Action packed hit

Watched this primarily for Woo Do Hwan since its announcement but the delay of release now made sense because of Kim Saeron's scandal in 2022. Before getting into the short review, honestly have to say I hope she can make a comeback because her role in this showed immense growth since seeing her in High School Love On. Controversial opinion, but there you have it.

The drama is far more violent, explicit, bloody and gruesome than anticipated going in, that I felt it should've been rated R. Viewer discretion is advised. Regardless I enjoyed it immensely. Great action sequences, insanely epic fight scenes that got me on edge and fearful at the same time. I loved the minute details regarding the fight from Ep1 in comparison to the one in Ep8, where the dynamics have changed between villain and protagonist.

Woo do Hwan delivered in his excellent performance yet again as Gun Woo and immediately earns sympathy from the viewer. His chemistry with Lee Sang Yi leaps off the screen. I haven't seen a bromance in a while and honestly, it gets better with every episode. Park Sung Woong who played Myunggil was really, really superb and have your blood boil from his actions.

From the scandal, the director had to make the call to rewrite scenes whilst they were in midst of filming, and it's very evident what's been done to accommodate KSR's reduction of screen time. It makes me wonder what the drama was supposed to have been if this scandal never happened because her character was significant very early on in the episodes, and her relation to the main characters was one of the highlights of this drama before it literally fell apart.

I have a strong sense that the archer was never supposed to be there, and it was always meant to be the three of them - Gun Woo, Woojin, and Hyunjoo - since their bond was sealed in the first half of the drama. Despite the great teamwork with the archer, it felt forced that this new character essentially replaced Hyunjoo. After the tragedy in Ep6, it was used a leverage to cut down KSR's scenes by making her "leave" to Rome. There was absolutely no logic to this and she should've been hell bent for revenge (far more, in fact) than Gun Woo and Woojin (whose emotions were reasonable and consistent) and stayed with them for Ep7-8 for the epic and cathartic finale.

Honestly because of the unspoken changes, the effect of last few episodes somewhat dampened the drama as a result and felt very abrupt. They did their best, but Bloodhounds definitely could have been much better especially from episode 6-8. It's not terrible exactly, but you have a sense of what might have been planned beforehand. I don't see the possibility f a S2, nor there is a need of it. Worth watching if you like action dramas, but it had great potential.

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Refreshing

This is an older, lesser known BL. I've not even heard of this till accidentally discovering the poster from Pinterest. For those who are into the genre because of the romantic scenes, this might not suit the palate. However, I think this work deserves to be known as one of the "top of the line" for BL, if not one of the classics.

The element that is incredibly striking is the music, and for someone who is familiar with Japanese films and style, they never fail to make the audience waver internally. As if you had lost something precious that you never owned, or reminiscing a past timeline that you have no memory of. Something about the music/score adds layers to particular scenes, emphasises on the emotion, or the linger of a facial expression. Or perhaps, this is the essence of a 2000s movie, which is rare to find these days.

For some reason, it's always the Japanese works that has ever been able to accomplish instilling this kind of poignancy, melancholic, atmosphere of life within the viewer. This film does this right from the first scene, and the 6.5 rating showcased the disappointment from those who like BL solely for steamy scenes rather than nuanced storytelling.

The quotes are a nice touch, and the exploration on the concept of love is probably the most refreshing I've seen in a long time. The subtlety makes it worthwhile to watch.

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unflinching portrayal of school bullying

The Glory is a long awaited drama helmed by Goblin and The King: Eternal Monarch’s visionary writer - Kim Eun Sook, much driven by a lone victim’s desire for revenge.

Firstly it must be acknowledged that this is the first work I’ve seen from Song Hye Kyo, having tried to take on the infamous “Descendants of the Sun” and failing after the first 2 episodes. Her portrayal as the protagonist Dong Eun is utterly compelling as well as heartbreaking. More than the graphic scenes of bullying and violence, the real tragedy lies in SHK’s expressions that emphasised the deep trauma that remained unforgiving through the years into adulthood. And in a recent panel talk, it detailed her efforts to also showcase this through a frail and weak body for a particularly vulnerable scene.

There have been plentiful dramas that have touched on the subject of school bullying (Penthouse, Who are You: School 2015, Boys over Flowers etc), but The Glory is quite possibly the first I’ve witnessed to undertake a character study that is the driving force of the plot itself rather than it being a sideline. It does not shy away from depicting the horrors of school violence that, appallingly, seems to be the norm in South Korea, but also how corruption influences the actions taken towards a victim who desperately needed the support of an adult.

Dong Eun is a strong testament to victims who were either silenced or made to believe that somehow, it’s their fault. And while the praise is deserved for SHK’s performance for the cathartic elements to follow once the revenge kicks in, I have to commend Jung Ji So, who plays the younger Dong Eun. The way her mannerisms varied as the ep progressed and her dwindling innocence and hope are visceral, and one can’t help but root for her “glory” against her perpetrators.

Regarding supporting characters, the performances from those who portrayed the vicious band of bullies left no room for viewers to sow forgiveness, and it’s a likelihood of very real individuals who aren't capable of seeking atonement in the slightest. The contrast between Dong Eun and the perpetrators appears to be undoubtedly a black and white situation, eliminating all potentials of “feeling sorry for the villain” trope that has cropped up since Joker.

Out of all characters, the intrigue ultimately falls on the charming and mysterious Ha Do Young, played by Jung Sung Il. He is the tranquil greyness in all of this, representing the viewer's experience in the unknowns and knowns of the truth of Dong Eun’s past and the role his wife has played in it. The portrayal is deliberately vague and it is difficult to read his thoughts behind the calm dialogue and the nuanced game of Go. He embodies some undertones of righteousness and consideration but not in an explicit way, making his potential responses in S2 highly anticipated.

I’m not an expert when it comes to music but I thought it’s worth mentioning two soundtracks in particular, both of which did a splendid job in accenting various scenes. The first is “You Remember” by Paul Kim, and “Until the End” by Kelley McRae accompanies the opening episode, perfectly setting the bleak and heavy tone of the drama. The singer did an excellent job in expressing the tragedy of a victim, perhaps also hinting the barest slope of hope amidst the melancholy of the piano.

I’m very much gravitated towards works that involve taboo and difficult themes, but still end up unnerved by the unrelenting violence and assault pictured in the episodes. It was even more surprising to see this from Kim Eun Sook. From her works, it appears that this is the first time she has boldly tackled these extremely dark and vulnerable subjects that weren't explored before in dramas like The Heirs, The King EM, and Goblin. The latter two are more emotionally in depth than sensitive and dark, overall making the Glory quite refreshing to see.

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proceed with caution

In my memory, the Crucible/Silenced is by far the hardest film I've ever watched. It is bleak as the dense fog covering the area of Mujin, and the ending is undeniably the most realistic given the context, where corruption goes the distance with money.

Initially I went into this film for being an avid fan of Gong Yoo’s work in 2018, and knew it was not going to be a light watch. But it must be emphasised that nothing could prepare the viewer for the harrowing true story and extremely graphic scenes depicting abuse of the children at the school. Even at the time of writing this review, the recollection of the man poking his head above the bathroom stall is the stuff of nightmares.

The performances were praise-worthy and difficult to criticise, the children especially in encapsulating the immense suffering the victims had endured in its most unrelenting form. The silence throughout the film was insufferable, and by no means an accident. Accompanied with dark palettes with barely a stretch of light and the many enclosed spaces in the building, there was never a moment of release for the viewer from start to finish. Every scene is unflinching as it is unsettling, with the deep rooted fear of not knowing what you will see next.

While most now would recognize Gong Yoo for his cameo in Squid Game (same director), many kdrama fans would remember his role in Goblin. In my humble opinion, his appearance as the school teacher remains his strongest and most memorable performance. It was said during his scene with the car, the injuries were not done by make up, and through it his overwhelming emotions were expressed from knowing what happened to the children. His dedication to the role couldn’t go unnoticed in his raw expressions of anger, disbelief and the sheer helplessness of an adult against the myriad of corrupted and disgusting individuals.

With these being said, this isn’t a film I recommend lightheartedly, nor it's one that begs a rewatch. The Crucible/Silenced would linger in your mind many years after only seeing it once. It’s an important work that managed to spread awareness of horrifying events that could take place behind closed doors, especially in institutes that many may view in a good light and hence avoid suspicion. After all, the worst monsters come as wolves in sheep's clothing.

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Explosive, cathartic, and thought provoking

Is the life of a murderer’s worth more than a victim’s?

If you find yourself brooding over this question, you will love this drama. Because this is just a taster of what the Devil Judge offers to the mind.

A rating of 10/10 isn’t enough to show how much I recommend it.

I initially clicked because of Ji Sung (as we do), but this gave me so much more that I anticipated. The drama ticked the boxes for a great plot, twists and acting. Even the soundtrack is wonderful to accent certain moments (Something Stronger is fire), and not to mention we got to witness a brilliantly written anti hero and female villain (which is rare). Every drama has its flaws, and the lack of development in some of the characters, particularly Kim Ga On and Yoon Soo Hyun, had become the sacrifice for top tier setting and subject.

Personally, I found that the thought provoking element ultimately makes The Devil Judge one of, if not, THE best drama I’ve seen in my years of drama indulging, and I haven’t felt like this in a long time. In an era where dramas and film are churned out like a machine, most of it doesn’t actually involve thinking anymore.

There are certain scenes that would be enough to snag DOTY alone (particularly Ep4), if not for the depth which this drama possesses. You’ll find yourself noticing the sublime details (such as the total number of trials), that shows a lot of care has gone into this.

Given the heavy parts, I have to commend the humour sprinkled in between. There are a lot of good quotes and heartbreaking, beautiful, hilarious, intense scenes that linger in your mind long after the ep is over, more than I can say here. Just to give some perspective, I’m not someone who gets emotional easily, but there were parts where my heart was physically in pain, and the sudden realizations are the ones hurt the most.

I hope this drama doesn’t get buried, because much of the philosophical questions raised couldn’t be more important today. After the final scene has ended, I still contemplated if there’s a line to be drawn when it comes to achieving justice. And…what is justice?

Paired with dark themes, undertones of hatred and compassion, room for interpretation, and silent expressions that spoke more than dialogue, it attempts to answer this question through an anti hero, all the while never providing a straight answer.

And in the end, even the title hits very differently from when you first started; for you, as the viewer, have already judged Kang Yo Han before the episode had even begun. It was bait that I was guilty of taking up until Ep2. Everything about TDJ is really quite remarkable, and shows how much kdramas have evolved.

If you’re hesitating, don’t miss out on this craft. This drama has one of THE best opening episodes I’ve ever witnessed, and it’s coming from someone who’s only seen 1 other work of Ji Sung’s in 2020 (Doctor John) so far. I like to think I’m unbiased, but the man is an acting master if I ever saw one, and this work only further emphasizes it. The entire cast was sensational in their performances, for I just about covered every possible aspect of the human emotion watching this.

From the very start, unbeknownst to the viewer, the Devil Judge asks us to put our full trust in KYH and his choices, eventually siding with him when no one else did (when that is, depends on you). Where I’ve once faltered in Ep 1, I now find it hard to let go of his character.

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Do you believe in magic?

Annarasumanara details the story of Ah Yi, a high school student struggling with finances, who meets a mysterious and handsome magician Ri Eul. The latter is supposedly rumored as crazy, and lives in an abandoned local theme park.

From the trailer, this fantasy-escapism theme is not something we haven’t seen before, and it’s commonly portrayed in famous classics such as Alice in Wonderland and Peter Pan, and in non animations such as Pan’s Labyrinth (and Labyrinth!).

But it’s this theme incorporated into a modern day world that makes the drama emotional and very heartwarming, and one that I don’t doubt the majority of audiences would appreciate. The colour palette and fairytale-like visuals immediately swept my soul away, and there’s a heartfelt sense of wonder – much like how you would feel as a child experiencing the simplest of things. But unlike children’s stories, Annarasumanara isn’t for younger audiences and covers more serious themes.

The relatability through all three of our protagonists – Ri Eul, Ah Yi and Il Deung, is what I personally think is one of the most memorable parts of the drama. One is a grown man with a seemingly childlike innocence, another is a young girl with broken dreams, and the third who never reflected on the dreams pushed to him.

Most of the time we indulge in films and shows to witness unrealistic and exciting stories, but I believe it’s those with messages we resonate to are the ones that never leave. Moreover, it's these kinds of dramas that ultimately has low potential for a rewatch, because the experience won't be the same as the first time.

Annarasumanara is a highlight of this in 2022 so far (alongside My Liberation Notes). Above all else, it boldly outlines the problem of standards society has formed – where we try desperately to fit into without question, serving as a toxic benchmark to our self worth and confidence.

From personal dreams, goals, grades, and whether/how much one has achieved anything in their life, the drama attempts to breaks this barrier, allowing the audience to take the time to consider their emotions and position in life (which stretches beyond that of riches and achievements, and more about personal fulfilment). This is primary done through Ri Eul’s interactions with both Ah Yi and Il Deung.

For some, it could be an emotional reminder not to blindly fit into this box society has made. For most, this drama might lead to an awakening – one that I wished I had experienced during my high school days.

Without giving anything away, I don’t think Ri Eul’s magic itself is the main focus of the story. It plays a huge role in regards to the side plot, but as the episodes progressed, one would realise the magic extends beyond that of learned tricks or illusions. And again, this is a beauty of Annarasumanara.

Since watching short clips of Ji Chang Wook’s singing in ‘The Days’, I wondered what it was like to witness a Korean musical. Alas this was not possible due to language barriers, but I never expected to get a taster of it through a kdrama, much less hear him sing again.

The musical genre in Annarasumanara is a huge standout and brilliantly done. It’s an element that hasn’t been done in kdramas (from what I recall) before, and perhaps its success might mean fans of kdramas would see more of this in future (hopefully!). The deeply profound lyrics reveal the characters more than the dialogue, and expresses their emotions in such a raw way.

A particular track that remains now as one of my favourites (alongside Annasumanara) is A Curse of Asphalt. The lyrics nearly had me in tears, and seems like a punch in the gut. It doesn’t just apply to students, but for everyone who might be constantly hustling without thinking much of it. Aside from this, the choreography, production, vocals and atmosphere of it all are just perfection.

Performance wise, there’s nothing I can add when it comes to kdrama actors. Ji Chang Wook’s portrayal of Ri Eul is one I won’t forget. Acting alone would be tough as it is, but for this role it involved extra work with singing and practicing magic illusions, and his tremendous efforts couldn’t be unnoticed.

His beautiful voice would tug at your heartstrings, and the range of expressions he’s showed – from eyes filled with hopeful stars, to despair and sadness – makes it so difficult to tear your gaze away. I cannot imagine anyone else playing Ri Eul.

When I discovered Choi Sung Eun’s age (also Hwang In Yeop’s as well) – who plays Ah Yi, I couldn’t hide my immense shock. Her portrayal as a broken high schooler is captivating, and the chemistry between herself, Ji Chang Wook and Hwang In Yeop shines through the drama and interviews.

I wasn’t entirely sure what to expect from clicking on Ep1, but Annasumanara gives much more than what you’ve signed up for. There’s an empty but bittersweet feeling after finishing the series, and I can't recommend the drama enough.

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the 7 deadly sins

There's details, then there's lack of logic.

Having known that this is written by Penthouse's writer, Kim Soon Ok, I couldn't help but feel ecstatic. The trailer and preview looked intense, and there's an underlying wish for 7 Escape to be just as thrilling.

The downfall of Penthouse in my view, was the rushed progression for S2 and 3, despite the quality that S1 has offered. There was a sense of lack in preparation or simply wanting to release the seasons quickly to reduce the wait for the audience (striking while the iron is hot with ratings, which is understandable).

However, it's already announced there will be a S2 for 7 Escape, so there's high hopes to avoid this blunder.

After Ep1, this definitely has a lot of potential, and surprisingly I found it hard to gauge the primary theme of this drama (unlike Penthouse, which circulated around revenge). From the very start, Kim Soon Ok's distinctive style and intentions emerged through a rich tapestry of symbolic depictions, and this was established from the intro itself.

This exploration is far more in depth in comparison to Penthouse, with the statue of Hera, and I believe these would also serve as a catalyst for exciting theories regarding the plot progression.

In this case, we are seeing strong biblical connotations based from the title of 7 members that ultimately revolve around the naive and innocent girl - Da Mi.

The other key characters are yet to be known, and it would be very interesting to see if there would be variations regarding the representation for the 7 deadly sins, or references to stories associated with these traits that can serve the plotline. From personal observations, greed/gluttony, envy, pride and wrath have been spotted, all in connection to Da Mi herself. But it’s just a wild speculation at this stage.

As mentioned, Da Mi - who I believe will be the victim soon enough - has been roped into this cut throat world of elites. Her potential d3ath would be the basis for the entire drama, and without spoiling, could potentially have ties to the man who’s played by the prolific Uhm Ki Joon (Matthew Lee). This is the second biblical connotation, where I’ll talk more in detail. The characters associated with her will be plunged into a "Lord of the Flies" scenario where a game of survival is involved, and this also remains to be seen - how and why would they be in the same place all at once?

Matthew, according to the Bible, was a tax collector. It could suggest he’s there to “collect his dues” if you will. They are also said to be deceptive, which may be a highlight to his character. Perhaps if Matthew does have ties with Da Mi, the game would be very interesting to view from that perspective to determine his motives.

The third and final biblical connotation is in the intro, with the snake curling up a man’s arm. This is in association with Cherry Ent’s CEO (played by Yoon Jong Hoon), and also a self explanatory representative of “the enemy”/Satan.

Initially, this was meant to be a review. It turned into details that I hope provides enough reason to give it a watch. In regards to performances, the actress who played Mo Ne (Lee Yu Bi) has blown me away in particular. I have yet to dissect the connotations to using the name "Monet" for a character, but that ending segment in Episode 1 was not a coincidence. This exact scene also threw logic out of the window (without spoilers), and it's hard to overlook.

Yes, one might argue 7 Escape is a recycling of Penthouse tropes, similar OST and same high production style, but there’s potential depth that’s yet to be seen and it’s evident Kim Soon Ok has intended to take the symbolism idea much further than Penthouse had indicated, which I believe has made it unique and memorable in the first place.

A 7/10 in this early stage.

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Surprisingly promising

Having awaited this drama since Nov '21, I only went into it blind a few days ago because truthfully, I was skeptical with the recent xianxia works. When the average cdrama is typically 30+ ep, it's tricky to determine if it's worth the emotional investment. Having seen Youku's poster shooting, it was evident the entire production oozes quality, colour and excellent direction. First episode in and you can immediately smell the potential success this would receive. From the opening until the staggering contrast of the last scene of Ep1, it's definitely a remarkably strong first episode and trust when I say it only gets much better from here.

From the get go, the style is reminiscent to LBFAD and while the enemy to lovers trope is the main theme, the similarity ends here. In particular, there is a dynamic portrayed between Ep2-3 that I've never witnessed in cdrama, and it's both tragic and refreshing to see. The frustration is nonexistent when it came to the brilliantly crafted FL, who actually possesses personality, capability and intelligence that goes far beyond the helpless variation portrayed in most xianxia works. Played by Bai Lu, she is doing a fantastic job of representing the viewers in our experiences of unravelling what exactly took place 500 years ago. She navigates and struggles with her emotions and values in a very raw form, that her rage is your own, and her internal conflicts mirror yours.

This is the first drama I'm watching starring Luo Yunxi, and I recognized his pretty visual from seeing his picture in one of the food/snack packages in my local Chinatown supermarket (no, really).

Having heard of LYX's talents in passing, I was still very much floored by his performance. It was less about expectation than hope when entering this drama, because there's nothing quite as disappointing when a work is set up so highly for success. But the introduction to his character as the devil god is so strongly portrayed, that his presence practically commands the screen in just brief seconds. His vacant and chilling expression is impossible to overlook, and there is an unnerving aura tied to his role that makes one extremely uncomfortable and allured at the same time. His silence is terrifying. Toward the very end of Ep1, it is without a doubt LYX possesses extreme versatility to embody the characterization of Tantaijin, where your feelings are shifted just from the slightest break in expression. He truly is excellent.

The action scene in Ep4 ia surprisingly impressive, the CGI is incredibly three dimensional, the visuals are lively and vivid, and costumes are great. It seems to check mark a lot of things but since I'm still very early into the drama, this rating will be reviewed past the half mark at Ep20 (I am at Ep5). The only con is the dubbing, but it's commonly done in cdramas so it's only a minor issue. I was pleasantly suprised that TTJ was not a voice over but LYX's natural soft spoken voice, which is very fitting for the character. At present, the drama very favourable and opens a lot of opportunities for where the plot could lead to. But for a drama of 40 episodes, there are a lot of ways it could potentially go south. Until that's confirmed, I'd highly give it a try.

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Promising at this stage

From the trailer it feels like it's hinting a tragic story and has a lot of potential. From previous experience of Japanese bl works, I've only seen 30-sai and they did a great job with it (definitely one of the best ones in the genre, in my humble opinion), so I can't help having hope this one would be of a similar standard.

As we are still in the early stages of 2023, it's not expected much works would be released until March at the very least (approx March-May when higher quality works would drop) in terms of films/dramas in general. Hence with this in mind, I didn't expect to be drawn into The End of the World With You.

With the current rate that the industries are churning out bl dramas like machines, there's an underlying frustration when it comes to production, and I hate to say I've grown to be particular when selecting which to indulge in. It's clear much of the premises are indicating recycled plots and tropes, and the depth is somewhat lacking. I'm by no means an expert, but these are the criteria that determines what makes or breaks this genre:

- storytelling/plot
- emotional depth
- conflict - more than homophobia, or coming to terms with one's sexuality
- character development
- chemistry between 2 leads
- any included romantic scenes

I've seen a few works where there is no romantic scenes involved and the drama turned out brilliantly, and it should be emphasized that this isn't necessary in the first place. There's some dramas with too much of these scenes but no plot, and those with good plot, chemistry and storytelling without it being overly done. The thirst is real for explicit/romantic scenes, but ultimately the nitpick is how well these are shot if the directors choose to include it, and sometimes these end up looking extremely unnatural, not to mention a cringe fest, that it would've been better had it been left out.

In the case for Ep2, I hadn't expected them to go that far, but I appreciated that it was done properly rather than shoving it for the sake of attempting to express romance. A red flag ensues, however, that leaves a resolve to be desired between the two characters.

The premise is unique concept with a time limit involved, which I've not yet seen in a bl. There are plenty of routes this theme can open up to and it's very promising. I didn't want to give a higher rating since it's still quite early into the plot, but so far in seeing 2ep, it looks worthwhile so I'd be continuing to see how things unfold.

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