Reviews

Feelings

When I saw this movie by chance on some website, I didn't know that it would be so moving, at least for me.

During the very beginning of the movie it was written that this movie is based on true events I didn't think it would be so brutal. I can't believe what people, especially adults, can do to children who are defenseless and innocent.

This film perfectly shows how today's power behaves, which will do anything for money if they are told how many scams can be done even for little money if someone needs them. However, you can also see the contrast that there are still good people in this world who can focus on the victims and help them, even at all costs, such as arguing with the family to show them the truth.
I had goosebumps and shivers the entire time I was watching. The whole movie was suspenseful.

To be honest, people who are more emotional will cry for sure.

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So bad, it's just bad

Some movies are so bad that they are good. The Invisible Terrorist almost made the cut in this category if not for two disturbing scenes that downgraded it in my view. Too bad, I'm always up for some Carter Wong kung fu action and ridiculous weaponry and plot lines. The Invisible Terrorist delivered in those areas.

Once again, Ming rebels have a secret list of their members that for some reason they are carrying around and the evil Qing, of course, want to steal it. Poor Lo Lieh, in what amounts to a guest role, is taken out by a Qing ambush within the first ten minutes of the movie. Wang Hsieh is a turncoat Ming general working for the other side along with Chin Kang and Lung Fei. A Shaolin monk who is a rebel leader gives Carter Wong the secret rebel list. The monk tells him that there is a traitor among them called the Deadly Blade. During an attack, the monk is killed as the rebels escape. Carter divides the list between himself and Cliff Lok and Wen Chiang Long. From there the story amps up the bizarro plot lines.

What ruined this film for me is when Carter's character is captured and his sister is brought in to persuade him to give the Qing the list he has hidden, he brutally rapes his sister to prove that she isn't his sister. The only thing that it proved to me was that he was a vicious pervert. Even plot-wise it didn't make sense as they were alone in a prison cell and he was rescued about two minutes after the fact. Later, a number of pigeons were killed. So, if incestual rape and animal cruelty trouble you, I would recommend you not watch this movie.

It really was a shame because this movie has one of the most bonkers plotlines I've seen in a kung fu film, not good, but so bad it was funny. The number of double crosses and "I know something you don't know!" reveals kept going right up to the end credits. In an ode to school band members, one of the deadly squads of assassins was called The Six Cymbals. They were impervious to swords and defeated their opponents with the loudest most annoying weapons ever. Another squad was called The Six Whips. They too, had loud annoying weapons impervious to swords. But they had a weakness---bamboo!

Loud annoying weapons, rape, animal cruelty, the makers of this movie knew how to ruin a perfectly convoluted kung fu good time. My advice is to skip this one. I wish I had.

5/5/23

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this wasnt too good or too bad
lee na mi ur average office worker lost her phone and it turned up at a repair shop. from there on she starts getting stalked which leads to a murder mystery including 8 other victims (nami being the 9th one) being solved.
now the thriller aspect was good. the progression of the whole movie was good too and the revelation in the end was the cherry on top. however tho i wouldve loved to know more about the killer. imo this movie couldve been woven into a short series. it wasnt rushedor cramped but the ending couldve been better.
all in all a good watch

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Attraction and....

....temptation. This is the term missing from the title. They are two sides of the same coin as this short movie shows.

There are two parallel stories in this shor movie that join in the end.
The first one is about an army sergeant who has a crush on his kind superior and even though he wants to tell him, he is confused by that kindness ,not knowing how to interpret it, so he loses his courage and says nothing.
The other story is about a female office worker who is having a fling with her married coworker.

Attraction is an amazingly well told and filmed story describing how difficult it is to reveal one's feelings or resist the temptation of acting on attraction. They also point out the difference in straight and gay attractions, because and in spite of our societies making huge advances, the straight relationship is still the norm and it is easier to act upon it and succumb to temptation. The soldier, in addition to being a man is in the Army where the hierarchy and obeissance are the rule so coming out to his superior has added difficulties. He was brave enough to approach him at the train station but was eventually made speechless but the superior's kindness and invisible barriers.

I would love to see this develop into a longer movie. Why was he attracted to his superior? Was he having hard time in the army and grabbed onto a little bit of kindness and understanding he could find? Why was she attracted to the married man? Bored but not wanting a serious relationship? Or something else...

Maybe I am reading too much into this or maybe not enough!

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"The sword is the soul...Evil mind, evil sword."

The Sword of Doom opens up a flood gate of ethical and individual responsibility discussions when a samurai with his own code ran afoul of just about everyone else in the movie. Upon close examination, many of the characters deriding Ryunosuke for being a cold-blooded murderer should more closely have examined their own actions. But in the end, with the question of "Am I the jerk?", Ryunosuke should have spent more time on self-reflection.

Near the end of the Shogunate different groups were vying for power. Seemingly apart from the political upheavals, a grandfather and granddaughter climb a mountain where there is a Buddhist shrine. As the grandfather is praying for death, Ryunosuke appears and cuts him down. A thief racing by him down the path eludes him and later finds the granddaughter weeping.

Ryunosuke was scheduled to spar with Utsuki Bunnojo. Hama, Utsuki's wife, comes and begs for him to allow her husband to win to save his and the family's reputation and to keep the leadership of the Kogen school intact. Ryunosuke tells her, "A swordsman prizes his skills like a woman prizes her chastity." If she is willing to set aside her pride, he will, too. When her husband finds out she slept with his opponent he hands her a letter of divorce and seeks blood. "This is no match. It's a duel!" proclaims one onlooker. When Utsuki uses a deadly illegal move, Ryunosuke ends the match permanently. Utsuki's clan ambushes him on the way out of town and he slices his way to freedom. Having nowhere else to turn Hama follows him.

After a time, Ryunosuke takes the name Yoshida and joins a group of ronin who help to prop up the Shogunate by assassinating anyone considered an enemy. Bunnojo's brother Hyoma trains at Shimada's school run by Mifune Toshiro. He wants revenge on his brother's death but knows his skills are not nearly good enough to defeat the deadly ronin. Along the way he meets the granddaughter, Omatsu, training at a flower school. The thief with a heart of gold, Shichibei, has cared for her since they met on the mountain.

Yoshida's unshakeable confidence is shaken along the way. That's what happens when you see Mifune Toshiro in action! His vacant gaze falters and fear creeps into his dark eyes. It is one thing to be a ruthless killing machine when you know no one can defeat you, it's quite another when you discover someone with superior skills. Up to this point he might have been able to explain his actions, but he begins to commit murders that cross the line and the invisible guilt cuts into his heart. Eventually, he comes face to face with the consequences of one of his actions and he completely snaps with the guilt manifested visibly.

On the mountain was he simply answering the old man's prayer to die or was he just in the mood to cut someone in half? Though Ryunosuke's actions were despicable when he made the deal with Hama, for him it was a business deal based on his own unflinching code. Completely outside of a normal ethical perspective but perfectly acceptable to him. He would blame her for Bunnojo's death unable to see that his lack of compassion and political foresight set his downfall into motion. No matter how angry and hurt Bunnojo was, he behaved dishonorably during the match and paid the price. His clan was in the wrong for ambushing a single man. At least according to the code of samurai movies, men died in duels all the time. The band of assassins he'd joined also showed that there was no honor among them. A man's character was revealed in and through his sword. Only Shimada fought to remain honorable throughout the film even as he guided Hyoma. Surprisingly, the thief Shichibei showed more honor than many of the samurai. As time went along, Ryunosuke's mental health deteriorated. Never one to show emotion, maniacal grins began to creep onto his face. The ghosts of murders past cried out to him sending him over the blood-soaked edge.

Ryunosuke was not a character you could like or even admire. Nakadai Tatsuya's performance was compelling as Ryunosuke's sanity shattered sending him down a path of no return. The sword fight choreography was better than average for the time, bloodier than average as well. There were a lot of misses but given the number of opponents dancing about that could be forgiven.

The framing and filming of the shots was beautifully done in black and white. The music also fit the mood. At two hours, it could feel long at times, but overall was engaging.

The Sword of Doom was perfectly titled. The blade not only signaled doom to his opponents but to Ryunosuke as well. The film had a Shaw Brothers type ending with a freeze frame during the action. Was it a cliffhanger for further storytelling in a future movie? Many characters still had story left to live. Yet this was probably a perfect ending for the swordsman who had suffered his final break when karma came calling. Not a perfect movie, but an entertaining and action filled samurai film that asked a person to look into their own soul as well as another's for "The sword is the soul. Study the soul to know the sword. Evil mind, evil sword."

5/4/23

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"Love is a matter of time. It's no good meeting the right person too soon or too late"

2046 returned to the world Wong Kar Wai built in his 2000 film, In the Mood for Love. Tony Leung Chiu Wah reprised his role of Chow Mo Wan, this time as a broken man who numbed himself with casual sex and used the lives of the beautiful women in the hotel room next door, room 2046, as inspiration for his story of the same name.

Chow, now alone after the events in the last film, earns his meager living writing racy stories. He had moved to Singapore and has little money for airfare home. The Black Spider (Gong Li) comes to his rescue and after spending time together he asks her to go to Hong Kong with him which she refuses. Back in Hong Kong he helps a very drunk woman home one night. In a moment of narrative synchronicity, he finds a room available next door, room 2047. He would have preferred 2046 but the woman he helped home was later stabbed by a jealous lover in that room and there was some redecorating to do. For those who didn't see In the Mood for Love, 2046 was the number of the room in another hotel where Chow and Su Lizhen (Maggie Cheung) worked on a martial arts story.

Aside from the revolving door to his bedroom, the lonely writer becomes involved with various women at different times and different ways in the hotel. The landlord's daughter, Jingwen (Faye Wong), is in love with a Japanese man, something her father cannot tolerate and will not approve of. Bai Ling (Zhang Zi Yi) moves in and she and Chow "borrow" each other to occupy their nights. Both have their share of paramours but become intimately if not romantically involved. Though she would like more, he keeps his emotional distance. As he writes his dystopian story of a train to 2046 where people search for their lost memories, the women's lives offer fodder for his creativity.

For me, this film would have been more difficult to understand if I hadn't watched In the Mood for Love prior to it. Understand might not be the right word, sympathize would work better. Chow didn't come across in a very favorable light as he slept his way through Hong Kong. Knowing what happened between him and Su Lizhen aided in feeling sympathy for his case of terminal heartache as guilt and grief guided his self-inflicted pain.

There were also many call backs to ITMFL. The green noodle thermos made an appearance several times. Many of the sets and lighting were similar, even more so when the rain set in. A taxi ride where he at least subliminally tried to recreate a moment with Lizhen with another woman gave a glimpse into his mind. And every Christmas he visited the diner as Nat King Cole's Christmas Song played in the background.

With three of the women, he found that he was using them as a substitutes, something that did not bring him comfort for very long. He was told the ending to the story he had written was too sad. How does one write a happy ending when your heart is hollowed out and beyond repair? When loss and longing are your constant companions? At best the women in his bed gave him a brief sense of warmth but he found himself lonely even in someone else's arms. Passion could not replace what he was searching for. His heart was waiting on the only one who could break his solitude and give him a happy ending and he had let her slip away.

This film was visually stunning. The color palette leaned heavily on green, yellow, and red in lighting, sets, costumes, and props. The costumer set the bar too high with Maggie Cheung's cheongsams in the previous film but there were some gorgeous dresses, particularly on Zhang Zi Yi. I was pleased that the soundtrack was more diversified for this film, fitting the despondent mood perfectly. Tony Leung, Zhang Zi Yi and the rest of the cast gave superb performances. The neon train moved beyond metaphor to personal therapy as Chow worked through his feelings writing about others. In style, this film succeeded brilliantly.

Where the film let me down were the characters. Though attractive and complicated the characters were challenging to care about. Remote and difficult to read, most of them kept their feelings to themselves. And those that did reach out were often reprimanded.

2046 was a deeply melancholic look at love and regret, bordering on cynicism. By the end of the film all of the color had been drained out of the spectrum, leaving only the cold, dark mood of despair. For Chow, love was pain and "all memories were traces of tears." This film could be just like Chow-beautiful to look at but also mystifying and emotionally detached and completely irresistible to walk away from.

5/3/23

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It is not a fictional movie. It is a propaganda movie with many well-known actors/actresses.

"My Youth and I" is a film divided into three units: "Banner," "Seeing," and "Searching," focusing on the Great Northern Wilderness, the Great Western Development, and the youthful blood stories of the new era.

It has a bunch of well-known actors and actresses in each unit, and the gist of the story is focused on the sacrifices of pioneers in different areas and how they make a difference in ordinary people's lives. It is another propaganda of typical Chinese movies or dramas to elevate China's power and changes over the past 30-40 years.

It is an okay movie but not that entertaining. I am giving it a 5.0 rating.

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Woohoo... So long not watch Jackie Chan movie at my local movie theater... And I enjoy every moment of it... Haha...

Heart warming story about the struggle stunt-man and his family. Sometimes from our screen we often forgot the one who work behind the screen, especially the stunt-man for our actor/ess.

The story revolve around Luo Zhi Long (ZL) & his family. Story begin with ZL & his horse having problem about ownership, that problem make ZL has to contact his long detached daughter. After that finally their journey to win the case begin & also rekindle their relationship. While at the same time ZL himself finally start again his stunt-man job together with his horse.

Really like in the end how he finally realized how important family are. And how to appreciate the relationship with his family. And how to choose what's more important between his pride or the safety of his own & his family (the horse. Haha...). And at the very end we can see that loyal animal is not only dog but also horse, or maybe just basically any animal that we take care with our full heart.

Through out the drama I also thought, what it feel for Jackie Chan himself...? Is it like slap in his own face....? I think ZL relationship with his daughter quite like his own relationship with his son in the real life. Is he also mend his own relationship with his family like ZL did with his daughter...?

What interesting: We can see many many clip from Jackie Chan old movie & his own stunt. Haha... Seeing that clip really make me nostalgic & want to re-watch his old movie.... :D

What missing from this drama:
Unfortunately this movie missing 1 point in my opinion. It's gonna be more perfect if the last movie that his friend talk about movie for appreciate stunt-man really comes to the screen. But anyhow without this it's also perfect for the story, cause this actually not really focus in that aspect too...

Overall this really good movie to be watch for....

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A sensitive and true ode to adolescence and twinhood

As the world is on the verge of tipping over into the twenty-first century, with all the irrational fears aroused by the transition to the year 2000, two twin sisters who until then have lived in unfailing complicity and the sharing of all aspects of their daily life, will also see their universe turned upside down.
With their parents going through a divorce, Yu and Mee are sent to their grandmother's house in northeast Thailand where they reunite with a classmate, Marc, with whom they both fall in love. Torn between the affection that the two sisters have for each other and their love for this boy, the two twins live their first experiences as individuals and teenagers.
Initiatory rite of passage from childhood to adolescence, of passing from a close-knit couple to two complicit but free individuals, this film transcribes with great sensitivity and accuracy the heartbreak specific to the twins, torn between a close relationship and a emerging natural need for self-affirmation.

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"It's easy to cause a problem, but it's difficult to handle one"

Director Zhang Yi Mou and Gong Li explored the opulent and violent lifestyle of gangsters in the 1930's in Shanghai Triad. The film had many of Zhang's trademarks-lush cinematography, stylish sets and costumes, and moody lighting. He also made subtle criticisms of political power structures without directly criticizing the current regime.

Gong Li was gorgeous, expertly styled with luxurious dresses and bold makeup and hair, far removed from her dressed down performances in other Zhang Yi Mou films like Ju Dou. She played Bijou, the old triad boss' mistress. She was the Queen of Shanghai and the queen of this film as well. Most scenes focused on her because the men and the camera could not stay far away from her charismatic aura.

Yet it is not through her eyes we view this story. A fourteen-year-old boy comes to Shanghai to work with his uncle who is one of Boss Tang's men. By virtue of being a Tang, Shuisheng is deemed worthy of being given a job. On his first day he witnesses a drug deal and a murder. His Uncle Lui assigns him to serve the temperamental and cold Bijou. Shuisheng is completely out of his element having never seen a lighter or phone before. The triad has many unwritten rules for behavior that he must learn fast.

Shuisheng rarely speaks yet through his expressive and innocent eyes we are witness to his fear, horror, and contempt for the people around him. Boss Tang believes that a woman's worst problem is not worth his time but a man's smallest one is. Bijou is as much a slave as Shuisheng, regardless of how well dressed and pampered she is.

By Shuisheng's fourth day in Shanghai he is already fleeing the city with the Boss and Bijou after an assassination attempt on the boss' life. They travel to a remote island and are served by a widow, Chihua, and her nine-year-old daughter, Ajiao. At first Bijou does nothing but whine about being bored. Soon she and Shuisheng settle in with the widow and Bijou reveals that she had once been a poor country bumpkin, too. Disturbingly, Boss Tang and his trusted cousin both see in Ajiao, a replacement for the aging Bijou.

Much like Curse of the Golden Flower, by day 7 there would be far fewer people boarding the boat home. Powerful men, regardless of their title or era, tend to be ruthless to those who have shown disloyalty or are no longer of any use. They don't share power or show mercy.

The film was nominated for an Academy Award for Best Cinematography. The cinematography was stunning and not even Zhang's best in my opinion. Shanghai was shown in bright garish light and colors. The island with regular people on it, unaware of the danger around them, were shown in soft muted colors and light. Only Bijou's vivid red lips and flashy clothes stood out in the gentle setting. Gentle setting until it wasn't.

Gangsters were not shown in a romantic way. They were shown as the violent criminals that they were. Bijou could be brash and unlikeable, a country bumpkin who had clawed her way into a more lavish lifestyle. Unfortunately, she was not cunning or lucky, both of which you needed to be to survive and move ahead in the vicious world she lived in. She still had a heart and a conscience which were not the necessary weapons needed to be a triad boss' moll. Shuisheng's innocence was irrevocably destroyed with his survival and soul hanging by a thread. As in other of Zhang's films, there was no fighting the one in power, it was a futile and fatal task.

Shanghai Triad was bleak and relentless, allowing only brief moments of sunshine through the darkness. With the exception of Shuisheng, who was a moldable ball of clay, there was no one to truly cheer for. Nearly every character had a menacing plan. I found the story gripping but also emotionally exhausting. Gong Li's sensual and intense performance was one of her most compelling and a persuasive reason to watch the film. As much as her performance glowed, the film's glimpse into the cruel criminal world though beautifully acted and filmed was about as appealing as the corpses left behind by Boss Tang. For me, this is a film worth watching but I would not have the heart to watch a second time.

5/2/23

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A kid learning to act

I really liked this short because it shows clearly and in a beautiful (and painful) way how a gay kid comes to discover his feelings, all without needing a long time for everything to unfold. I also really liked the choice of making Chul Soo part of an acting class - I believe it delivers a powerful parallelism.
I'm keeping this review vague when it comes to the plot because, as a short movie, I believe it can't be said much without spoiling almost everything. All I want to say is that it hits very hard, and it might hit much harder if one had a similar experience as a queer child. The entire movie feels so plausible that I wouldn't be surprised if this was based on a true story.
The acting was incredibly good. I had no expectations since the main actors are all children, but Nam Hyeong-Jung delivered an amazing performance. The piano pieces of the OST also match the different scenes very well.

I recommend watching if you have the chance!

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