Reviews

Although this "Droste no hate de bokura" aka "Beyond the Infinite Two Minutes" predates "River, Nagarenaide yo" by three whole years, I actually watched them in reverse chronological order and at the end I couldn't help but think that this one must have been, like, the director's "rehearsal" before he could finally come up with that masterpiece that is "River,...".
Both works, in fact, share the same fascination with time loops and the technical prowess required to portray them through sequence shots. And of course they are from the same director and share a relevant part of the cast.
I personally think that the story here is just a lil' bit weaker, and the setting a lot less fascinating (let's be honest: beautiful ryokan in the hills around Kyoto beats small family restaurant/café in an anonymous city side street any day of the week!!! ^_^;;;....), hence my grade.
It's still another wonderful movie I can wholeheartedly recommend, though! 9/10

Leia Mais

I liked this so much, I'd want to give it more than "just" 10/10!!!

Seriously, there are times when you watch something so tremendously satisfying, that you kinda feel bad for not being able to rate it more than "just" the top grade, and it is precisely the case with this fabulous "River, Nagarenaide yo"!
Hard to explain why it hit me so much without giving anything away (and that'd be a pity 'cause it would deprive you of the pleasure of finding out by yourselves!), I'll just say this: the premise is as interesting as they come; the way they actually made it work was nothing short of a serious stroke of genius; the technical difficulties I can only imagine but must have been something indeed, chapeau for the way they brilliantly overcame them; the cast did *marvelously*, with a special mention for the amazing, lovely, gorgeous (I could go on and on!) Fujitani Riko; the setting is simply F-A-B-U-L-O-U-S; the "packaging" absolutely top-notch (I normally am not really a fan of hand-held cameras, but there was no other way to make this work!).
What are you waiting for? Go watch this *now*! You'll thank me later! ^____-
10/10 and instant top10 of all times, as far as I'm concerned!

Leia Mais

An interesting take on society

There is something about this movie that reminds me of My mister, not that it gets near to the mindblowing dialog and content that you get in 16 episodes but more of a preview, My Mister with the same feel and a bunch of pretty good lines. A movie that offers a mist of My mister that covers a movie about found family, prostitution and above all adoption.

Through the characters of this movie could be deemed in somewhat extream situations the moive offers is a an odd familiarity, day to day... beige feel to it.... Not at all out of the ordinary yet still really out of the ordinary all at once wich is pretty cool.

There is a great show of character development and change of discourse throughout the movie that highlight a whole lot of important issues and the importance of safety nets and or support systems and how it is all connected.

First we let social wokers have their go, and when they fail it is the cops turn to swoop in...

The actors did a great job, the cinematography was dark and depressing (which fit the movie really well) and the story is one that needed to be told.

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Japanese gothic tale

I am a huge fan of gothic horror and dark fantasy and this one was a mixture of both. Beautifully shot and i guess its based on a really popular folk tale.

I am a fan of the simplicity of the movie...it really is very theatrical and natural. Only because its vintage it was also very dream like.

I really like Love stories like these where people just so deeply fall in love that they transcend the boundaries to be with each other....the story itself is so beautiful....a timeless romantic tale which is also very haunting but not terrifying.

I want such folk tales to be interpreted by women and see what they do with it. Maybe because this was interpreted by a man...this felt a bit dry on the part of characters. But otherwise good.

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Get ready to laugh a lot and just have a blast with this one

I had to give this a 10/10, even it wasn't technically perfect. It made me so happy watching it and I couldn't stop laughing and smiling. That, to me, deserves a 10/10. It had places where I thought they'd go in a different direction or where I wanted something else to happen, but it was great honestly. I loved the cast and I couldn't think of anyone better to play the lead than Jinyoung. This was the first thing I saw him in and he did so great I just can't imagine anyone else in the role.

If you love body swap shows, then you'll love this. It was really not what I expected in a body swap, but in a pleasantly surprising way. I just loved every moment watching this. It was one of those movies where I wish I could bring back that "first time watch" feeling every time I watch it. I hope that pumping it up won't ruin it for others though, as your expectations can change the way you view and it and I went in not expecting much.

I would say to go for watching this when you're in the mood for some comedy, great acting, and when you're just ready to have some fun. i had a blast watching this and I hope others will be able to enjoy it as well!

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The opportunity to correct the mistakes we have made in our lives

Without a doubt, 'Soon of Macho Dancer', 2021, (Original title 'Anak Ng Macho Dancer'), can be considered the legitimate heir to the film series started by 'Macho Dancer' (1988), in which rentboys confront to the sordid realities of poverty in the Philippines. In fact, its director, multi-award-winning filmmaker Joel C. Lamangan, stated that his film was the first authentic sequel to Lino Brocka's greatest global success.
This last film was followed by other films with high-voltage homosexual themes such as 'Midnight Dancers' (1994), 'Burlesk King' (1999), 'Twilight Dancers' (2006), all directed by the late Mel Chionglo, interested in continue exploring the world of dancers who pose in scanty clothing for the homosexual clientele of Filipino venues.
Let us not forget that Brocka first attempted to depict the underworld of male prostitution through a largely improvised sequence in 'Maynila: Sa mga Kuko ng Liwanag' (1975), most of which was removed after the author of the original novel opposed the invention.
Considering the defiance and frustration that Brocka expressed just before his unexpected sudden death, 'Soon of Macho Dancer' could very well be the film he would have made had he survived to the present and the current discontents in the Filipino population, not very different from those of his time. No greater award can be given to a Filipino filmmaker who claims to have made a work worthy of the highest aspirations of the director of 'Macho Dancer', and Lamangan's film turns out to be one of those rare cases.
Most of the characters in these films have in common that they are overwhelmed, defeated by the sad political and socioeconomic reality of the Philippines, which is why they will be forced to practice prostitution as a means of escape from misery, in addition to being driven to claim freedom. lost dignity, without ignoring the insularity of the situation of sex workers.
'Macho Dancer' paved the way to investigate the degeneration induced in the Filipino population in general, and the male population in particular, by the presence of US military bases that curtail national sovereignty while exercising a not-so-hidden political and economic power. but they abandoned those concerns once the main character leaves for Manila or another major city in the country.
Lamangan, who played the role of a rebellious queer lady in 'Macho Dancer', 33 years after its controversial premiere, gives 'Soon of Macho Dancer' the same perspective of a hellish underworld. In this film, the director continues the story through Pol's son, the protagonist of that film, also forced to enter the sordid world of prostitution, when the coronavirus begins to reveal itself as a pandemic.
This pessimistic vision of today, which, however, is not as dark, sordid and sensual as the original, revolves around the coming of age of Inno, a 19-year-old boy who, together with Karla (Elora Españo), his girlfriend, sells clothes online offering sensual dances in front of her mobile camera with the aim of motivating the client, she has to help her father Pol (Allan Paule), a retired stripper addicted to drugs. His dancing skill will be shown later in another gloomy and dark setting.
To get out of debt and pay bail for his father, who is frequently imprisoned for public scandals associated with drugs, Tere (Rosanna Roces), Inno's mother, forces him to work in a male strip club. Like any merchandise, he sells it to Mama Jimmy (Jim Pebanco), the owner of the establishment and retired macho dancer: "He dances well and has a good penis." Faced with Inno's resistance, he assures him: "Your penis will be very successful here." In another scene he instructs him: “Use your head. If you are offered the opportunity to choose between being supported by a gay pimp or a woman, be sure to choose the richer one.”
But just when Inno starts working, Tere, who had turned to prostitution to support the family after Pol's car accident, abandons her son and her husband. At the same time, the club's premises close due to the Covid-19 pandemic. Circumstances put pressure on Inno's life, and he finds himself in need of money like never before. The family dynamic has changed drastically, as the father demands cash to pay for the drugs. Faced with this reality, he breaks up with Karla, whom he considers a hindrance, and delves into the exercise of selling his body in order to survive.
In Club Mankind, Inno will meet Bambi (Jaclyn Jose), a former prostitute who organizes private parties to sexually satisfy the rich. Inno, as "fresh meat" placed on the sales platform, is invited by Bambi to join those parties, but at the first opportunity he fails to be chosen by Kyle (Ricky Guimera), the attractive 19-year-old boy in charge of choose the young man with whom you will have sex.
Although initially nauseated by the abject nature of his new sex work (as opposed to the dancing for the audience, male or female, or escorting that he used to do at Mankind), Inno manages to find some professional equanimity in selling his body, motivated by his father's deteriorating health, increasing financial pressures, and buoyed by the camaraderie of his fellow dancers.
"This place is a pit stop for you. But it's a happy stopover for those kids looking for a better life. I know it's what you want. But don't let your heart guide you. Reject anger. Use your head. That's it the only thing that will help you." With the advice of Mama Jimmy who transmits her experiences as a veteran macho dancer, very similar to those of Tere, Inno turns out to be more skillful than expected. He understands that it was not Kyle, who he would have to conquer in his quest for a better life, but Jun Mallari, the wealthy gay businessman hidden in the next room, who masturbates while watching his favorite sex toy on the cameras with the boy on duty.
In this way, the main character of this film that combines drama, thriller, prostitution and homosexuality, seduces Jun, attracted by the life full of comforts that it offers him, becoming his new sexual puppet and abandoning his father, without to know what awaits him in that world that has opened its terrifying doors to him. Feeling like owner and lord of the mansion he shares with Jun, he will soon want to escape from it and get away from hell.
It turns out that the additional challenges that await the narrative hero increase from this point, quickly and terrifyingly, without giving us time to catch our breath. The turning point occurs in a chain of events that begins with Pol's arrival at Jun's house to look for his son, and the plunge that the protagonist suffers into an underworld of drugs, violence, crimes and parties to which his Millionaire lover invites prostitute boys.
From the get-go, Kyle warns Inno to stay away from Jun before it's too late. But Inno, mistakenly believing that he is acting out of jealousy, turns a deaf ear and ends up entering a world even more violent than the one he was escaping from.
Throughout these dramatic changes, Lamangan ensures that we are aware of Inno's plight by maintaining unconditional empathy with the character he seeks to save at all costs.
The film shows a sordid and violent world, in which the main character will see his self-esteem gradually diminish, especially when a client asks a male dancer to do something he doesn't like. It is natural. The loss of dignity and virility due to the money he needs to survive marks his path. "My father was a whore. My mother was a prostitute on the streets. And I, another whore. We are a family of whores!", Inno confesses to Bambi, who has recognized in Pol the macho dancer with whom he interacted in last.
The film aims to open the viewer's eyes to the unbearable facts and circumstances of life. The protagonist himself makes it clear in an interview: "Not all of us are lucky enough to have the opportunities that are presented to us, so we do not have the right to fire or judge someone for their choices (…) I am not saying that these macho dancers They may be saints but they all fight for their lives and the lives of their loved ones. They all have a story that we must understand and respect. When you hear their stories, if people take the time to really listen to them, it will impact you a lot. Others have already arrived to the conclusion that your choice is easy."
"Soon the Macho Dancer" fully fulfills its purpose of making the public reflect and inviting them to controversy.
'Anak ng Macho Dancer' leaves me with some life lessons. Among these, the way in which Inno overcomes the consequences of his actions and choices that lead him to live a true hell stands out. He's not just fighting for his life. What Inno believes is right for the people he loves, he does it head-on. He knew that his choices are not good, and in the face of the consequences of the choice, there is a lesson to be learned. Mistakes and struggles, also triumphs, are an integral part of human life.
The viewer should keep in mind the film's message, summarized in Pol's words to Bamby: "We still have the opportunity to correct the mistakes we have made in our lives."
Even with less than ideal material, Lamangan is able to guarantee stellar performances. The filmmaker resorts to exposing, very accurately, a decidedly negative queer image seen before in his other films, such as Lockdown, in which the higher the position of the gay character rich in money, the more malevolent he turns out to be. However, this disturbing state of affairs should be seen as post-queer, rather than homophobic.
The rich characters possess what the citizens who live in poverty need, which allows the macho dancers to carry out pecuniary transactions with wealthy clients that they could never find outside this world of prostitution and lust.
The greatness of Inno's character lies in his status as a redeeming hero who, by saving himself, saves.

Leia Mais

Don't watch this for the story, watch it for the action

The storyline isn't great in this one, as many have said. And if you don't like gross, somewhat gory scenes, this isn't for you. That being said, I still had fun watching this and even watched a few parts again after it was over. I loved the main two guys (Ma Dong-Seok and Lee Jun-Young) and, to be fair, I turned it on after it showed up on my feed and I recognized Lee Jun-Young on the pic. They acting from these two was excellent and I understood their dynamic because of it. The young girl and grandma made sense with how they showed them, but the girl's acting was pretty terrible and 1 dimensional in this. I didn't believe much about her because of it. The army girl that shows up later did fine with her acting, but she didn't make sense and they made no effort to make her make sense. Her storyline is very much left out of this. I got the feeling the movie is from a webtoon or book because she just isn't really explained at all.

Acting and story aside though, this movie is basically just an action flick and it does a great job with being that. I loved the fight scenes and really was swept into movie from it. I loved seeing them fight their way through each situation and the acting was great in these moments. So, if you're a fan of action and don't mind some gore and gruesome scenes, then this movie is for you. Enjoy!

Leia Mais

Not Worth Watching

This was pretty bad. I found it on Tubi and was so excited because I have always wanted to watch it since watching Ji Chang Wook in The K2, but I was so disappointed. It felt like it was so rushed. It fell into the same issue of Korean entertainment seeming to only be capable of writing shows and not movies. The only movie I've loved that's Korean is The Dude in Me, and that remains to be the case still.

I loved Ji Chang Wook in this still because, I mean, he's one of the best actors out there, period. But, even he could not save this movie. It felt like it lacked an actual story. The progression felt stunted and some people seemed to die for no reason. Several actors in this did a great job, it's just that their characters needed to be fleshed out more. It felt like it needed to be a short series with more character development and explanation. As it was, it was just a rushed production where the story fell flat and the characters didn't make much sense. They basically did the "tell, don't show" instead of "show, don't tell."

Well, I won't give up on the Korean movies, but the latest two that I watched did nothing to fuel any desire to pick up another movie anytime soon.

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Rurouni kenshin

Heard a lot about these movies, and they've been recommended a ton, so I decided to give them a shot. At first, I was a bit lost because I didn't bother with the synopsis. Turns out, in the current era, Hitokiri Battousai has ditched the assassin life and is now on a journey to help those around him.

In Tokyo, there's a businessman hooked on opium made by a female doctor, Megumi, who wants to take over the world or something. There's this old samurai, "Saito Hajime," working for the police, hell-bent on stopping the businessman and uncovering the copycat killer who's claiming victims in the name of Battousai. So, he seeks out Kenshin, and this dude's past is basically tailing him everywhere, but Kenshin's not interested. He ends up meeting Kaoru, who lets him crash at her dojo.

The plot was solid – Kenshin battling his past, trying not to revert to his Hitokiri ways. I haven't read the manga, so I can't compare, but I think it holds up well. Asked for some good fight scenes, and they delivered big time. It was a blast.

Enjoyed the whole thing, loved Takeru's acting – missed seeing him around. It was cool to see him in a different light.

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I just watched Parasite...

I just watched 'Parasite' and I'm still reeling from the experience. This movie is a masterclass in storytelling, social commentary, and cinematic craft. The cast, led by Song Kang-ho, Park So-dam, Jang Hye-jin, Choi Woo-shik, Lee Sun-kyun, and Cho Yeo-jeong, deliver performances that are both nuanced and powerful. Each actor brings their A-game, making their characters feel fully realized and authentic.

Bong Joon-ho's direction is pitch-perfect, using long takes, clever camera work, and a clever script to keep you on the edge of your seat. The themes of class struggle, inequality, and the exploitation of the underprivileged are timely and thought-provoking.

The film's use of symbolism, metaphor, and foreshadowing adds depth and complexity to the narrative. The production design and cinematography are also noteworthy, capturing the stark contrast between the wealthy and poor communities.

Overall, 'Parasite' is a cinematic triumph that will leave you both entertained and uncomfortable. It's a must-watch for anyone interested in thought-provoking, socially conscious filmmaking. Bong Joon-ho has solidified his place as one of the greatest directors of our time."

IF I GOT AMY MISTAKES PLS TELL ME

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Declaration of love and farewell with gay fairy tale ending

The holidays come to an end, summer says goodbye to return next year in a small fishing village in China. It is time to say goodbye to the beach, the heat, rest and, above all, to the person you love.
The camera follows the face of teenager Leaf (Xinyi He). You rush to brush your teeth and wash your face: you need to look and smell good. He has arranged to meet Qing Chen (Jianan Yang), his childhood friend, to spend the remaining days of the summer period in his company. His friend will soon leave for Shanghai to study. He also dreams of going to a university in that city or in Beijing or Guangzhou, but he must remain in the village by the sea to take care of his elderly grandmother (Xiaojing Liao). To get ahead, he has set up a small and thriving hair salon where locals flock.
The camera now "watches" Leaf and her friend from a distance. This is the way chosen by Meicen Meng, the director of the Chinese short film, 'Beyond the Green Mountain', to give visuality to the mood of the two protagonists.
That detachment that is farewell can be, perhaps, one of the most dramatic or significant moments in our history, because although sometimes goodbye can be accompanied by an optimistic undertone because it implies closing one story to open another, the emotionality is It appears through our tear ducts at the fact of seeing a person leave without being able to do anything other than observe how their silhouette fades with each step, before the uncertainty of not knowing if we will see them again in another chapter of our existence.
The faces of the two boys cannot be seen, since it is night and they are now positioned with their backs to the lens, while they talk about dreams, desires, the opportunities they could find to study or live in big cities, philosophical beliefs, gods. and goodbye.
The camera follows Qing Chen who can finally show his beautiful face. In order to reveal his repressed feelings and with unshed tears, he arrives at the doors of Leaf's humble house, but he does not dare to knock. It is evident that she needs to bring out all those hidden emotions that she keeps inside and tell them to the boy who is now back at her side, but her grandmother prevents this by inviting the visitor to dinner.
This film, made by queer people for queer people, breaks the patriarchal binary lens that has been dominating world cinema, to tell us how these two young people, who have known each other since they were children, merge in glances of fascination in each encounter, and they have been filling that void that haunts their lives, because it could not be without the presence of the other.
Although in more than one moment it seems that they are going to take the next step, it never happens, so the only thing they have left is to wait to say goodbye to the imminent departure of one of them.
Later, as they lie in bed, they look at each other's faces in the dark, but they don't dare to state their feelings explicitly, but Qing Chen expresses them subtly: "I will never be able to see so many stars in Shanghai." His words would rather say: "In another place, far from you, I will only find infinite darkness. You are the light of my life."
The film tells a story of pure first love through a pure narrative about these young characters who fall in love without realizing that loving each other romantically is even a possibility. However, feelings don't lie. To an untrained heart, these feelings are overwhelming. Confusion, doubts, insecurity and pain form a dark subtext. Love is pure, tender, sweet and beautiful, that is why the young Chinese director seeks to represent how love shines through the darkness that represents a goodbye or the two lovers being separated.
There are two days left until the farewell. Leaf, sitting on the beach, takes Qing Chen's diary, left by him in the sand. Unaware of his action, he is about to discover his most intimate secrets, but Qing Chen snatches it from his hands at the last moment, before hurting him to the depths of his being: "The damn villagers have no manners." He cannot express his regret for the hurtful words. Leaf doesn't give him time and runs away with tears of pain.
In this story about youth, friendship and love that blossoms in the summer breeze, the camera focuses again on Leaf's face as she brushes her teeth and washes her face the morning before saying goodbye. The ritual now will not be to reunite with Qing Chen. Perhaps the objective is to make visible the necessary act of releasing from within you the sadness that still persists and is reflected on your face. The bond between the two cannot end this way.
But he does not pay attention to the complaints of his friend, who persists in asking for forgiveness, when there are only a few hours left before leaving on his trip.
"I'm leaving tomorrow morning. How long will this childish tantrum of yours last?" Qing Chen confronts him. As they roll on the floor in a silly fight, a passionate kiss surprises them. They hug each other tightly. Their bodies orbit around each other. They would like time to stop. But Leaf reacts and abruptly separates. What will grandma think if she knows that I love another boy? How will she face the neighbors? Will she still be proud of me?
The next morning, Qing Chen, as if he were a sleepwalker who has not been able to sleep a wink all night, crawls towards the car in which his parents are waiting to take him to Shanghai. Almost about to get on it, a scream from Leaf stops him. In silence, the boy forcefully draws towards him the body of his former friend and now lover, and they passionately embrace.
With a beautiful Chinese landscape as a backdrop, the farewell between the character of Xinyi He and Jianan Yang is capable of causing a lump in our throat because of how significant it is that these lovers have had the opportunity to say goodbye and express their love, although it was the same way they communicated it throughout the film: through silence, gestures, emotions and looks.
Qing Chen's parents, a few meters away and who can't even see each other inside the car, will never know what the boys said to each other in that silent hug. Only they will know.
The piece, only 15 minutes long, reminds us that, regardless of aesthetic issues, filmmakers can resort to a powerful tool: our need to understand what we see, regardless of the language or the articulated word.
Throughout the film, which is nothing more than an immense and constant declaration of love, Meicen Meng weaves a visually evocative narrative that captures the internal struggle of the two characters in their struggle to discover and accept themselves, while exploiting our emotions by giving us perhaps one of the most iconic farewells of the seventh art.
With a powerful and healing representation of the community building inherent to the film's creation process, the filmmaker also explores emotions and universal intimate human connections, using characters traditionally little seen in world cinematography, such as two teenagers from a fishing village, who dream of loving and empowering themselves through studies and the realization of their professional and work dreams.
Perhaps much of the charm of this film lies in the fact that despite the palpable romance of the protagonists, at no point do they manage to consummate their love, not even at the moment of farewell, however, it underlies, latent, perceptible, in each scene. .
The internationally renowned Chinese queer cinema knows perfectly well how dramatic the farewell act can mean. That's why Meicen Meng, the award-winning non-binary filmmaker of that nationality, wrote, directed and produced her thesis film 'Beyond The Green Mountain', to address topics such as sexuality, love, self-acceptance and identity.
Due to its ethical and aesthetic values, it was chosen as one of the five finalists of the prestigious 2018 Coppola Short Film Competition by Gus Van Sant, a queer filmmaker of great international fame.
The film also screened at the Museum of the Moving Image as part of the First Look Film Festival and was the winner of the Best Indie Short award at the Indie Short Fest in July 2019, among many other awards.
In this captivating cinematographic journey that explores in such a beautiful way the emotional labyrinths of its protagonists, humanity and human connections, it concludes with a dreamy and hopeful Leaf who directs her sight towards the sea, beyond the mountain that gives it its title. to the movie, as if he were looking into the future, before turning his face when he hears approaching footsteps, and drawing a smile on his lips: everything seems to indicate that his beloved is returning and, finally, they will be able to open themselves fully to love .
We generally associate goodbyes with the outcome of a story, and in most cases this is the case. However, 'Beyond the Green Mountain' goes to the other extreme and in the final scene conveys hope, the idea of ​​a shared future between our heroes. The comforting and tender fact of seeing each other once again contains a message: they both know that they will have a fairy tale ending.
I hope my review serves to motivate the viewer to see a film so recommended for its exquisite narrative and visuality.

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Wish there was more?

I don't watch movies a lot, but I decided to remedy that by downloading several.
Didn’t know from where to start, I choose this one featuring Vivian Sung, a particularly funny actress who never fails to make me laugh.

The movie begins with an adult Truly, the perfect ordinary office worker, overhearing her colleagues mocking her. She goes home and discovers an old book from her high school days, and suddenly, our beloved Vivian Sung appears as the young Truly. The entire movie unfolds as a flashback of her youth, allowing us to understand how she navigated high school as an ordinary girl, not particularly studious, with two best friends, a crush on Andy Lau, and an interest in Ouyang, the school's most popular guy.

The movie was a cliché, but oddly I didn’t mind it at all. While every element seemed familiar from old series or movies, I watched it as if I had never encountered the plot before. It was really funny as expected, and I wasn’t bored at all.

The main leads were really cute together, they had great chemistry and I enjoyed how their friendship developed—studying together, going out together, taking on missions, skating together, you name it. It really made me nostalgic for high school vibes.

Overall, it was a good movie, well worth the time. The positive vibes left me with a sense of satisfaction, and I have no regrets about watching it.

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Cringe Storyline, good Starcast! Had a High Expectation but this fails.

I am a big fan of Bright. I was excited about after watching its trailer. It was fun but I give it a 3.5 star overall, here's why? Let's talk about good things first:
1. Starcast is good: Bella as Risa, Bright as Tim, and Risa's ex Arun and his fiance Monica were good at acting. All the supporting cast was also good.
2. Culture representation: It revolves around Indian wedding, I wasn't looking for accurate Indian culture representation but they did it really well, and the fact that I found so many similarities b/w Thai & Indian culture.
3. Music and Comedy: it is a fun Comedy, Romance nothing serious and I wasn't expecting anything like sense. The song was also good.
now few things that I found cringe and couldn't walk past;
1. Very repetitive storyline: Pretending you have a bf in front of your ex, and then Arun confession to Risa when he is about to get married Monica, dude how uncertain are you? it is so cringe, & then Risa explains to Monica that it is not like that and He loves you and all... girl her fiance just confessed to his ex and doesn't have the guts to say that the wedding planner is his ex. That was not the most eye-rolling moment but Monica shows up to her wedding happily as if nothing happened was. Knowing what happened b/w them Arun's family was so chill.
2. Annoying FL: I like Bell'a acting and she was good at her character. I don't like her character Risa and found her annoying and immature.
Despite being a very cringe worthy repitative story, you can watch this movie for once. It was fun but not as expected.

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