Reviews

Great action movie but has a weak plot point

Man I love movies with Andy Lau and Sean Lau in them, it is guaranteed to be an exciting film and this one is surely one of those films that had a lot of action with many explosions. The premise of the story is that Andy Lau and Sean Lau are both bomb disposal experts working with the police, but during one event, Andy gets his leg blown off and so is unable to take part in active duty of bomb disposal. Refusing to settle for a desk job, he publicly protests his treatment during an award event when he was to get an ward for his bravery, and then quits his job.

Some time later he was found at a scene where there was a bomb planted, and he manages to get injured in the blast and lose his memory. Yes, it is the old amnesia plot that leads to Andy redeeming himself later in the movie. The action and acting were great but the biggest weakness was in the plot, which just stands out too much for my liking. What happened was that Andy Lau became so disillusioned with his treatment after getting his leg destroyed (people pitying him and not allowing him dispose bombs) that he decided to start a terrorist organisation to bomb key strategic locations in Hong Kong. Like what the actual f, how did “oh no my leg is blown off” escalate to “f Hong Kong Police and Hong Kong, Imma plant bombs yo!”

And boy, despite needing a prosthetic leg, Andy Lau was running and jumping and doing crazy parkour as if his leg was never lost on the first place. Like seriously, if he can do all that the Police should have kept him in active bomb disposal duty. I mean it would cost less fuel to get him to the location as he would be lighter, he wouldn’t lose that leg again if a bomb went off and he wouldn’t have started that terrorist cell in the first place.

Only the action and acting from Andy and Sean keep this movie afloat, everything else was a bit meh.

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Stunningly beautiful but frustratingly slow.

If you're in the mood for beautiful artistic 9th century style, long takes and a complicated story in a slow film, then The Assassin is probably your cup of tea. If you want to see a cool martial arts movie - Watch something else.

When you see The Assassin you are faced with the age-old question: What makes a good movie? Some prefer a strong story, others powerful effects. Here, a story that arouses no great interest is combined with an artistic style that is unlike anything else.

For those who follow the story, it is about a female assassin in 8th century China. Like many assassins on film, she is faced with the classic dilemma of having her loved one killed or failing her duty, something that meant slightly greater consequences at the time.

If you are looking for a juicy story, you need to have both a lot of concentration and patience, because the director Hou Hsiao-hsien is hardly someone who prioritizes pace, forward-looking lines or clear character development. We're talking sometimes forever-long takes, extremely sparse or no dialogue and scenes that work more like art installations.

Undoubtedly, it is a stunningly beautiful film. The environments, the scenography, the costumes - Almost every single frame is like a painting or the most delicious photograph you've seen on a cinema screen. One could practically watch the film without sound and admire the impressive work of the film's creative team.

With that said and the cool visual style aside, it's a frustratingly slow film to get through. As a contrast to the often overly clear film narration in, for example, American cinema, this becomes almost incomprehensible and unnecessarily complicated.

The fight scenes are the highlights - Not because it's exciting but because of the quiet and calm style. But it's still one of the most boring martial arts movies out there. It is a perfect example of "see but not feel" - Gentle on the eyes, but you leave the salon with a slightly empty and unsatisfied feeling.

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It's the journey that matters the most, not the destination

It's a musical which consists of 15 beautiful songs, very well written according to the scenario and witty too. It's an open end if you take it one way and it's a closer if you take it the other way. The main protagonist, an elite banker who got demoted to a village branch, acts as a catalyst to unify two separated people. He might have lost, yet he won in a way. His self-discovery of what it takes to be happy in life, makes the movie interesting.

Recommended only if you like musicals and open ending (though it's a closer for me). The journey matters most than the destination, it's that kind of movie.

It's a LA of Manga of same name.

Ratings:-
Acting - 8/10
Direction - 8/10
Music - 10+/10
Cinematography - 10/10 (The fisheye camera works were amazing)
Dialogues - 7/10

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Bitter, sweet, fun

Like most who watched this, I enjoyed it. I watched it with my wife, and we both laughed a lot throughout. We've been married nearly as long as the leads have have been alive, so the OTT rage was genuinely funny for us. Sveral have commented on the chemistry between Jeong So Min and Kang Ha Neul, and there's no question that was central to the movie's success. Both delivered very good performances, and Jeong So Min especially cemented my high opion of her as an actor. The first thing my wife said when Jeong So Min first appeared on screen in this movie was"she's really pretty". and obviously I can't disagree. But her range even in a light romcom like this was impressive. I highly recommend this for anyone wanting an uncomplicated and genuinely funny romance

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Overrated

The acting and emotion that goes into the heart wrenching bullying scenes are great but the logic is terrible. Bullies with connections get away with things including reckless driving, sexual harassment, and attacking teachers, and apparently only the bullies have cellphones and social media. The light hearted moments and serious ruin any sense of pacing and annoyed me through emotional whiplash. The story would have been better suited for a short Netflix series instead of a long movie. This story has been done better before. A man from nowhere is a better movie that I could rewatch over and over

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Crazy.

I honestly started watching this thinking I would stop it if it got too hard to watch (due to the gore), but I didn't have a lot of trouble watching it, but I did have to look away at parts. I saw a lot of people saying it wasn't good and it was not worth watching and I'd agree unless you're bored, but it wasn't horrible. I'm not familiar with Japanese actors or BLs at all, but everyone in this movie wasn't bad at acting, maybe my standards are low? It wasn't too horrible for only that reason. There was a huge lack of plot, and it felt that everything happened in the last quarter of the movie, everything happened at once. The ending wasn't horrible but I find myself not liking endings that I have to interpret myself. I also found myself being confused as to what was happening during several parts of this movie. I would say personally I was expecting the gore in this movie to be worse than it was, maybe I was expecting more because of the comments but it wasn't AS bad as I thought, I saw someone say they couldn't get the scenes out of their head for months, but I don't think that will be a problem for me. I thought as someone who doesn't enjoy seeing gory movies or lots of blood would really hate this movie but surprisingly it wasn't awful, just extremely crazy. If you're bored with nothing better to do or you usually enjoy Japanese gore/horror movies this one won't be too horrible to watch, but don't watch with the expectation of this being centered towards romance or gay relationships, it's only erotic.

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This short movie was so boring that I had to drop it after just 9 minutes and a half.

Unfortunately, this short film failed to deliver on multiple fronts, leaving me with a sense of disappointment and disengagement. From the outset, the movie struggled to establish any semblance of chemistry between its characters, a crucial element for a narrative to resonate with its audience. The interactions felt forced and contrived, robbing the viewer of a genuine connection with the story.

The storylines themselves were equally uninspiring, lacking the depth and creativity needed to capture and maintain interest. The narrative arc seemed predictable, and the pacing was sluggish, making the initial 9 minutes and a half feel like an eternity. The absence of any meaningful character development or intriguing plot twists left the film feeling flat and unremarkable.

Furthermore, the cinematography and visual elements, crucial in conveying emotion and enhancing storytelling, failed to compensate for the lackluster narrative. The visuals seemed mundane and lacked the flair needed to elevate the overall viewing experience.

In conclusion, the short movie left much to be desired. It struggled to engage the audience, falling victim to weak character dynamics, a bland storyline, and uninspired visuals. While the concept may have held potential, the execution ultimately fell short of creating a compelling and memorable cinematic experience. For future endeavors, a focus on character depth, a more inventive narrative, and attention to visual aesthetics could greatly contribute to a more satisfying viewer experience.

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SEoD2 - Redeemed!

Now THIS is what I had been hoping for when I started watching this series. It took me a few weeks to finally delve back in, since I was not impressed with the first entry. This film does everything right where it's predecessor faltered, and my excitement for Sleepy Eyes of Death is once again quite high.

The direction is easily the most evident change here. It doesn't look for feel like a TV movie anymore, and it's not wonder, as the director has done a lot of really good movies (including a bunch of Zatoichis). The actors are better and more recongnizable, and the protagonist is much more likable now. Story pulled me in right away, and I expected to be bored going into it.

This isn't an amazing samurai film, but it is indeed a very good one, and stands up to many of the Zatoichi films. The fights are much better done, and captured pretty well too. I can't wait to start watching more of these!

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SEoD1 - Sleepy eyes indeed.

I was really excited for this one, but was quite let down. The entire production felt very cheap, and reminded me of old TV movies. The story wasn't anything special, and I think the actors agreed, because none of them seemed very enthusiastic about their roles. The worst offense, I think, is that the protagonist is pretty insufferable all throughout. He's basically everything you don't want your hero to be.

I could go into detail about all the things that went wrong with this movie, but there's not much point. It's just a very low budget and forgettable film overall. While it does have a few interesting pieces here and there, the only thing that really grabs you and keeps you watching is the hope that the series gets better as it goes along, because this is a 14 film long series and became quite popular for the time.

A bit of history, there were earlier films based on this character and the novels he originated from. From my knowledge, they aren't available to be seen in English yet. This is the series of films that everyone knows about, however. While I didn't love this entry, the ending is left pretty wide open and does give a case for the protagonist to at least (hopefully) become a better person moving forward.

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warning!! Can make you sad.

Soul Mate (2016) -9/10 - cmovie

loved Zhou Dong Yu in Better Days... and this movie I love even more.

Got same feeling,,,, quite sure cause it got same director[Derek Tsang]

whole movie is some kind of diary type of novel about two best female friends growing up and slowly being separated by life and their choices. And at same time being reconnected later in their lives.

Their connection was portrayed very strongly... almost took this movie for lesbian one[which didnt happened and I am weirdly quite sad for such].

plot - ok wrote most of it above. Two girls becomes best friends from young age, but gets later separated ... partly cause of guy. One is staying at hometown living humble normal live. Other is wandering through world. Later in time they will reconnect their relationship just to lose it again. Both of them goes through circle of life separated and connected at same time.

genre - romance, life

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Well-made, realistic Hong Kong thriller.

In the role of Yan, we see Tony Leung, better known as the world's best actor after films like Bullet In The Head, In The Mood For Love and Hero. Leung plays a police officer who has been undercover for 9 years and wants out at any cost. He has trouble sleeping and can only sleep with his therapist. In the role of Ming we see Andy Lau, also a superstar in Hong Kong but in lighter productions. In Infernal Affairs he is fantastic as the cop who is torn between his obligations to the Triad and his ambition to become a real cop. Just like Yan, his life is one big lie.

Two men. Both undercover. One with the triad, one with the police. In flashbacks from the cadet school, Shawn Yue plays young Yan and Edison Chen plays young Ming. Both have significantly larger roles in the prequel that was quickly produced. Police chief Wong (Anthony Wong) and mob boss Sam (Eric Tsang) are the only ones who know each other's identities. Even though the plot sounds quite simple, the film never ceases to surprise.

What keeps Infernal Affairs from a higher rating is a certain inconsistency in the storytelling. Sometimes it is fate that guides the story forward, sometimes chance, sometimes the characters. And Ming's girlfriend writing a book about a schizophrenic person feels a bit clever.

Many believe that with Infernal Affairs Hong Kong cinema has grown up. Infernal Affairs is NOT over-the-top. The actors do NOT overplay. No car chases, no special effects and just a little slow-motion. The film is strikingly low-key and subtle. Just take the scene when Yan meets an old girlfriend in town and she lies about her daughter's age. Look at her eyes, hear her answer a little too quickly. The scene becomes an effective contrast to Ming's happy family life, he has the life that Yan should have. But to claim that Infernal Affairs would be some kind of trend breaker just shows ignorance. This is exactly the kind of well-made, realistic crime films Ringo Lam has been directing since City On Fire in 1987. But of course, this is the Hong Kong film for those of you who don't like Hong Kong films. You who preferred Heat and De Niro/Pacino to Face/Off and Travolta/Cage.

FYI: Martin Scorsese directed an American remake.

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Hero director back with new spectacular action.

The Asian martial arts film has become in the 21st century what spaghetti westerns were in the late 60s. Many films take more and more from the mystical East in terms of fighting and spirituality. The pioneer for this was of course Ang Lee's Crouching Tiger, Hidden Dragon which became the first non-English language film to gross over 100 million dollars in the US. There was also an Oscar for best foreign film. The legend Zhang Yimou was not slow to follow up with the visually stunning Hero. Common to these films was also a certain Zhang Ziyi, an adorable young lady who, if Yimou can be likened to Sergio Leone, can be likened to a feminine Clint Eastwood.

Now Ziyi and Yimou collaborate again in the new Flying Daggers and the result is just as good as you think. There are grand vistas, gravity-free fight scenes and a dance scene that defies description. In the beginning, we meet the police officers Jin (Takeshi Kaneshiro) and Leo (Andy Lau), who have been given a mission to find the leader of the rival group Flying Daggers. They hear that a new suspicious girl (Ziyi) has started at the local joy house and head there to investigate. Soon the intrigues are underway and, in order not to reveal the most interesting twists, it can be said that a triangle drama, which could be signed by Shakespeare, arises. It's lies, fake roles and betrayal in a nice mix, even if the plot sometimes thinks it's smarter than it actually is.

The most serious problem with the film is really a lack of variety. Crouching Tiger... stood out for its incredibly beautiful love story and sweaty action scenes, while Hero was perhaps the most beautiful thing ever made on film. Flying Daggers certainly does not lack talent, all the actors excel and Yimou is technically a genius. But the story sometimes feels alarmingly empty and the fight scenes strangely familiar. That's why I like to draw the parallel to western films. They were basically all the same, you loved each other and everyone loved you. Asia freaks won't be disappointed, I certainly wasn't, but at the same time it's good to raise a warning sign of a creative impasse. It would be a shame if such a wonderful genre was neglected.

FYI: The film's original title Shi mian mai fu roughly translates to Ambush from ten directions.

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A superior Bodyguard

The Bodyguard from Beijing is a bit of lively, unpretentious fun that takes Mick Jackson's The Bodyguard but replaces Kevin Costner with Jet Li and the weird musical numbers with kung fu. Corey Yuen directs with a visceral energy that wouldn't be out of place in a Wong Jing movie and although, the writing is certainly a bit on the hokey side Li's charisma as a real man's man shines through. With plenty of high-energy and varied gunfights to keep you engrossed, a solid musical score and a fantastic final fight to boot elevate what could have otherwise ended up as a rather undercooked and stale riff, yes it's rather generic but there's a heart-beating somewhere underneath its surface.

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Rest in peace Kenpachiro Satsuma, your spirit will live eternally.

To say that Godzilla Minus One is my most anticipated movie of the year is a severe understatement. It currently holds the candle for my most anticipated movie ever. The wait has been agonising, less so for my brother who I brought along for what is our first experience seeing Godzilla on the big screen. For the better part of December seeing Letterboxd members gushing about it has been terrifying. But finally, I managed to catch a screening today, 2 days after its UK debut, by god, it was worth every minute, every second... this is the best Godzilla movie to date, bar none.

Feeling as if he unfairly cheated death too many times, Shikishima, a surviving Kamikaze pilot is attacked on Odo Island along with many war plane engineers by an enormous monster. After the engineers die due to Shikishima failing to distract the monster, an overwhelming amount of guilt weighs on him, especially after a homeless woman and a baby move into his home when he returns. Shikishima, now on a personal mission, teams up with a large group of veterans to finally take down the monster known only as Godzilla.

Having spent the better part of a week watching Takashi Yamazaki's other directorial efforts certainly didn't prepare me for what he would bring to the table with Minus One. Choosing a post-war setting for the movie invited some rather minor scepticism but the film ended up an extension and refinement of his earlier wartime epic, The Eternal Zero. Tension and redemption run high throughout this film, with everyone seeking a path forward in the face of utter destruction and hopelessness.

Yamazaki's proficiency for human drama was not in question, having watched his Always Sunset trilogy the other week, emotions run high and his characters inject so much life and soul into the picture. It's backed by an utterly terrific script, heartfelt and often awe-inspiring and his calling his direction anything less than superb feels wrong.

I still can't believe that Yamazaki and company pulled this off for the money they had, either Hollywood blows their film budgets in all the wrong places or Japanese VFX artists are severely underpaid for the job they do (maybe it's both). Godzilla is one scary-looking bastard, taking his main influence from the Heisei suits but blown up with scales and spikes added into places you didn't know he had, his presence throughout the film is one of constant overhanging dread, cropping up when the characters least expect him and terrifying all who see him. Seriously, the build-ups to his atomic breath gave me constant goosebumps and seeing him standing amongst the ruins of Ginza just sent shivers down my spine.

I could technically accuse Yamazaki of nepotism given how many of his regulars take on roles here but I'm not going to. Everyone gives it their all, especially given the immense weight they had to carry on their shoulders, everyone is incredible, I can't fault a single performance. Ryunosuke Kamiki especially did a stellar job, the emotional resonance of his dialogue leaves you hanging on every word, Minami Hamabe is the rock to his PTSD-ridded life and the two of them share beautiful chemistry.

Naoki Satō's music is just phenomenal, his music carries so much menace and unease but thoroughly compliments Yamazaki's incredible style, there's a beautiful use of pure silence (especially in the climax) to emphasise both creative forces. His utilisation of the classic Ifukube cues is hands down one of the best of the entire franchise, cropping up at just the right time to not feel out of place or irrelevant.

Godzilla Minus One is truly the first of the franchise to make me truly afraid, the Big G's villainous stance hangs over the picture with a looming dread that remains unshaken even when the credits roll. Putting the trauma of history at its core was an inspired creative choice, evoking the original film more than any other since GMK (which Yamazaki lists as his favourite, based). Everything about this film works and exceeds any expectations I had of it, with its emotional heart just as prevalent as its terror. I'm so glad my brother was along for the ride, no way I was experiencing this alone.

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