Reviews

"The world has changed." "But people don't change"

Jeon Woo Chi: The Taoist Wizard was an uneven but entertaining movie about a mischievous Taoist sorcerer who battled monsters in 16th century Korea and 500 years later. A magical flute that can control the monsters was at the center of a battle between good and evil as Woo Chi and his trusty sidekick Cho Rang Yi attempted to put the monsters back in their gourds.

Woo Chi enjoys bringing attention to himself even when he’s doing it for a good cause and also likes tweaking the noses of the rich and powerful. Armed with magical talismans he performs amazing tricks all of which are frowned upon by his master and sidekick. Rang Yi appears human but in actuality is a dog who can also take the form of a horse. One night Woo Chi crosses paths with another Taoist master, Hwa Dam, and three bumbling shinsuns. These shinsuns are the immortals who accidentally released monsters imprisoned in a heavenly realm by losing track of time while Pyohundaeduck played his magical flute keeping them under control. When the monsters escaped, the flute was contaminated with evil spirits. Both it and Pyohundaeduck fell to earth. The flautist lost his memory and disappeared. Hwa Dam and the shinsuns are searching for the flute. Woo Chi in on the hunt for a bronze sword that will help him become more powerful. After Woo Chi’s master is murdered Hwa Dam and the shinsuns blame Woo Chi and lock him into a painting along with Rang Yi and half of the broken flute. 500 years later the shinsuns release Woo Chi when Hwa Dam is unavailable to fight two dangerous escaped monsters.

Kang Don Won was entertaining as the cocky sorcerer, without his charisma this film would have fallen flat. Yoo Hae Jin is a pleasure to watch and always brings his all to every role even when playing animals. Kim Yoon Seok gave a delightful menace to Hwa Dam. And three competent character actors took on the Three Stooges of heavenly beings. Despite being the FL, Lim Soo Jung wasn’t given much to do until the end.

There was plenty of action both magical and down and dirty fighting between Woo Chi and the monstrous rat and rabbit and their human forms. Wire work abounded and Woo Chi sustained hits even a sorcerer shouldn’t have gotten up from. The CGI was rudimentary more often than not, even for 2009. I didn’t have a big problem with the mediocre CGI but I did have a problem with the editing and lapses in narrative. Some of the story was needlessly confusing and contrived. The actors and action managed to smooth over the ragged seams most of the time.

Though a romance was awkwardly inserted, it didn’t work well for me. This was more a story of a sorcerer and his dog. While Jeon Woo Chi was a lighthearted magical romp, its failure to tie several narrative elements together kept it from casting a spell over me.

3 May 2024
(7.25)

Leia Mais

Ahistorical and convoluted

Combine "samurai warriors" with "basilisk kouga ninpou chou" and you will get this cursed, ahistorical abomination of the movie which only saving grace are obviously high production values, direction and acting.

All wasted on trash "story" portraying historical characters as exaggerated caricatures straight out of samurai warriros so if you played that you know what to expect (mitsunari obsessed with justice, sakon being a cynical war veteran with scars on his face, etc. ), ninja with superhuman abilities who seem like they came from a shounen manga, and all kinda events that simply speaking never happened....starting with the beginning scene where hideyoshi met mitsunari as a child in a temple, which is just an apocryphal rumor, and in reality he first met mitsunari when he was already 18. Or the scene where Kiyomasa Kato wanted to kill Mitsunari, but the latter found refuge in Ieyasu's mansion, portrayed many times as a stage in samurai warriors and completely untrue to history as Ieyasu didn't have any mansion there and likely no assassination attempt even happened there.

This movie is shilling Mitsunari side, and they overdid it hard. I dislike how they portrayed Tokugawa Ieyasu as a complete villain, while writing Mitsunari as a saint. Even his mistakes were because of his good nature.

For example, in the movie he wasn't caught by peasants while trying to run away from the battle. Noo, he was cared for by them and then refused to leave even when the villagers advised him to when Tokugawa troops approached, because he feared the villagers will be executed for helping him and he would rather die then fail to repay his debt to the villagers. Of course, there is zero historical evidence for that, it's just one of many examples of the author wanting to paint Mitsunari as a kind hearted idiot rather than a cowardly villain.

There were also sus moments of technical nature: teppo firing twice in one scene, flat wooden shield stopping a teppo shot, blind yoshitsugu fighting with a spear, crossbows in sekigahara, ashigaru training with swords and shields, and sus amounts of swords on battlefield that should be dominated by spears.

That being said, could be worse: armors weren't paper here, and they actually had to aim for openings in armors to kill their enemies. Overall, individual fight scenes were well done. The group fight scenes weren't so bad either: soldiers actually fought in formations, although chaotically. The blood looked good, and the weapons and armors looked real.

The music is fine but nothing special. The entire romance between Mitsunari and fictional ninja girl was pretty much non existent, so the genre romance is misapplied to this movie.

As many other people said, to understand what is going on here you need to know of the events portrayed in the movie, as well as who is who, as the movie itself haphazardly jumps from one scene to another without explaining what is happening and why. And as I said before, because of various historical inaccuracies and "alternate" interpretations on these historical events, I wouldn't recommend this movie to people who want to learn japanese history.

Leia Mais

Slightly off-tempo romance, beautiful cinematography

There's a lot of promising material in this film, but the heart of the story is a little off-target. The director has a real flair for depicting a city and its atmosphere, in a few aesthetically pleasing but not superficial shots, as well as the emotional weight these cities hold for the characters. It's with the latter that the problem arises: they're well acted (with subtle facial expressions in their interactions) and potentially plausible, but some of the dialogues should never have gone beyond the rough draft stage. As a result, the discussions between characters are sometimes very clumsy, without really having a naturalistic aspect, where key words are repeated over and over again without really moving forward. This aspect clashes all the more with the rather fast pace of this fairly short film, awkwardly slowing down what was hitherto moving at high speed.

When we get away from this heavy-handedness, the characters take on much more meaning, as in the shorter exchanges via webcam, or when the two male leads meet for the first time and exchange introductions in each other's language. The final scene is equally beautiful, full of restrained tension.

The soundtrack is also well done. I can't wait to see her next film; despite the clumsiness of this first attempt, there's a lot to like here.

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Il y a beaucoup de matériau prometteur dans ce film, mais le cœur de l'ouvrage vise un peu à côté de la cible. La réalisatrice a une vraie belle patte pour ce qui est de dépeindre une ville et son atmosphère, en quelques plans esthétisants sans être superficiels, ainsi que le poids émotionnel que ces villes entretiennent avec les personnages. C'est avec ces derniers que le bât blesse un chouïa, ceux-ci sont bien interprétés (avec une mimique subtile dans leurs interactions) et potentiellement plausibles, mais certains des dialogues n'auraient jamais dû dépasser le stade de brouillon. Cela donne des discussions entre personnages parfois très pataudes sans vraiment avoir un aspect naturaliste où l'on répète à l'envie des mots clefs sans vraiment avancer. Cet aspect s'entrechoque d'autant plus avec le rythme plutôt rapide de ce film assez court en ralentissant assez maladroitement ce qui défilait jusque là à grande vitesse.

Quand on s'échappe de ces lourdeurs, les personnages prennent bien plus de sens, comme lors des échanges plus courts via webcam, ou bien quand les deux rôles masculins se rencontrent pour la première fois et échangent des présentations dans la langue de l'autre. La scène finale est également belle, toute en tension retenue.
La bande-son est de bonne facture également. J'ai hâte de voir son prochain film, malgré les maladresses de cette première tentative, il y a beaucoup de choses à aimer ici.

Leia Mais

A rolling coaster of emotion & superb cinematography visualize.

With well-written characters, post-war sequelae, and exceptional acting... this movie just proves that it is one of the masterpiece movies this year.

First, I never thought I would love a MonsterVerse film, and admittedly looking forward to watching this so badly because heard it won an Oscar, even watched "Shin Godzilla" while waiting. I already watched some Hollywood Godzilla movies and never liked them at all, these movies are all just dull and meaningless which created a showcase for the development of their excellent cinematography.

★ The Plot:
The movie unfolds two years after the end of World War II, when Japan's economy was severely impacted and focuses extensively on postwar living and rebuilding the country from the ashes. Japan was embargoed during the time, and not only the economy but nearly every other aspect of life suffered greatly. Godzilla emerged out of nowhere, bringing the country, which was already in disorder and instability, to the edge of disaster.

--> In contrast to Shin Godzilla, which depicts the conflict between the young and old generations in the Japanese government apparatus, as well as the evolution of this monster, Godzilla Minus One focuses heavily on the personal tragedy of "each human face" to highlight the trauma they were forced to endure. All of the characters in the film had traumas following the war. When the situation pushes them to rise and confront a monster they know little about, the characters try to keep going because they believe the sun will shine again one day.

★ Characters:
While the human character arc is often ignored in Hollywood films, in this film it is the focus and core of the plot, contributing to the film's success. Our protagonist is one of the symbols of all the post-war suffering: survival guilt, and the loss of family that every person and soldier in that era went through. Even the supporting characters have ample screen time to express each of their emotions adequately.

★ Acting:
Kamiki Ryunosuke surprised me with his acting skills, he's nailed it as a kamikaze pilot character, the scared eyes to determine eyes, hands trembling, and lines... are all excellent. Other supporting and background actors also give their best in their roles to make their characters vivid.

★ Cinematography:
A big appreciation for the art of the screenwriter & director Yamazaki Takashi he's absolutely talented and one the best ever by making this art with just 15M$.

In the end, congratulations to the director and all the actors for won a best winning award for their efforts.

Leia Mais

"The soil of Burma is red. So are the rocks."

The Burmese Harp was a WWII film based on a children’s book by Takeyama Michio from 1946. The book was written to help young readers come to terms with Japan’s defeat while demonstrating Buddhism’s emphasis on altruism. Music featured prominently with both the Japanese and British soldiers singing as well as the playing of the titular instrument. This was the kindest, gentlest war film I’ve ever seen as the Japanese soldiers came to grips with their country’s loss and hoping to see home again.

A small group of Japanese soldiers are making their way through Burma (Myanmar) to Thailand when they are captured by the British. They learn the war has been over for three days. Capt. Inouye is unsure of what lies ahead of them but says they will face it like men and they will face it together. The Allies ask for a soldier to try and talk a group of holdouts on Triangle Mountain into surrendering. Inouye sends the harp playing Mizushima Yasuhiko and tells him to catch up with them at the Mudon POW camp 200 miles/322 km from where he will be after the mission. Unlike Inouye and his group of singing soldiers, the fanatical soldiers on the mountain don’t care that the war is over. They want to die for their Emperor and call Mizushima a coward. The Brits hit the hideout hard and Mizushima is the only one to survive. A traveling monk rescues him and nurses him back to health. While the monk is bathing in the river, Mizushima steals his clothes and later shaves his head so that he can make the arduous trip back to his men. Along the way he repeatedly comes across the decaying bodies of Japanese soldiers left where they lay. He buries a handful before continuing his journey. When he reaches the Buddhist monastery at Mudon he teaches a young boy a few new chords on the harp (Saung). The next morning he hears singing and finds the Allied hospital staff at the camp singing and praying over a Japanese soldier they have buried. Something inside of him fundamentally alters at this sight and instead of joining his men he turns back to bury the dead. Meanwhile, his men grow ever more concerned at his absence.

This film fell more into fable or fairytale than realistic war drama. Director Ichikawa showed the ravages of war and starvation in his excellent film Fires on the Plain (1959). While the book supposedly touched on Japan’s responsibility for the war and was critical of Japan’s militaristic actions and mindset, this movie veered away from those criticisms. Since the core concept of the film was for children--comfort women, the Nanjing Massacre, and dire reality for Allied prisoners in Japanese POW camps where 40% died was left out. This was a film about healing, friendship, and spiritual transformation in the face of defeat while not shying away from the staggering loss of life from war.

Music played an almost magical role for the soldiers in healing and binding the men together. It also brought out the shared humanity between the Japanese and Allied personnel. “Home, Sweet, Home” was sung by both groups and at one time all together. As Mizushima observed the scattered bodies with birds feeding on them, “O, Sacred Head Now Wounded” played in the background. In typical 1950’s fashion, the men sounded like a professional chamber choir when they sang and Mizushima’s battered saung provided the clear, dulcet tones of an orchestra’s multi-octave harp.

The soldiers longed for home and longed for peace. As they dreamed of returning to their lives in Japan they had no idea of the drastic changes ahead or that many places would be unrecognizable. Mizushima had been reborn while assisting the dead to rest in peace. He had to decide whether to stay in Burma and mend the past or go home and help rebuild his country. While this film may have shown a more idyllic version of humanity it couldn’t hide the horror and monstrous cost of war and didn’t try. This type of meditative, comforting film in the face of upheaval and how humans choose to react and grow was right up my alley. I thoroughly enjoyed The Burmese Harp. “…our work is simply to ease the great suffering of the world…to find the strength to create peace by one’s own example.”

2 May 2024

Home, Sweet, Home (For those too young to be familiar with it)

“Mid pleasures and palaces though we may roam
Be it ever so humble, there's no place like home
A charm from the skies seems to hallow us there
Which seek thro' the world, is ne'er met elsewhere
Home! Home!
Sweet, sweet home!
There's no place like home
There's no place like home!

An exile from home splendor dazzles in vain
Oh give me my lowly thatched cottage again
The birds singing gaily that came at my call
And gave me the peace of mind dearer than all
Home, home, sweet, sweet home
There's no place like home, there's no place like home!”

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August

Zhang Zhehan lost his name in the storm in August 2021, and had all traces of his existence and all his achievements wiped away, so he decided to hit the road again and find himself. Doesn't he have anger and grievance? Doesn't he have fear and anxiety? I think it's all there. In the narration, he confessed the hurt he had suffered, his career was wiped out, he was afraid to go out, and it was difficult to introduce his name to others. But he did not vent or try to express his emotions to the audience. He just told the audience sincerely and frankly: what I have experienced. A cycling documentary, the process of seeing the world, all sentient beings, and yourself! Brave, touching, healing and heart-warming documentary! The Tibet Cycling Trip "August" documentary is not just a scenery film, not just a cycling film, it is about a little boy who always lives in his heart and grows up to become a man, to find himself and his own name. Find a good night's sleep, find inner peace, find the little boy you once were, and find the way forward.

Leia Mais

A fantastic and well made prequel of the original 1954 film.

I never really liked or bothered to watch the countless films that followed the first Godzilla film because most of these sequels exploited the " bad monster destroys cities" theme again and again and again without having any serious plot or character development. Where the first film was all about how human actions affect our environment, the sequels were all about disaster entertainment based solely on the special effects and the scary monster that in the process wasn' t that scary after all.

I'm glad though that I've gave a chance and watched this prequel that has all the things that I enjoy watching. It is focusing on the characters, and it is a great commentary on the consequences of war and disasters on people and society, the survivors' guilt syndrome and the honnorable suicide that was and still is used as an "excuse" for the most horrendous crimes or the most stupid actions.

This prequel makes Godzilla a support character. The monster is still there but in the background and it is the actions and the reactions of the characters that make the monster actions get some meaningful and realistic impact.

The production is great, the special effects very realistic, the depiction of the era accurate and the music compliments nicely the scenes.
Overall is a great film to watch after watching the original 1954 one in order to get in the mood and see what Godzilla was actually all about. Kudos to the producers of this film that they managed to make Godzilla relevant again.

9.5 out of 10 from me as I reserve the perfect 10 for the original first film.

Leia Mais

Something a bit different

The biggest plusses for me with The Greatest Love are that it doesn't follow the standard tropes of lesbian romance and while one of the outcomes was predictable, the other was definitely not. The script and the characters reactions to tough situations was natural and believable; and the fear and anguish of the lead characters at the plot climax was palpable. The ultimate outcome was more hopeful than I expected, given the plot set-up.

I'm going to leave this review a little light on substance because I don't want to risk spoiling the experience of finding something new and different in the genre. Suffice to say, I've already watched it twice and I'll likely revisit it again. Well worth your time

Leia Mais

Love, in its purest form - can create Miracles ❤️

What is a miracle? One of the answers could be: finding love that is selfless and pure, especially in today's world. Which is why movies like this make such a deep impression on you & tugs at your heartstrings!

Story-wise: An intellectually-challenged man & his daughter live happily in their own world. However, their lives are disrupted when the father is wrongly accused of a heinous crime & sent to prison. Fellow prisoners & the warden mistreat him, given the gravity of his crimes - but over time, they realize their mistake & conclude that the man is framed. To make amends - they try to unite him with his daughter within the prison cell and in doing so - experience a Miracle that will last them all a lifetime! ❤️

Within this straightforward narrative lies a tapestry of powerful emotions:
• Anger/Frustration: when you witness the injustice.
• Happiness: when you see the love between - father/daughter, fellow prisoners, warden and officers
• Sadness: when you realize that there are somethings beyond you & you give in
• Hope: when you know even when everything seems lost and at the end, that is when miracles happen! ❤️

I know the focus was the above, but I wish they had shown the wrong-doers getting punished & accepting their mistakes in front of the main leads.

Overall: Highly recommend this to ALL. I myself held off watching it since long as I knew it would be a tear-jerker. Late to watch it, but glad that I did not miss this gem - one of the greatest film experience of our times, that has become a classic. In case you have not seen it yet - don't wait, keep a tissue box handy & watch the miracle unfold! ❤️

Leia Mais

Sensational, Inspiring, and Healing!

"August" is a warm and inspiring documentary story about director Zhang Zhehan. This documentary debut is beautifully performed with breathtaking cinematography and sensational narration. This film makes me realize that no matter what evil or hardship we experience in life, only by keeping going on and never giving up on ourselves, eventually we will see the truth, goodness and beauty of the real world. And along the way, we can even realize our dreams and create our own miracles! Look what an achievement director Zhang Zhehan has accomplished with numerous music credits and awards in less than three years after he lost everything in his career! 《August》is definitely a film with hope, serenity, and strength!

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