Reviews

Fun if uninspired sequel

Takashi Miike's loose and belated sequel to The Great Yokai War, Guardians is much more of the same, so if you liked the previous adventure, you'd like this. It's made for kids so accessibility is a key factor to its appeal, meaning there's not much meat to its story beyond your standard hero's journey, but just because it's more kid-friendly doesn't mean it lacks a lot of wacky, and sometimes downright disturbing, imagery courtesy of the Yokai themselves which are brilliantly realised (both east and west alike). Miike even managed to bring back our great guardian god Daimajin for an extended cameo which put a big smile on my face knowing he was originally lined up to direct a film reboot in the late 2000s. Fox-Faced Woman also was ?.

While there's certainly a lot of love and creativity put into this movie, I can't deny like the previous film, it certainly has its faults. The child-friendly tone does its story no favours, especially in the final act where you'd normally find Miike going hell for leather, it falters. The overreliance on CG like the last, has dated the film extremely quickly although Japan has never really had the best of results with this technology. Regardless, for what it's worth, The Great Yokai War –Guardians– is a fun romp but extremely subdued Miike which is saying a lot.

Leia Mais

We will feast on the enemies flesh and drink their blood.

Full River Red is an ancient dark comedy whodunit set in Song dynasty. It is Zhang Yimou's most commercially successful movie to date That is no reason to dislike it. For Zhang Yimou never fails to stun with the sheer brilliance of his cinematic vision and his ability to provoke and capture profound human emotions. It is his narrative style that tends to be weighed down by illogical, at times exaggerated plot points and inconsistent characterisations that rarely does justice to his incisive camera language. While there are traces of these habits, this twisty, stab-happy mystery is the tightest plot I have seen from him in years.

As much as the critical political and societal undertones of Zhang's earlier works discomfited the Chinese government, his recent works are now accused of pandering to government propaganda. Every Western film critic has remarked upon the movie's jingoist note with a sense of unease. The Chinese title Mǎnjiānghóng/满江红 or crimson river sets the tone from the start. This eponymous poem attributed to patriot Yue Fei is ubiquitous; it spoke to me even before I could understand its prose. People's hero Yue Fei was a revered Song general who relentlessly defended his homeland against the invading Jurchens. He was betrayed by the enemy within, a jianchen/奸臣 treacherous official Qin Hui who goes on to be prime minister. What happened to Yue Fei is one of history's terrible injustices, one that still resonates eight hundred years later. The common people appeased their deep sense of sorrow and thirst for justice by deep frying dough sticks in oil yóu zhá guǐ/油炸鬼 or deep fried guǐ/ 鬼 or devil, which in Cantonese is a homonym for Hui/Kuai/桧 in Qin Hui. When I was a kid, my dad used to rant about the dastardly Qin Hui every time we bit into his favorite crispy fried dough sticks.

The movie opens four years after the unjust death of Yue Fei. A Jin envoy is murdered on the eve of his meeting with Prime Minister Qin Hui. The important missive he carried is missing. The unfortunate night patrol is put under the knife as heads must roll for this diplomatic disaster. Desperate to buy time, corporal Zhang Da convinces Deputy Commander Sun Jun that he may be of value in solving the case. They make some small progress and are given two hours by Qin Hui himself to recover the missing missive. Thus begins a high-strung, knives drawn chase through the serpentine military compound as they question unreliable witnesses and fend off duplicitous officials vying to get their nefarious hands on the missing letter.

In a departure from Zhang Yimou's signature, bombastic color drenched cinematic style, the palette is muted, somber and haunting in its clean lines and simple, gorgeous grey toned soberness. There is a sense of profound gravitas that overhangs the thrill and suspense of unraveling the conspiracy at hand. The pacing is start stop as the narrative slows down enough to allow important plot points to soak in only to pick up again to the tune of a clattering amalgamation of hip-hop and Chinese folk music as they race through the complex to pin down the next clue. The body-count piles up as suspects are dispatched suddenly and brutally with dark humor that is as sharp as the knife play. I won't spoil the ending other than to say it is wildly, enormously satisfying and yet it still respects history.

In terms of the cast, it really doesn't get better than this. I was surprised by Shen Teng and Jackson Yi's chemistry and how humorously they convey just the right mix of conflict, mistrust and empathy. I must applaud both Lei Jiayin and Zhang Yi for taking on roles outside their comfort zone. I could see that Lei Jiayin absolutely relished playing the vilest most hated villain in Chinese history. While far from the monster of my childhood imagination, his Qin Hui is still a wicked, cunning creature but also realistic, mortal and even almost human. To me, the memorable highlight of the drama was to watch one of China's very best actors recite the titular poem. Yes it is a very patriotic poem but its message is universal - everyone loves their country for better or worse and will defend it with every ounce of their being. This is the one time that Zhang Yimou's famous digressions is actually fitting and gives a deeper meaning to the story. The movie's big message is also universal; that there are some truths that must be revealed at whatever cost.

This movie hits all the right buttons for me - a dark comedy conspiracy thriller with a touch of wild history around characters that set my imagination and sense of right and wrong afire as a child. It smacks of Zhang Yimou's hallmark provocative brilliance with small flaws and is one of the rare times I enjoyed his storytelling almost as much as his visual composition style. This is an 8.5/10.0 for me.

Full River Red (follows the toned down movie translation):

My last words reflect my thoughts
Full river red
My hair bristles with anger
I lean against the rail
The rain has stopped
Looking at the sky
I let out a cry
Emotions well up in my chest
My achievements in the past are merely dust
I fought bravely with the clouds and the moon
Don't wait
When your hair turns grey you can only regret
The national shame has not been avenged
When can my hatred be wiped away
Riding war chariots we will tumble the Helan Mountains
We will feast on the enemies flesh and drink their blood
When we recover our lost lands
We will satisfy people's demands

Leia Mais

A welcome end to a beloved series

With eager anticipation from devoted fans, the long-awaited movie that continues the beloved series has finally arrived, and it delivers on many fronts. Seamlessly picking up where the series left off, the film provides a satisfying extension to the story of Kurosawa and Adachi, capturing the essence of their unique relationship and the challenges they face. It truly serves as a welcome addition to the series that fans have grown to adore.

The narrative starts with Kurosawa and Adachi happily together, planning their future after the series' memorable finale, where they overcame Adachi's fear of losing Kurosawa without his magical powers. However, their harmonious existence takes an unexpected turn when Adachi receives news of his transfer to another office. Skepticism arises, but with Kurosawa's unwavering support and encouragement, Adachi musters the courage to make a life-altering decision. The movie predominantly revolves around the pivotal choices these two characters must make together, not only to sustain their relationship but also to propel it forward.

The film's greatest strength lies in the remarkable portrayal of the two main characters by their respective actors. Akaso Eiji flawlessly captures Adachi's timidness and lack of self-assurance, allowing viewers to empathize with his journey of personal growth and self-discovery. Throughout the movie, we witness Adachi gradually stepping out of his shell and developing into a more confident individual, demonstrating authentic character development. Machida Keita's portrayal of Kurosawa is equally captivating, showcasing his charm and handsomeness while also highlighting his deepening love for Adachi. As Kurosawa embraces vulnerability and Adachi expresses his emotions more openly, we witness the genuine growth of their relationship.

While the storyline may not break new ground, the exceptional performances by the actors elevate the movie and make it a worthy continuation of the series. Akaso Eiji and Machida Keita breathe life into their characters, infusing them with depth, nuance, and undeniable chemistry. It is through their heartfelt performances that the movie shines, capturing the hearts of viewers and allowing them to witness the genuine evolution of a relationship.

In conclusion, for those who have enjoyed the series, this movie serves as a fitting and much-anticipated conclusion. It is a heartwarming journey that showcases the exceptional talents of the actors and portrays the authentic growth of a relationship. Whether you were captivated by the series' charm or drawn to the characters' endearing dynamics, this film is a must-watch, as it provides closure and continues to tug at the heartstrings of fans. Prepare to be moved by the exceptional performances and be reminded once again of the power of love and personal growth.

Leia Mais

Troubled individual finds potential heeling in Love

Light a deeply troubled and disapointed individual, abused and raped, turns into hustling for a living, Too often this is a reality, more for the social "underdogs", those spit out by a brutal materialistic world/society than with upper class members. Falling without a net can be deadly. But prostitution, highly criminalized in most societies is one last net to fall in. But as being criminialized a most dangerous one. His name gives a hint for his future!
Shuo, the undercover policeman, is thankfully not described as hetero, his being gay is thankfully to be seen in the beginning ... A reflection of the moved forward into 21st century Taiwanese society? I guess yes. And as a gay man, loving cinema, I am thankful for.
The story shows the difficulties and troubles in such a relation between a white knight, Shuo, and the beaten up (in more than 1 meaning) Light. It is starting dark and sinister. With no hope to escape ... But is Light willing to escape? It seemed not ... And Shuo showed forgiving based on real love.
A heart warming story rising out of the mud and darkness of streetlife in a criminal surounding. Yes it can happen ... especially when no drugs are playing a vital role.
The acting was realistic and good, they showed a good research propr to the filming. The directors work / lead must have been with compassion and the aim for a good story to be told. A mission? I would not say! The film was made professional and showed within 44min what can be shown too in an epic length of 1,5hs to 2hs ...
Worth rewatching, with the possibility to become a LGBTQIA+ film classic ... it should only be know and recognized by a wider audience.

Leia Mais

Story: A slut meets a stalker. It looks like somebody really wanted to tell this story enough to make a short film out of it, but since there’s nothing much to go by, just throw in some weird sex. Whelp, apparently that was good enough of a plot (but we know it ain’t).

Acting/Cast: Looks like they picked randos on the street, or maybe these actors volunteered for their 14 minutes of fame, or rather obscurity.

Music: Didn’t even notice, but maybe they should the background noise to “creepy”

Rewatch Value: Sure, if you wanted to see pasty white skin or the improper use of cuffs.

Overall: Probably the moral lesson it wants to impart is not to dismiss stalkers, as they may actually save you from rapists. It’s like yay! But really, no.

Leia Mais

Story: A coming-of-age story set in the future, where people can choose their gender when they reach the age of majority. The conflict of choices from the main character, whether to go with what he feels like or whether to decide his gender based on the preference of his love interest, was warring on screen.

Acting/Cast: Nothing remarkable to note.

Music: Nothing remarkable to note.

Rewatch Value: Maybe if only to clarify some of the scenes that suffered from poor editing or script writing.

Overall: The short film attempts to deconstruct gender stereotypes, by imagining a world where we can choose our gender as a part of a standard program, where identifying with another gender that you are born with, will be the norm, but the execution falls short of its aim.

Leia Mais

Story: This is a coming-of-age story about a pre-teen discovering his feelings may not be conventionally normal, when he was asked to re-enact a love confession in front of an acting class. The plot was simple yet impactful.

Acting/Cast: Surprisingly good acting coming from the titular character, naturally-talented kid.

Music: Somber and soulful and yet not overpowering.

Rewatch Value: Highly recommended.

Overall: Nothing remarkable if you only go by the premise of the story, especially for a short film, but the combination of all above elements makes it worthwhile.

Leia Mais

A movie beyond BL

Truthfully one of my favorite movies of the year. Had I watched it in 2022 as it was released it would have been my favorite movie of last year. It is honestly stunning.

Showing off the typical, simple yet beautiful Japanese cinematorgraphy it grabs you with it's silence. Instead of using music to underline a lot of the moments the director chose to go for somber quietness that has you focus and ponder on the scenes. Both actors gave it their all, making for an authentic and stunning portrayal of two gay men simply engaging in everything they are feeling. For a while they make you feel safe, content even until the movie takes a turn. What goes from a queer romance transformed into a movie about love, loss and family, being so much more profound than what is usually released in this genre.

Don't get me wrong I do love your usual, sweet, slightly awkward BL so this is not a jab at any other media but this is simply so much deeper than that. It had me wondering about my own life, about the people I love and how I should treasure them more since time is limited.

Honestly a stunning movie.

Leia Mais

A mysterious, charming short film

This mysterious, charming Thai short film is another proof that Youtube's suggestions aren't completely useless sometimes. I had never heard of this movie when it popped up on my screen, and as it's quite short I thought that watching it wouldn't waste too much of my time, and alas, not only didn't I waste any time, but I really enjoyed watching the movie.

It tells the story of Than (Jittipat Suwannaluck) who can talk to ghosts, and Phop (Manutsawin Mokthong), a wandering spirit who is trying to find his ex-girlfriend Kongkwan to find his peace. Than is reluctant at first, but then helps Phop, and during the search the two boys get closer and at two different stages even confess their love to each other. Finally, Than finds out that Kongkwan died 40 years ago, obviously about at the same time as Phop died, and when Phop and Than find Kongkwan's grave, Phop finally disappears.

The abstract of the plot sounds quite sad, and the ending is not exactly a happy one, but the movie isn't all that sad because there are some comedic moments when Than has to explain what a mobile phone is, or when Phop is surprised that ”a TV can paint”.

Although the movie has a few minor technical flaws, e.g. a few sound issues and one or two editorial bumps, the overall quality is good, with a reasonable cinematography and a beautiful soundtrack that relies very much on classical music which creates a calm atmosphere.

What I liked in particular is the acting of the two leads. Although they are apparently rookies, and very young, their acting is really nice, and both guys are very handsome, too.

The movie is not promoted as a ”BL movie”, and if you define ”BL” as a series of typical tropes, then this is not BL. On the other hand, what can you call it when two handsome, young, male protagonists say ”I love you” to each other? They don't kiss, but is a kiss really necessary to prove that two boys love each other? I guess not, and that's why I would say that this is a BL movie indeed.

The Thai title is a pun which is not reflected by the English translation – depending on the spelling it can mean ”happiness” or ”rest in peace”. Like in many Thai productions, the English subtitles are not always correct, but at least they are there.

To sum up – if you have a quarter of an hour to spare and would like to watch a short film that's not all happiness, but charming and a little mysterious, this is one for you. I actually like it a lot.

Leia Mais

"Sis, daringly keep going ahead"

Red Sorghum was the film that launched Zhang Yi Mou's and Gong Li's careers. For his directorial debut, Zhang's movie won many awards including the Berlin IFF's Golden Bear Award for Best Picture. Saturated in deep colors and textures and accompanied by music that fit every scene perfectly, this 1987 film showed what the world was in for with his mesmerizing style of moviemaking.

A radiant 22-year-old Gong Li played Jui/Grandma, a bride being carried along in a palanquin to be married to a 50-year-old man with leprosy. Jiang Wen as Yu/Grandpa was the expert carrier. The men sang a bawdy song of her fate as a young "ugly" bride marrying an old leper. As she bounced up and down in the small litter you could feel her nausea growing. When they reached the wild red sorghum fields a bandit attacks the group, but the men are not so meek as to let him take the bride into the fields. After the wedding she is allowed to return home with a donkey as a wedding gift/payment to her father. Along the way she is once again set upon, this time alone, and Jui runs frantically through the wind driven sorghum chased by her assailant. The masked man turns out to be Yu. He stomps the sorghum down into a verdant bed with all the gentleness of a wild beast. It was difficult to tell whether Jui initially gave her consent, I hope so, because afterwards, she fell in love with Yu. On her return to her legal husband, she's told he was murdered by an unknown killer. The workers prepare to leave but she convinces them to stay in a profit-sharing business. A drunken Yu shows up and she kicks him out. She's kidnapped for ransom by other bandits. After her return, Yu pees into the wine crocks as if marking his territory and carries her off like a sack of potatoes. Instead of ruining the drink, it is now transformed into an exquisite elixir and business booms.

Yu was often portrayed as a primitive male, dirty and brash, and Jui rarely called him on it. Thank goodness, Zhang displayed a more favorable view of women in future films. It was also a credit to Jiang's performance that Yu was considered even somewhat likeable. With the exception of her relationship with Yu, Jui came across as a competent and independent woman.

Jui gives birth to Yu's son and all seems well. It's a magical winery where anything can happen. Life is often lusty and humor filled. Then the movie switches from How I Met Your Mother to The Deer Hunter. The Japanese invade the peaceful village and one of the villagers is flayed. The film ends in a blood bath, as if everyone had gone swimming in a vat of the red sorghum drink under an eclipse. ***

I am a big fan of Zhang Yi Mou's style. His movies are luscious to drink in, the lighting, sets, costumes, and props are all feasts for the eyes and this one was no exception. I would really like to have a set of the drinking pottery, they were beautiful. Few people can capitalize on scenery as he does, color-soaked fields and skies were suitable for framing. A young Gong Li already exuded the power and sensuousness of a grown woman. Her character took over the winery, mothered a child, and called men to battle quite believably. With a running time under 90 minutes, the characters were not well developed, we know little about them except what we see on the screen. Gong Li's and Jiang Wen's exceptional performances helped me to overlook some narrative issues. The change in mood was abrupt and jarring when the shocking violence erupted, I suppose much like in real life when horror and tragedy hit out of the blue.


Red Sorghum showed the fierce tenacity of the rural people in northern China as they faced a variety of adversities and most times were able to create victory and song out of difficult situations. The film was imperfect, but very much worth the effort to experience the premiere stunning collaboration of Zhang Yi Mou and Gong Li, one of the best partnerships in filmdom.

6/30/23



*** A word of warning, there were disturbing scenes. Animals being butchered and skinned were shown up close as well as the human flaying which I could not watch. There were two urination scenes as well. And depending on how you interpret it, a possible rape.

Leia Mais

this was adorable - well the ending was & hilarious to boot. ironic, as quarter way through, was contemplating stopping, cause of the snail-paced start (talk about slow-burn ugh). add to that, the "look" which puts this somewhere in the earlier 90's with the dated acting skills (was shocked when Keigo tells Tadashi "...they in the 21st century, so u say gay not homo...") & the disjointed plot - was totally disinterested in what was going on.

but then Keigo comes on screen & the dude is such a mood the life of the party (quite literally) he's funny & shameless. hard not to love him, so totally got how Tadashi instantly warmed up to him. when, while reading the description, thought the ones he would warm-up to & confide in, let alone seek advice from would be Hiroki & Sinji.
this was 3 different stories intertwined in each other & it was good that each was wrapped up with a positive conclusion.
but i feel like the plot didn't flow in bits (maybe cause of this, still don't feel elated after watching). Yes the ending was a hoot & loved that Keigo got his dream wedding. that was fun & funny - a Very positive ending that leaves a smile in ur heart, not just ur face.

BUT this far from perfect & it's a shame, feels rushed or lacks polishing ... so more a miss then a hit - but fine for a 1 off

Leia Mais

Only Through Lies Can the Audience Get a Glimpse of the Truth

Lost in the Stars is a superbly made suspense/thriller film by relative newcomer director duo Cui Rui and Liu Xiang, but bears the fingerprints of its producer/screenwriter, Chen Sicheng, as well. Where Chen Sicheng's Detective Chinatown series is more humorous, however, Lost in the Stars takes a decidedly darker turn, and makes the viewer question and re-question what they actually know as the narrative unfolds.

Set in the fictional Southeast Asian country Belandia (or Bankal, if the film's signs are to be believed), He Fei (Zhu Yilong) is a bedraggled man begging an apathetic police force to look for his wife, Li Muzi (Huang Ziqi), who has been missing for over half a month. With his visa expiring in a few days, he has precious little time to find her. This missing person case then takes a turn for the unexpected when a woman shows up claiming to be her (Janice Man), with all signs pointing to the fact that she is, in fact, He Fei's wife. Finding himself entangled in an increasingly complicated web of conspiracy and deceit, his only saving grace is big shot lawyer Chen Mai (Ni Ni). Nothing is as it seems, however, as one by one the mysteries get peeled back, revealing a truth that was, perhaps, best left hidden.

Cinematographically, Lost in the Stars is a visual feast, with a distinctive flair that is engaging and keeps you on the edge of your seat. Fast cuts, unconventional camera movements, and bright colors underscore the lively setting and enhance the fast pacing, while also juxtaposing the actual tone of the film. There is barely room to breathe, with one thing happening after the other; while it can get exhausting, it adds to the experience. The audience is dragged along for the ride as much as He Fei is. The few moments of reprieve come in the form of flashbacks, at once more muted in color and slower in pacing. The score is beautifully crafted to reflect these scenes as well as the characters' emotional states.

Plot-wise, it is a well-written film with a complex mystery that keeps you guessing. There're hints throughout the movie, foreshadowing that is easy (or, easier) to catch on a rewatch, but with twists and turns that sometimes make it feel like the ground gets dropped out from under you. Unlike the hallmark of a good detective, which is that you can figure it out alongside the character(s), Lost in the Stars' intrigue that keeps you guessing is what makes it shine. There are parts that are "predictable", but only insofar that any suspense film will have tropes they rely on. Don't try to figure out what will happen, the experience is rewarding whether you overthink it or not. Even the things that initially don't seem to make sense, do tend to get explained; the few plot holes (if you can even call them that, they're more like... plot dents) are easy to overlook and shouldn't take away from the audience's enjoyment of the film. In fact, what happened to suspension of disbelief? Sometimes a thing not making sense is because it's a movie and not real life. The only real gripe I have is that they at times lean (too) heavily on ableist and racist stereotypes for the sake of plot.

Beyond the writing and cinematography, however, is the acting. Leading man Zhu Yilong has surpassed himself again in this film, showing a layered, multifaceted performance as He Fei. An attentive husband, a scheming bastard, a desperate gambler, a man on the edge (a man who has jumped over it a long time ago)... His nuanced portrayal sets the bar for the rest of the cast, who at times seem like they can barely catch up. While the ensemble all did great jobs, it is not an exaggeration to say that they paled in comparison to Zhu Yilong's force majeure (Ni Ni, his main co-star, I felt gave as good as she got, though).

When reviews first came out after the film was screened at the Hainan International Film Festival late last year, someone wrote that if you thought he was good in Lighting Up the Stars (a film which netted him not only his first Golden Rooster nom, but also the win), you hadn't seen him yet in Lost in the Stars. Having now seen and loved both, I am forced to agree. The many faces of He Fei leave the viewer pondering; not just the character and the film itself, but also human nature at large. There's a depth to Zhu Yilong's portrayal that seems almost wasted compared to what some of the minor characters were doing.

It's also a shame that there was more chemistry between the side characters than the leads. This is not to say that there was none between the leads, but when you get to the Manman and Li Muzi scenes, it feels more "real"... Or maybe that's by design, considering that the film builds up these characters as lying liars who lie and with every lie that gets uncovered there are more taking their place.

TL;DR: Lost in the Stars is a very compelling suspense movie. It is not just about the mystery behind the disappearance of He Fei's wife (and her(?) subsequent reappearance), it is about the lies we tell ourselves and others, and whether we keep believing them or not. It's a thought-provoking film that is absolutely worth a watch (and perhaps a rewatch).

Leia Mais

I was bored!!!

I think I might be getting fed up with all these "classical" Sherlock Holmes versions. All of this has been seen so many times and the only originality here is that it takes place in Japan today. The rest is just The Hound of the Baskervilles. I am blessed in a way, since I usually do not remember the plot of these movies (and books - the same is with every Agatha Christie book: as soon as I finish the book, my brain refuses to retain the name of the culprit so it is always new! For me, at least!). So even though I have seen every other version of this story, I cannot remember the plot. All I remember is that it takes place in the countryside.
So that is the case here. There are a couple of murders and kidnappings, rich families and their secrets and an earthquake punishing everyone, one way or another.

Shishio and Wakamiya are back, more annoying than before. Shishio looks like he just came back from Afghanistan, wearing ample robes and looking scruffy and unkempt. Wakamiya is imagining himself a detective like SH but he is too pretty to be convincing so he just struts around, following Shishio and failing at being helpful. There is no more chemistry between them that made the series such a fun watch in the beginning. Shishio just seems bored and Wakamiya is just a lovely wallflower!

What I loved was the cinematography: beautiful shots of mountainous and misty island, scary mine shafts and subdues colours verging towards grey, cold tones! And the music! Something special. The background score evolved as the story progressed, from the cello grating noise to the sweeping orchestral pieces to the final credits beautiful song, "lullaby" by YU-KA.

Last but not least, thank you eveychooey for the subs! I do not regret watching this: having these excellent subs just added to the pleasure of discovering a new exciting movie!

Leia Mais