Reviews

A Mother's Struggle For Her Son

“Monster” is an intriguing movie, told from the perspectives of 3 individuals, a single mother who is overprotective of her son and wants justice for him, a well-meaning teacher who finds himself in the middle of an almost impossible situation in which he is falsely accused of hitting a child, and a young boy who is coming to terms with himself and his feelings for a friend. Although not quite the psychological thriller one would expect, “Monster” does a great job in shifting our perspective, in as much as we are constantly being asked “who is the monster?”, while viewing the movie. We are not looking for a monster, but rather seeing victims of circumstances that we empathize with throughout the film and the question of who the monster is becomes the furthest from the audience’s concerns.

Read the complete article here-

https://the-bl-xpress.com/2024/04/03/monster-movie-review/

Leia Mais

Simple and entertaining

I highly recommend this action/thriller movie.
The story isn't overly complicated but it's engaging and entertaining.
It follows a young North Korean man who is forced to become a secret agent and carry out the mission his father started in order to secure a better life for himself and his sister. He goes undercover as a high school student in South Korea with a list of people he needs to eliminate. As he navigates his new life, he finds himself torn between protecting a bullied girl in his class and fulfilling his mission.

Enjoy the movie without spoilers.

Leia Mais

Good Adaptation, better than most of Japan's attempts

Very good adaptation of the source material, but it falls flat in the gag areas.
Golden Kamuy has been known for masterfully mixing a serious story with great gags inbetween to lighten the mood. Sadly while the director is very good for the serious side of the story, the gag scenes are almost flat and bland, they just dont land due to how the camera is positioned, or the timing of the cuts.

Another thing against the movie is casting Yamazaki as Sugimoto, im very tired of Yamada, he is the "safe" actor. He doesnt capture the essence of Sugimoto at all, a better choice would have been Nobuyuki Suzuki or Akito Kiriyama

but everyone elses casting was amazing. I really felt they worked the best. But some of the casting for the future characters seems iffy, such as Kiroranke

But if you are GK fan like me, you wont be disappointed!

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Gory, bloody, no character evolution

I am not a fan of gory films but I gave this a watch hoping it has a good story that can balance out the gory scenes.
What's common in this movie is "no explanation" leaving viewers questioning why:
●C. Ping is the way he is
●100 coins no more no less to kill
●the science project on the women
●What's with the flag marker
●Relevance of the cockfight
●And so many, many more

Production such as scene set, costume and props were aptly mastered here.

Acting was convincing.
Characters written are chaotic.

I can't recommend this movie unless you love gore movies that makes no sense.

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Be careful what you wish for...

Fu Xiao Xiao makes a wish on her 15th birthday little knowing it would come true and how it would change her life forever. A.I. on the surface is a standard wish fulfillment story with the consequences that arise, but dig a little deeper and it might cause you to ask uncomfortable questions.

Xiao Xiao lives with her divorced father who specializes in A.I. research. She leads a lonely life and is bullied at school. After her 15th birthday a new student arrives in her class and every day he follows her. At first she finds it annoying, but the desire for companionship drives her to accept the quietly adoring Su Xing Chen. By accident she discovers his secret and despite his difference accepts the boy who promises to be with her forever.

As I said, this is wish fulfillment-a boyfriend who will never betray her, never lie, never leave, never hurt her. As he slowly learns what it means to love, their relationship evolves, but never sexually. He also never ages which causes people to question their relationship. Eventually, Xiao Xiao wants more, wants to be normal, to be happy. She finds that normal and happy don’t always coincide, especially for a woman who has never had to learn to compromise and understand the work and wisdom a romantic relationship involves. *

The actors had a nice chemistry. What I enjoyed the most about this short film was the music. I don’t normally pay attention to the background tunes, but in this short film that almost played like a music video it was hard to ignore and easy on the ears.

If you can watch this bittersweet tale of love and acceptance on a superficial level, it is touching and sorrowful. If you choose to look deeper, you may discover questions that are troubling and go unanswered.

2 April 2024

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*****************Spoilery Talk Below**************

Xiao Xiao’s emotional growth seemed stunted in regards to relationships. Her picker was definitely off as evidenced by the man she chose as a husband. With Xing Chen she could be selfish and only think of her own needs. She didn’t have to be kind because he was just a machine. And therein lies the problem I had with this short film. Xing Chen was a victim of his programming-to be with Xiao Xiao forever. He had no other purpose, no dreams, no desires of his own. Everything in his world revolved around her and her happiness, even as he began to evolve emotionally. The machine learned to love before she did and also learned a harsh lesson about heartbreak. Despite his growth, there was no freedom, no independence, which I found disturbing. This perfect boyfriend would never argue about taking out the trash or where to have dinner. Vacation in the mountains or at the beach? “Whatever you want dear.” Never even complain about being hidden away in a closet. This was tantamount to slavery more than love. Which also brings up the thorny question of the rights for sentient beings regardless of their form. I know, I know, I think too much. It’s a short film about how a human woman and an A.I. prototype develop a friendship and learn to love too late, and I should accept it at the surface value. Which I did, until I couldn’t.

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Strong Female Lead Movie

Story of two young ladies who want to get back their family blade that their father, a Chief Commander, used while valiantly fighting against the Liao during war. The Liao took the blade as a trophy winning against the brave Chief Commander.

The story entirety revolved within 2 days; from the time the blade was taken back by the 2 sisters then fighting the Liao soldiers who went after them.

The fight choreographies were good and theres a lot of them. Set scenes were done convincingly. Costumes matches the story told. There was just a quirky scene wherein the fight was turned into a staged production complete with spotlight so it threw me off. A serious story that has this made me scratch my head.
No beautiful costumes, emperor's, or palace shown in this story so don't expect them.
Overall, I can recommend it for viewing if you are into period action movies that has a good plot a strong female lead.

Leia Mais

Who are you mister?

Fist of all, this movie was right for my taste. It doesn't have the suspenseful plots and twists or the multi-layered story like other great Korean thrillers, but that's not necessary. Sometimes it's best to be simple and straightforward, and this movie is like that. Clear, short, atmospheric, with great characters and an enigmatic protagonist who doesn't communicate much with words but with his attitude and actions. In another film, we would have learned more about the context of the story and about the motivations of the characters, but here it is not necessary. That is exactly what heightens the interest of the viewer, who can conclude for himself who and what kind of people the characters he is watching are.

Probably not all viewers will be able to immerse themselves in the film, but it kept me riveted and interested from beginning to end. The production and cinematography was great. From the characters, I liked the girl Inbi the most (young actress 류지안), she played her role very well, without much words.

And I'm very pleased with how it all ended, a bit absurd, but satisfying.

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A little gemstone of its own kind

"My Mother, the Mermaid" is a KMovie gemstone. Old school it may be, however offering a sweet and empathic, yet down to earth (love) story without any polish, instead with a little bit of magic mixed in. Overall, the KDrama is ruthlessly rooted in the normality of a fairly simple (and also very South Korean) life.

The most important about "My Mother, the Mermaid": A fantastic Jeon Do-yeon in her double role, a Go Doo-shim in top form, authentically rustic Haenyeo and Jejudo flair of the 1980s and the 'wonder´-ful story about a daughter, Na-young, getting to know more about her rather brash mother and her great love - Na-young's emotionally rather absent and ultimately disappeared father.

Sometimes there are worlds dividing (happy moments in the) past and (perhaps quite sad, desolate) present. But even if the present may now look completely different and happiness may seem to have long been lost, the happy, beautiful moments of the past somehow live on, well protected and guarded within the heart.
And sometimes we may evaluate a situation, a person or a relationship completely incorrectly or at least completely inadequately. Simply because we don't know everything yet...

The KMovie turns out to be an almost tender encouragement to approach life a little more humbly and calmly: Less judging and evaluating - because it kills the moment between here and now. Being open more often - because in doing so we give life a new chance with every moment.







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SIDE NOTE: --- On time, context and background ---

The KMovie from 2004 begins with a sequence that is set in the past during Asian crisis (late 1990s) - the son is inheriting his deceased father's debts... in that case however, his money mainly comes from his wife...

At first we can't understand why the mother insists so much that her large share of money she brought into the marriage was earned by herself and belonged to her, not him - and why it is so important to her that it was intended for her daughter's studies...

…The protagonist's mother was Haneyeo on Jejudo Island. These women of the sea – 'mermaids' – may not have had any formal school education in the past, but they always earned well because they dive for the sought-after, expensive seafood on the deep seabed and harvest it laboriously by hand with their spatulas. (Until today apparently only women can do this freediving job well.) The Haenyeo are people of respect on Jejudo, not least because of their financial independence. They are perhaps the only truly self-confident women in South Korea who are traditionally respected to this day and also have a naturally developed self-esteem as women (not just as potential wives!)...

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Gay sex and artistic orgy

Writing a literary text in which young gay people participate in an orgy is difficult for Augustus Vera, or just Age, as he likes to call himself (played by Jason Maghacot), a young aspiring writer. He knows it very well, as he, almost twenty years old, can only satisfy himself by unloading his semen on the typewriter.
How can you talk about the physicality of the bodies and the intensity of desire in the looks of the guests at these group sexual activities, when you have never experienced one of them? How to cover with skin and nerves the skeleton of characters who are ardent in granting and receiving pleasure in those erotic parties, while they frolic in those places located in basements and closed rooms, a faithful reflection of their occultism, before the hypocritical Puritan society that, while condemning homosexuals with stigma and discrimination, prefers to look the other way and allocate their money to the creation and consumption of literary works that represent heterosexuality, as the only form of family conceivable and accepted by conservative and heteronormative societies. ?
How could he not know it well, when he can only give himself pleasure in the solitude of his room, with the typewriter as his only witness.
You have done your research, you know the subject well, but you lack the experience. That is why the literary character that seeks to involve in an orgy subculture does not flow. It fails to give the desired closure to the story. And there are only a few days left to present the story in a writing workshop. Editorially speaking, it is hard pressed for closure.
To his rescue comes Andrew (Roco Sanchez - 'Lyric and Beat Cinema Cut'), a young man who also pressures Age to overcome his doubts about finishing the story. In this way, his literary character is based on Andrew, this persuasive, bold and adventurous boy.
With his help and the people from the literary workshop, Age finishes his story by stepping out of his comfort zone and potentially participating in what he doubts the most about.
Finalist of the CineMapúa 2020: Online FilmFest, of the University of Mapúa, and the 18th Annual Student Short Film Festival, 'Cumming Of Age', is a short film written, directed and edited by Jayson E. Santos, who also acted in the film ' Under the Sun'. The cinematography is by Harold Lance Pialda.
Using metalanguage, the Filipino filmmaker addresses a subculture that engages people in information and awareness about safe sex and sexual practices that occur in his country.
Attracted to raising awareness about different social issues through his work, Jayson E. Santos has stated "that every individual is worthy of consummate knowledge of consciousness that will nourish him through different artistic mediums," such as his own films. .
That is why he does not hesitate to present a massive gay orgy in his film, which is artistically integrated into the plot.
Gay sex has been in the world of film and television for a long time. It is becoming more and more common and although it seems that it always has to have the extra point of morbidity compared to heterosexual sex, we continue to see it with mischievous eyes. The fact is that if a gay sex scene is already morbid in itself, imagine an orgy.
With a daring and brave ending of explicit sex that occupies around two of the 18 minutes of footage, without wanting to resort to ellipsis, in the manner of other film proposals, such as 'Irreversible', by the Frenchman Gaspar Noé (Irréversible, 2002), with the rape scene, or 'The Taste of Watermelon, by the Taiwanese Tsai Ming-liang (Tian bian yi duo yun, 2005), with the also abhorrent sexual force at the end of the film, Jayson E. Santos shows situations and moments that exude authenticity and a poetic atmosphere of pure intimacy.
Unlike 'Theo and Hugo, Paris 5:59', by French co-directors Olivier Ducastel and Jacques Martineau, the Filipino filmmaker suddenly introduces the viewer into a visual orgy where passionate young men of great beauty give each other warmth and love. . The photography also stands out in an outstanding way, highlighting the enveloping atmosphere, recreated in dark tones, in which a group of people enjoy their bodies.
In this way, what begins on a purely literary level leads to an encounter portrayed in a daring pornoerotic style, thus giving a twist to the topic of gay promiscuity without falling into the outrageous, corny or banal.
The key scene we are talking about is the one that takes place between Age and some strangers with whom they have an unforgettable party. We love the moment in which the young man recreates an internal monologue very consistent with the experience he is living.
Accompanying this central search for the construction of a character in a literary work, there is no shortage of references to professional and humanitarian concerns, such as protection and safe sex.
A couple of scenes, in a practically empty room, in a swimming pool and a room where writers and aspiring writers meet, while they dissect their respective works in a critical and intellectual exercise, give a tremendous touch of humanity to the story of a writer who wants to finish his story to present it in the literary workshop.
I recommend the short film to those people interested in reflecting on sexuality, literary creation and the construction of literary characters, through a film with one of the best orgies in Philippine erotic cinema.

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Realism being to realistic

The weak hero class trauma is hitting again but with none artificial effect. It's raw, the viewer is witnessing everything as part of the friends group. No music, only deep breaths, frictions and squeaks that are going to haunt me. The portrayal of emptiness is field with pain coming from silences and stares.
You can see in their eyes the expression of their feeling which is the opposite of the actual verbal communication. Misunderstanding. Fear of being weak. Toxic masculinity. All this lead the characters to a suit of desperate and traumatising events.
It's heartbreaking and devastating. Lee Jehoon and other actors were really impressive. Was so hard finding this movie online but this was worth it.

"Even if i lose everything, i'll still have you.
Even if others don’t give a shit, as long as i have you, i will be okay."

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Cinema that marries intelligence with emotional depth

The Spy Gone North offers a very finely crafted cinematic experience, blending nuanced storytelling with deeply emotional undertones that resonate long after the screen fades to black.

Set against the backdrop of a politically charged era, the film masterfully navigates the complex landscape of the National Intelligence Service's shenanigans as well as the intricate and often tense relations between North and South Korea. This is espionage storytelling at its finest—deciding to forego the typical high-octane action sequences for a more intellectually stimulating and magnanimous approach. The screenplay is a work of art in itself, demanding the viewer's undivided attention; a momentary lapse of looking at that Whatsapp message could mean missing a crucial piece of the intricate narrative puzzle.

The performances are nothing short of stellar, with the cast delivering their roles with a compelling authenticity that adds depth to the already rich narrative. Complemented by a great musical score, the film not only entertains but also provokes thought, making a significant statement that lingers .

In summary, "The Spy Gone North" is not just an exceptional film within its genre but stands as a formidable entry in the espionage genre. It holds its own alongside classics like "Tinker Tailor Soldier Spy," and I fully believe it has the makings of a future cult classic. This film is a must-watch for aficionados of the genre and anyone who appreciates cinema that marries intelligence with emotional depth

Leia Mais

"One's life is so fragile"

A Mother Should be Loved is difficult to rate for it is lacking the first and last reels of film. Ozu Yasujiro’s film still has compelling moments amid the melodrama of a son discovering his mother is not his biological mother, but his stepmother after his father dies.

At breakfast before school, Sadao and Kosaku’s father has promised to take them to the beach on Sunday. While the boys are at school, word comes that they must return home for something has happened to their father. Sometime after the funeral, the father’s old school friend visits the mother, Chieko, and asks her to continue to raise Sadao as her own even though he was the child of the father’s first wife who died. Chieko loves the boy and says there was never a question she would and has no intention of telling Sadao she’s not his mom. Trouble comes a few years later when Sadao applies for college and sees on his birth certificate that Chieko is not actually his birth mother.

The film is a tad melodramatic for Ozu, though he wasn’t afraid to dip his toe into the sea of tears. At one point I wondered if it was a melodrama or murder mystery as characters died off. But external conflict was not something Ozu used much. This was once again a look at a family being torn apart and whether the characters had the resiliency to bounce back and forge something better. Ozu originally wanted the title to be Tokyo Twilight but the studio insisted on having mother in the title. That makes sense when you watch this movie, the mother was more of a passive character, the focus was not on her, but on Sadao and his inner turmoil. Burdened by guilt and resentment he both lashed out at Chieko and tried to repair the relationship between her and Kosaku.

Ozu’s detailed compositions were quite apparent in this film along with his filming from the mat. Characters didn’t stare directly into the camera as they later would but at each other. Because of the hurt and anger felt by characters, there were also shots from the back incorporated into some scenes. I didn’t think the loss of the first reel hurt the story much though it might have showed the relationship the boys had with their father. The editing and time skips were what I found jarring. Right after the boys have found out their father has died, there’s a scene with them at the dinner table smiling and having a good time. It seemed incongruous with the solemn scene of them walking home from school with their heads down. Occasionally, Ozu gives us tips that time has passed but it’s difficult to tell how much. “Uncle” Ozaki showed up so often and so casually that I thought maybe he and the mother had married. The boys even mentioned him acting as their father, especially when Ozaki told Sadao all that Chieko had done for him and how much she loved him. The final reel was a loss, but at least due to a script still existing, the intertitles explained how the familial conflict was resolved.

Ozu has said the reason he remembered this film so well was because his own father died during the filming. He would go on to live with his mother for the rest of her life, a bachelor and childless. The mother in this film was trying to do the right thing. She loved Sadao as her own child and didn’t want to lose him simply because he wasn’t born from her body. She may have made mistakes but they were from love. Sibling rivalry has difficulty seeing those nuances, instead only seeing favoritism or supposed lack of attention. Both boys saw the other one as favored, the one who was never scolded and the one who was. In this film, Chieko deserved to be loved as she poured her heart into both her boys even when they broke it.

1 April 2024

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Will they or won't they?

I don't know why I like this film so much. It completely lacks chemistry, essential for a love story, the actors seem to be on different sets, the music is meh, the story is cliché ridden...and still I have seen it about 5 or 6 times already! There is something about it that just draws me in....

The story is rather basic: Mico and Xavier are not together anymore. Xavier went back to his girlfried who threatened to kill herself if he left her. They meet again when their class goes on a writing camp at a seaside hotel and, surprise surprise, Mico and Xavier get to share a room together. Finally realizing that Xavier is not in love with her anymore, his girlfriend breaks up with him at which he goes running back to Mico who turns him down.

Mico is the character I liked the most: he is a real mature adult dealing reasonably with the misfortunes of his love life. Xavier is a sweet kid who just does what he's told afraid to disappoint his loved ones, who lacks courage to stand up for himself letting other people make decisions for him. He finally grows up when Mico refuses to take him back!
There is a fun group of support characters: Mico's group of friends dealing with their love life and still there for him, a mix of students: machos mocking gays and ordinary students not accepting that attitude, their flamboyant teacher and of course a new love interest for Mico (who is tempted for about 30seconds!)!

This movie is mainly about Xavier and his character growth and that was treated well. I found his parents' reaction when he comes out to them one of the most realistic ones ever in a BL. They do not reject their son but they are not throwing a party either to celebrate: they are shocked, tell him they need the time to process it but that they love him. No matter how open and accepting one is, in our societies, when it is about your own kids coming out, it may be difficult to deal with it.

The film looks like the crew went for a holiday at a seaside resort, placed cameras all over the place and filmed what was going on while the actors improvised! There are not many people in the resort (COVID) so this seems very likely! I mean the scene where Mico is stung by a jellyfish and Xavier wants to help him...hilarious! Worth the watch just for that scene!

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