sad. They were completely isolated and separated from family and loved ones. As much as the film focused on the holdouts it would have been nice to gain the locals’ perspective of the killers in the hills and the fear they instilled for a time.

“They know that what is complicated and even incomprehensible, sounds true!”
My first thought when Onoda’s father handed him the dagger and told him, “Your body is the Fatherland. Do not let it fall into enemy hands,” was the Spartan mothers’ declaration to their sons, “With your shield or on it.” Ordered not to die and trained to unconditionally obey orders, unwilling to return home defeated, and determined to prove himself, Onoda’s psyche was trapped in a nightmare in the jungle of Lubang. The outside world and even loved ones attempted to convince Onoda that the war was over, but he could only see conspiracy theories everywhere he looked, convinced that Japan was still fighting. Eventually, he had access to newspapers, magazines, and a transistor radio but believed it was all an elaborate ruse to trick them. At some point, Onoda’s rigid obedience and views appeared to come across as an over-inflated sense of self. Why would the enemy go to such extraordinary lengths to trick one man? If he was that important they could have sent in a wave of soldiers to kill him or just bombed the jungle. Onoda had a high level of cognitive dissonance as he clung to his beliefs in the face of harsh opposing facts.

“What if we killed people we’re no longer at war with?”
Onoda and his men were resourceful and resilient. The youngest left after nearly 5 years and another was killed after almost nine. When the second in command was killed after 27 years of holding out, it seemed to chip away at Onoda’s confidence. Despite their incorrect assessments, Onoda and his men were a product of their training and propaganda. They truly believed they were serving the greater good by holding their position on the island. It took as much determination as denial to be separated from family and friends, to live on roots and fruit often with only rudimentary shelter for nearly three decades. In 1974 a Japanese adventurer discovered Onoda and befriended him. The young man caused Onoda an existential crisis as the holdout could no longer deny that Japan and the world had changed. The military bore responsibility as well. The loyal soldiers killed 30 inhabitants over the years. Two of the four died pointlessly and Onoda lost 30 years of his life because no one cleaned up the mess they created. These soldiers were imbedded on islands in the last months of the war when the writing was on the wall. VE Day occurred not long after Onoda was stationed on Lubang and Japan surrendered in August of 1945. All it took was for Onoda’s superior to come back for him. Unfortunately, for Onoda, his men and the people of Lubang, it took nearly 30 years to do so.

30 April 2024

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Marketed as romcom. Directed to be thought-provoking. Tries to be both. Ends up failing to be either

Turns out, if you try to mix a simple love-conquers-all romcom message with a seasoned life-can-be-hard approach, what you get out of the blender is a we-may-do-terrible-things-but-it-works-out-fine kind of outcome.

By the way, just casually walking home in knee-deep water after a downpour... culture shock right there. But moving on.

This movie was sometimes interesting and funny with amusing directing choices, but overall I didn't like the story much, wouldn't watch it again nor recommend it to anyone.

What's the point of this story? A commentary on 'timing' in relationships? It tries to be somewhat realistic and thought-provoking but ultimately fails and winds up shallow and immature.
The two main characters don't really get to grow and change as people and in their relationship with each other. The story basically goes through a lot of twists and turns but doesn't ever get very far.
It borderline romanticizes some toxic choices... and in the end the conclusion seems to be something such as "I just wasn't lucky before but now that might change"... like what?


Okay, real spoilers ahead to go into specifics.


The plot itself seems to be indecisive whether to attribute Guy's and June's apparent bad timing to random bad luck or admit instead that it is, at least in part, consequence of their own making.
Of course some coincidences might be unhelpful in our protagonists' journeys, but isn't that stuff that happens to everyone?

It would make sense for the point of the story to be that they should mature and learn to take matters into their own hands in a responsible manner.
For example, June should stop staying with her boyfriend for her emotional security, get a grip and break up with him in a fair manner so she can try to become her own person first and have a healthy relationship with someone she actually likes later.
And Guy should stop moping and pining aimlessly. For years at that. Instead of drinking excessively, avoiding the matter or presenting it in such a messy way, he should learn to set things straight from the start and have clear conversations.

Guy could just go and say:
"Hey, June. I would like to be honest with you. I like you. We get along so well, and, though I might be mistaken, I thought you'd feel that way too. Now, I don't want to mess up any relationship that you currently have, but I thought I should tell you this. Even if it doesn't sound very good, I can't help but wonder if right now you are with the wrong person for you. This is probably very biased and selfish of me, but still, as you are someone I care about, I thought I'd tell you all this. Please think about it and after some time answer me however you see fit"

There. Then step away and allow June to think things through and give him a clear cut answer.

No messiness. No misunderstandings. No temptation to cheat. No betraying the other's trust for your own benefit of wanting to get together with them.
If June realized that she didn't actually like her boyfriend even if he was a good person, then she should break up with him regardless of getting someone else's confession. Then she could choose to accept Guy's feelings or address them in some other way. Personally I think she should get a life first instead of living through someone else like that.

But instead, the two of them make all the mistakes and we don't really see them evolve as people. We get a glimpse that that might happen... maybe. And that could have been it: learn from mistakes, there are consequences, be better, end. But then the movie ends making it seem the only important thing was that they should get together eventually and that the process wasn't all that important besides being painful and that they were just unlucky and such. After all, there were good things too, so it should all be alright, right?

So, pretty flat. Character growth? Practically invisible. Healthy relationship? Not so far, no. Lesson learned? Not at all, it was all on the bad timing.

Then, they can keep being self-centred, irresponsible and communicate badly. That's fine 'cause stuff works out in the end and the person who gets hurt is just a side character.

The potential was there... Pity.

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An eerie relationship between a detective and his murder suspect

A dark romance between a detective and his murder suspect certainly captivates its audience. Me.

The story is about a detective helplessly falling in love with a murder suspect who was the main suspect of her husband's murder. As the movie takes us through the journey of the detective's romantic and emotional roller coaster, the woman was cleared of the murder simply because she had an alibi.

However, the detective discovered another piece of evidence that proved otherwise.

What did he do?

The story began from the moment he decided to deal with the evidence.

The last scene on the beach is truelly heartbreaking.

Watch this movie.

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what a good surprise

estou levemente impactado com este daqui. não estava esperando metade do que ele foi, fui assitir despretensiosamente e sai surpreso com a qualidade que ele entrega.

eu acho muito interessante acompanhar religião/mitologia ser tratado em filmes pois é sempre 8 ou 80 e aqui é um 80! eu achei de uma certa forma fascinante os elementos que são apresentados aqui, o modo como alguns rituais são feitos, artefatos que são apresentados e toda relação dos personagens com esses elementos. não é o tipo de terror que te assusta mas te faz aproveitar todo o tempo de duração

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I have conflicted feelings about this movie. While I -a fan of the drama- have somewhat enjoyed watching it, it did feel redundant & a bit messy. In all honestly I have extreme doubts that someone who has not seen drama could even understand let alone enjoy this. The plot is about as complicated, if not a bit more so than the original drama's main plot (it's the same with complications basically), but all that is presented in 100 minutes, It's a bit like imagine Back to the Future 1-2-3 as one 100 minute long movie, would we even root for our heroes with that little buildup to the various time travel events that happen there.

Oh well, Wu Bai is still legend & Last Dance is still one of the best songs I have ever heard!

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A lot of interesting ideas but not enough time to develop them

This short wuxia movie (only 37 minutes) is a mine of good ideas. A powerful sutra that could wreak havoc in the martial world is hidden on the body of a blind boy, who is being chased by enemies eager to seize power for themselves. Unfortunately, there is not enough time to develop this interesting storyline.

I like the cast performance, they did a good job conveying the development of the main relationship. I was not that invested emotionally but I think it might be due to the lack of time as well as the fact that I guessed properly the central elements rather than because of the acting.

The music was not that memorable but still nice and suitable for the movie. The production was very good: there were some striking fight sequences.

I would recommend this movie to people that are looking for a short wuxia movie. If you need a bite-size watch, this is clearly a good choice if you do not expect too much from it. In the same vein, I liked (even better) "Painted Skin: The Guo Jingming Edition", so if you enjoyed that one, you might want to give "Wuliang" a shot.

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An unrequited love

Kenneth (Andrei Desales), is trapped in a "friends with benefits" relationship with his friend Rayu (Jude Maquiling), in which he gives everything and gets nothing in return.
But chaos emerges after an unintentional mistake, and Kenneth must face the consequences of loving a boy who doesn't love him: like Icarus, Kenneth will have to pay the consequences of flying near the sun.
Directed by Angel Aguihap, the short film 'Icarus', produced by The Hillside Echo, is a bittersweet story of two college students involved in a one-sided homosexual relationship in which one gives everything, but the other is unable to return more than affection. superficial.
Premiered at the 10th FCU Duag Student Film Festival, the film, with an LGBT+ theme, won several awards, including Best Director, for Angel Aguihap; Best Set Design, for Nick Andrei Desales, who in turn won the award for Best Actor, and Best Supporting Actor for Jude Maquiling, Best Photography and Best Poster for Joshua Solis.
This is a great short film because it has an excellent script and wonderful direction.
The film will make us reflect on the many dangers of sex without "conditions", especially in a long-term situation like that of the two protagonists. Within the framework of their unconventional relationship, Kenneth has developed feelings for Rayu, but it will not be reciprocated. Rayu has built a wall around himself that Kenneth will never be able to tear down.
With admirable performances, I was particularly impressed by the performance of the actor who plays the role of Kenneth. Her bitter crying, her pleading, her little hiccups of pain as she tried to express her feelings and emotions to Rayu, watching his tears flow freely, are heart-warming images. The viewer will feel compelled to hug him to provide comfort and protection.
It strikes me that the Bisaya language, also known as Cebuano, was used in this Filipino film, since in general I have enjoyed the use of Tagalog.

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"It's ridiculous!"

Director Mizoguchi Kenji threw me for a loop with The Lady of Musashino. Unhappy marriages, infidelity, and premarital sex abounded in this postwar film. The main couple exemplified the changing lifestyles and social norms being explored as Japan tried to find its footing after everything came tumbling down. Michiko was as traditional in her morals as her husband was laissez faire regarding his.

After fleeing Tokyo during the bombing, Michiko and Tadao go to live with her parents. Her family comes from a long line of samurai and the property has been in the family for ages. After her parents die, Michiko inherits it. Three years after the war, her cousin Tsutomu finally arrives home after having spent time in a Singapore POW camp. Tadao is a professor who believes that infidelity is an expression of free will and proceeds to live out that philosophy. He encourages Tsutomu to live in town while attending university so that he can enjoy as much sex as possible. Michiko’s cousin Ono and his wife Tomiko have their own open ideas about marriage fidelity as well. Both Michiko and Tsutomu have a love for Musashino which develops into feelings for each other. Will Michiko’s rigid morality stay in place in the face of handsome Tsutomu’s advances?

Mizoguchi at first seemed to be conveying the idea that women were treated unfairly in marriage and divorce. Tadao was thoroughly reprehensible even as he lauded the new law being passed that would no longer make it a crime for women to commit adultery, men could continue to do whatever they wanted as always. It was difficult to be invested in this story as most of the characters were selfish and unlikeable. Even Michiko’s noble idiocy began to wear thin. Tadao made a mockery of their marriage and her and even tried to leave her homeless yet she still made excuses for him. While it was true that women could become boxed into a corner with few exits, Michiko could only see one due to her narrow views. Like me, love-stricken Tsutomu had trouble understanding her train of thought. When she tried to explain why they couldn’t be together at the moment, “If there are more and more unhappy people, morality will change,” it wasn’t long before Tsutomu replied, “It’s ridiculous!” The moral of the story was pretty convoluted by the end.

What was effective in this film was the camera work. This was a magnificent film to look at even in black and white. Tsumoto’s arrival through the trees and fog was stunning. I would love for it to have been in color in order to bring out all of the hues of the forest and water as Michiko and Tsutomu explored Musashino on several occasions.

Mizoguchi repeatedly stressed how “everyone is running around in a fever with no morals.” The societal anxiety of a postwar Japan was felt in nearly every scene. The decline of traditions represented by the old samurai estate appeared to not only be caused by Western influences but as a reaction to a way of life that led up to the war and during it. Near the end of the war Michiko was given cyanide for the family by the military when she went out to buy their rations. While she thought about taking it, others around her told her how cowardly and ridiculous it was and the same response was given when a family member died “honorably” by taking his life.

The Lady of Musashino was an uneven melodrama and criticism of changing mores. The memory of the “simple, green, beautiful” Musashino that had helped Tsumotu endure while being a prisoner was fading as quickly as the old way of life. Faithful Michiko arduously clung to the traditions of the past and paid a terrible price for her stubborn morality and sense of duty.

29 April 2024

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