Love Storm a bit less Sky

The end of the Thursday rendez-vous , I won't miss them but it was an acceptable story if you consider the entertainment side alone, because it undeniably was.

I much preferred Love Storm to Love Sky, the main reason being the chemistry between the characters. Boss and Noeul managed to bring this uneven dynamic between Phayu and Rain to life in both the domestic and intimate scenes in such a fluid and simple way. On the other hand, in some of the scenes between Peat and Fort, I felt like I was on the set, hearing the director's instructions and seeing the actors comply with them (tap your shoulder, smile, kiss, bow your head, etc. ....).

Both stories have the same flaws:
🍅 A power struggle rather than complementarity. I'm not criticizing Rain's ingenuity or Phayu's bossy, manipulative side, but rather the way it's brought to a head and wrapped up. As for Sky and Prapai, we have two stubborn personalities, both manipulative and who confront each other to know who will capitulate first and once again I didn't appreciate the deconstruction of these behaviours.
🍇Mutual understanding, getting to know each other if you like, is not yet the high point of establishing the foundations of relationships, it's preferred to the passionate side. I have nothing against the kissing and bedding scenes, but I would have liked Rain to talk a little more about himself. It always seems to be a one-side view. Sky and Prapai have been more generous in this area but it's still not enough. When the plot is non-existent because it's intended to be, we should be able to fall back on the characters' portraits. Here, apart from Rain, no one interested me.
🍉 Skimming over serious issues or just brushing them aside as if they didn't exist. To be honest the treatment of Sky's character still sticks in my craw because even if it's fiction you can't let a trauma like hims be swept under the carpet and only be brought up to introduce the token villains and return to the famous clichés of Prince Charming to the rescue of the sleeping beauty.
🌶️ Consent and privacy are still not properly addressed. Some scenes, especially at the beginning of their interactions, will make you cringe. It didn't get any better in a snap of the fingers but overall it's still manageable.

Admittedly, I cited more negative points or to be improved than positive ones, but I can say that you will not getting bored by these two stories, the rhythm is good, the acting for rookies actors is acceptable, and above all, Boss' performance is stunning (you'll want to see him again).

My final rating 7.3 out of 10. Not meh nor good.

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Love isn't always fair

What choice do we make when faced with fears? To run away or to stay, to fight for what you have the right to have and/or to live?

K and Cream decide to keep a status quo in their relationship despite a more than brotherly love for fear of hurting each other, for fear of losing themselves, for fear of losing the other and for the famous for you own good. But in the end what did they gain? Nothing except misery and loneliness.

It's a fairly classic melodrama with its share of sad moments, unknowns and angst. As a bonus if you feel the urge to get angry at characters for missing the main sauce to any relationship in a decent story "communication" then go for it.

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The burden of loneliness

Some encounters via dating apps make us forget our loneliness for a while, if not find love. But what happens when the perception of such a meeting differs, even if we know the purpose?

Is the person who wants a bit of human warmth, a bit of conversation before an intimate relationship to break the ice a killjoy?
Is the person who doesn't care who the other person is an asshole or an excessive adept of hookup culture?

This film, in my opinion, beyond showing the progress of this night, speaks about what each person is ready to do or not to overcome loneliness.

"You know those days. The days when you don't want to be alone. The days when you want to be loved and stay with. On those days, where should I go? "Ye Eun.

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This film in some ways describes a situation that some people with "normal life" have gone through, perhaps in less disruptive circumstances according to society. Seeking comfort, oblivion, the need to exist in someone's arms.

I forgot after a while the profession of this young man and I was embroiled in the story of these women, from the young prude to the widowed grandmother. They share with us their distress, their fear, their choice, their hope. We understand a little better the boxes in which they are placed in Japanese society.

The intimate scenes are very explicit but if we dwell on them, we forget the real message of this film: Morinaka Ryou learns from his clients, discovers himself, grows and accepts his choices.

This movie has many explicit scenes, some offensive behaviors for some people . So please check the synopsis and tag if you want to watch mainly for the actor.

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I have been you, I have learned and I have grown

This short film tells a story that many bi-racial children have experienced in a world where difference is often not tolerated and accepted.
This film teaches us that we should not wait for others to accept us for who we are before we accept ourselves.
Learning self-esteem starts at home from a young age, because we know that everyone's experiences are different depending on where they come from, what they have experienced and how much access they have to information. This film also teaches us that in a pool of people whose ignorance makes them fearful and mean, there is always a glimmer of hope, a human who simply sees us as another human being.
Nelson Mandela once said:
“No one is born hating another person because of the color of his skin, or his background, or his religion. People must learn to hate, and if they can learn to hate, they can be taught to love, for love comes more naturally to the human heart than its opposite.”

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Beyond appareances lies sin

This film was not on my radar and probably without Fatema's post about it on the feed, I wouldn't have even been tempted to watch it.

First of all, it's important to know that the red flags mentioned in the tag are mostly implied, however, even so it's still super heavy because of the atmosphere conveyed by the film's narrative.

This film turned my head upside down as I saw, on the surface, a seemingly mundane story of the murder of a happy couple and their daughter, an emotionally unstable young woman and an investigative journalist in search of the truth. But the truth is hidden elsewhere, the truth isn't so bright, it's even dirty, and in retrospect we find that monsters aren't always as we imagine them.

Unlike many viewers, I like the hyper-slow aspect of the story. We have time to settle down and follow Mitsuko's thoughts, the intensity of her feelings which differs from the coldness of her actions. As for Tanaka, the character makes us uncomfortable, wanting to know everything, there is really this "too much" side to his behaviour which does not bode well.

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Simple but important messages

Every once in a while I'm blessed and come across a drama that meets several criteria I'm looking for at any given time: genre (romance, fantasy) tag (Deity), cast (Lee Soo Hyuk), synopsis a bit vague to be intrigued enough but not totally confused. As a result, it's a winning bet despite some flaws.

The role of Sa Rang (Love) is to help Woven understand human emotions. The first few episodes have shown that her presence, her lightness, her empathy towards each client helped Woven and Joey to see humans in a different light, that sometimes they just have to listen and watch carefully instead of judging. So in my point of vue, it was really no need to include the romantic dimension which was also rushed to the last episode.

In terms of acting, I think Lee Soo Hyuk is well suited to bring to life a cold and unfeeling character and when he's willing to smirk he really does radiate charm. The sex appeal of this man is just incredible. Lee Su Ji is an actress I've never seen before, but I think that picking her wasn't totally bad, she was radiant even if she didn't convince me on the part where she was bursting into tears, her face was a bit rigid. Park Seung Ji, he exuded lack of experience, the gestures were sometimes too overplayed. But I think he has a real presence that makes you want to forgive his average acting.

The cinematography is gorgeous, the colours of the tailor shop evoking twilight really convey this passage to renewal, a new begining that the shop wants to inspire in its clients, to heal their emotional wounds, to console them with quality clothes they will wear like an armour, to give them back their self-confidence, to remind them of their former dreams, to help them move forward with new foundations.

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Unexpected but rather good

We have an explosive duo with the troublesome granny who never stops making complaints and the helpful civil servant who doesn't want to make waves.

Two opposed personalities begin what can be called a relationship (not a love one, of course) or maybe a goodwill exchange. We witness their interactions, funny, touching, chaotic and it feels so good. It's well balanced between lightness, rhythmic narration, emotional touches and we get attached to the main characters.

And then we get an uppercut about 2/3 of the way through the film which reveals why granny Na Ok Boon needed to speak English (it wasn't a desire as the first part of the film would have us think). She disclosed her story, the one that kept her isolated, the one she was ashamed of and yet she was the victim.

I liked the movie, despite the lack of historical background to understand the issues, the fight of these women for truth. It was able to treat a serious subject in a fair and serious tone.

Instead of bringing tears to my eyes, this film made me think about the human relationship with war. What justifies committing atrocities against fellow human beings?

Tip : check Wikipedia to have a better understanding of the historical background.

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The Poetic Genius

The origin of Nirvana in Fire is the book "Lang Ya Bang" by Hai Yan.
The author is also the scriptwriter, which is one of the reasons why the script is so thorough and in the vein of the novel.

Nirvana In Fire is a fictional story with the historical background of the North and South Dynasty period. It uses the massacre of 70,000 soldiers ordered by Emperor Xiaoxuan Liang as the basis for the story. From this massacre, General Lin Shu survives and for 12 years he refines a strategy to re-establish the truth about the reasons for the massacre.
A strategy planned from every angle. Anticipated for any unforeseen event, even if, as Mei Chang Su, the name with which he came back from the dead, says himself, no strategy is infallible.
The plot is superbly orchestrated, we are dealing with a clever character who has created a spider's web to draw each victim into.
More than a chess game, Nirvana in Fire is a hunt brilliantly led by Mei Chang Su. Manipulation from A to Z mastered with a genius rarely achieved. It may seem boring to think, well we know he's going to be the winner and who the bad guys are. But no, the beauty of this drama lies in its simplicity, we already know the endgame and yet we watch in wonder as the villains get caught up in the spider's web little by little because it's the path to get there that is captivating. Everything in this drama is finely tuned, the outcome of each attack is skilfully revealed, neither too fast nor too slow. We know the why but not the how because it's not so easy to guess in advance what's going through Mei Chang Su's head.
I have never seen a character as charismatic, relentless and formidable as Mei Chang Su. An intelligence in the service of good that marries wonderfully with his goodness and his purity of heart. He is the definition of the hero, the one who goes to the end of his mission in spite of a body that fails him, in spite of the adversaries to be put down and allies to be sacrificed.

Beyond the political strategy, Nirvana in Fire is also about LOYALTY, the LOYALTY that the fellow pugilists have towards Mei Chang Su, the LOYALTY that Prince Jing has towards Lin Shu even beyond death.
I loved the intense friendship between Mei Chang Su and Prince Jing, which started out suspicious and became solid long before the Prince discovered the truth.

If the ending isn't a surprise, I don't regret this incredible journey. The strength of this drama lies in the relational chemistry between each character from the most important to the minor role.

If I have only one drama to recommend, even if you don't like political conspiracies, even if you don't like historical dramas, even if you have preconceived ideas about Chinese dramas, I would say, this one is worth seeing over and over again.

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One lipstick, one love

If there is a common cliché in age-gap romances, it's the young man chasing the woman. Why is this? Because it is often explained that a "mature" woman doesn't want to see the interest of a young man and is the last one to fall in love only after all the efforts of the pretender.
So the cliché is in place and we can now focus on the content of the story. I want to say that there is nothing new on the horizon, childhood friends who lost touch when the woman started her professional life. She has had several relationships, he hasn't because she's the only love of his life. So why say I liked this drama?
Because there is no room for misunderstanding in their relationship, the watchword is communication even if the subject is painful. Lu Zheng An knows what he wants and why he wants it. He isn't childish, he just doesn't want to sacrifice his happiness (his love) for things he considers futile. I like it when he says that he isn't against wealth and fame as long as it doesn't affect his lover.
Lin Yang questions her decisions and behaviour towards her boyfriend when she knows that she's acting in his interest and not in their relationship and that sometimes being the oldest doesn't necessarily mean the wisest and most rational. I like the fact that this drama shows us that a woman, even if she is independent and strong, allows herself to lean on a shoulder when she needs it. It is not necessarily her boyfriend, but also her friends and family.

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And if?

The past didn't change, the present is now, tomorrow will be another day.
This film is a reminder that time flies by and we shouldn't get bogged down in a relationship that doesn't give us happiness, maybe happiness is an overrated word but at least satisfaction, the pleasure of being together. We must not forget ourselves in the name of marriage.
It also reminds us that perfection does not exist, we have the right to seek it, but we must not forget the reality and this reality remains beautiful when we start to accept it. Life is not a drama as Mandy would like it to be.
I am sad and at the same time grateful for the way Wei Chung is portrayed. Despite his sexual orientation, despite his feelings for Thomas, he remains upright, faithful and it's heartbreaking because you understand his sacrifice.
Sometimes the quest for happiness also involves sacrifice and I like Feng's decision. She is right to think of them individually. They remain a family, time and distance will not change that.
The pace of the film may seem slow but I personally enjoy it because we are not looking for sensationalism, we are watching a slice of life of a man at the dawn of his forties.
Do I need a sequel? Yes Should there be one? No, let our thoughts wander and imagine their story.

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"The Seven Samurai" is like describing the summit of Everest, the holy grail of the seventh art

This film is one of the best I have ever seen. You don't see the time passing, so much the story takes you away and the rhythm is sustained.
Kurosawa's way of shooting has inspired many westerns (including an American adaptation : the Magnificent Seven by John Sturges) and this is understandable when you look at the superb sequence shots that punctuate the film.
Kurosawa also manages to develop his characters like no other and succeeds in making them endearing and more profound than their apparent superficiality would suggest.
The actors also play their respective roles brilliantly. Toshirô Mifune, to name but one, plays his character of Kikuchiyo to perfection and manages to make him credible despite his lack of seriousness.
The music also contributes to the special atmosphere of the film and the silences are perfectly distributed.
So to conclude my review:
Arm yourself with an open mind to discover the great Japanese cinema.
Be prepared because the film lasts more than 3 hours but it will open the doors to a black and white show which will transport you into a story such as one rarely encounters in the cinema nowadays.
Quite simply a masterpiece!

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A game sequence as a liaison to introduce the people who are going to help him. The idea is good, but it would have been nice to specify how long they have been together as a team to give more weight to their dedication. As for the violent scenes (heavy scenes), I'm surprised that there were no physical or psychological after-effects.

~~ I can't say that the actors are bad but this is the kind of film where the cast is interchangeable, all of them w/o exceptions.
~~The sequence of events are rushed in the second part. Some scenes are shown to surely pique our interest, to anticipate the next action but in the end they are poorly interwoven.
~~ The golden rule for this kind of scenario to work and keep me hooked on my seat: come up with smart, please smart, villains. I don't need a guy who blabs for a minute about his sense of accomplishment.
~~ Were the fight scenes (or at least what were supposed to be fight scenes) supposed to be done in the dark? How am I supposed to appreciate the quality of the choreography?
~~ It didn't reinvent the action genre with the typical "wrongly accused" + "revenge" + justice seeking ingredients but it's watchable.
~~ Don't expect an emotional connection from the gang or their inner thoughts on what motivates them. No, everyone does their own thing and everything works out fine.

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The story isn't really repetitive or boring and I think that 17 episodes was reasonable.
What I liked least:
- Everyone in this story lacks common sense except maybe Lady Pin at times.
- The big secret that was discovered in less than a minute by the villain of the story and the outsiders to the family pissed me off.
- In regards to the ending, the classic rivalry that is systematically found in a lakorn isn't transcendent, it lacked a certain amount of fierceness.
- The point that bothered me the most was the acting, most of the audience was ecstatic about the chemistry of the m/m couple whereas I witnessed two guys playing their roles each in their own spot w/o really interacting (no, I'm not even talking about a kiss, but that palpable tension that gives you goosebumps just watching two actors interact)
- Overall the acting for all the casts is exaggerated.

However, where this story wins points:
- It was broadcast in mainstream and therefore didn't target only BL lovers and that's more than positive.
- Karma is in the spotlight and keeps a certain logic.
- The educational aspect, the emphasis on the notion of respect, empathy, forgiveness and the bromance. I don't remember seeing in a Lakorn male characters so respectful, whether it's towards women, towards subordinates, towards the poor, or to put it simply, towards others, and honestly, it feels quite pleasant.

Personally I'll forget Jiu and Tian pretty quickly, but I'll remember the kick-ass bromance. Final score 8.3 out of 10 thanks to the best relationship between brothers Yang and Tian.

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No consistency

Honestly, what a waste! The synopsis was promising even if it's a short film. Kisses and abs don't save a film with a mediocre plot. The screenwriter must have thought he was the Picasso of cinema and an abstract story could become iconic.
I'd have liked to know a little more about the background of the characters. Why Xiang became a militant and why Vic considers himself weird. It would have given a little more meaning to their divergences. The dialogues don't make any sense, the bed scenes are useless for the most part and don't bring anything to the story.
On the plus side, the film isn't at all centred on their sexual orientation and this is a real breakthrough.

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