Reviews

"It's like a bucket of sand poured over my head"

During Japan's economic boom period, Kurosawa Akira made a film about those who did not benefit from it, living on the fringes of society within or next to a large trash heap. Dodeskaden was his first film in color and he took full advantage of it with brightly painted backdrops and buildings. The colors did not translate into the drab, tragic lives of the people who lived there, as they continued moving in endless circles unable to escape their meager existence.

The film begins and ends with teenage Rokuchan and his mother as they chant their Buddhist mantra. The mentally challenged teenage boy believes himself to be a streetcar operator and each day he goes out to his imaginary streetcar and runs his routes through the shanty town. As he "drives" along, he calls out "Dodeskaden", the sound a trolley makes. Out of all of the characters, his full imaginary life might actually be the happiest. Other characters are not so lucky, an overworked niece becomes a victim of rape, a man who saw something he shouldn't have walks around unspeaking with dead eyes, a father and son live in a car with the son begging for their food in town when they need it, and a man with a distinctive facial tic has to put up with a harridan for a wife. For comic measure two day worker drunks swap wives and the viciously gossipy Greek chorus of woman who gather around the water pump give their commentary throughout. A man who makes hairbrushes has a wife who has given him five children with a sixth on the way with none of them being his. And lastly there is the old village saint who tries to help where he can.

Kurosawa has vilified the upper classes and their consumerism in other films. In this one he shows the plight of society's outcasts. Much like The Lower Depths, he doesn't make the characters sympathetic for the most part, only the youngest and most vulnerable who suffer bitter fates. Most of the characters don't truly interact, only tied together by proximity.

While Kurosawa's skill shows through as well as the actors, I can't say I particularly liked this film. Justice hides her face. Redemption is but a dream. And hope is so far in the distance that most people live their lives in resignation to their lots. With the exception of dutiful Rokuchan's mother, women are portrayed as harpies and harlots, completely untrustworthy and for the most part interchangeable. The men are given much broader range from mentally ill to lazy to drunkards to industrious to kindly generous to wise old sage.

With all the drudgery and tragedy, a few moments of quiet and joy exist even when only in the imagination. There are beautiful surreal paintings of the house the father and son build together in their minds while starving in the car. Rokuchan's drawings of streetcars on every surface in their hut and his imaginary world are quite vivid. The wise sage tricks a suicidal man into wanting to live and stuns a burglar in his house with generosity. Those gentle moments are few and far between.

Despite Kurosawa's skill behind the camera and the general resilience of the people living on the outside of society, the flat, negative portrayal of women, and the relentless negativity dragged this film down for me. To quote one of the characters, "It's like a bucket of sand poured over my head."

2/22/23

Read More

Must Watch

Unlocked" is an intense thriller that will keep you on the edge of your seat from beginning to end. The movie's fast-paced will keep you engaged throughout, with plenty of twists and turns.

One of the standout elements of "Unlocked" is its direction. The film's pacing is also expertly crafted, with the tension steadily building throughout the film until it reaches a stunning climax.

The cast of "Unlocked" is also excellent, delivering a compelling performance.

Overall, "Unlocked" is a wonderful movie that I highly recommend. The direction is top-notch, the acting is superb, and the plot is thrilling and engaging. If you're a fan of thriller movies, this one is definitely worth a watch.

Read More

Below average plot/characters; terrific ambience and cinematography

What an interesting film trilogy to review. In fact, I feel it is easier to regard this as one film with three parts, separately released. Consider this as one cumulative review for Samurai I, II, and III (I won't provide any plot spoilers).

The story takes place in the 17th century Japan. It is after the Battle of Sekigahara. Our titular character, Mushashi, leaves the small village life seeking fame as a warrior. Musashi eventually becomes a ronin, a wandering samurai, and we accompany this character on his adventures. The plot is fictional, but the character of Musashi Miyamoto is a true historical figure.

First off, I will say that I enjoyed this film, have seen it twice, and look forward to a rewatch down the road. However, it is a subpar film in terms of plot, character, acting, and music. Plot is especially laughable. The action scenes, in particular, are uninspiring and lacking. Characters present as unbelievable, one-dimensional, and some even as pathetic. Even for Toshiro Mifune, a titan in film, this is not one of his stronger performances. The only music I can recall is one heroic sounding theme that is repackaged over and over throughout the film. The dialogue, as well, is unremarkable.

The two female leads, Otsu and Akemi, are strangely compelling despite narrow character design (and even mediocre acting); compelling as in I found myself rooting for both characters. In many films portraying historical women in Japan, say in the role of geisha or romantic intrigue, I find these characters to be flat. Perhaps the presentation of Otsu and Akemi as outgoing and forward was a refreshment and something to look forward to on some level.

So, why did I enjoy this sub-par film and why would I rewatch it again?

Ambience. I suspect the film has many historical inaccuracies, but I could grasp a distinct and coherent ambience not easily felt in other period films. If you've seen many historical asian dramas, especially K-drama or C-drama, it is as if all of the historical eras over a millennia are presented in the same visual way - same court costumes, hats, sets, gardens, castles, etc. It gets tiresome seeing the same 'historical image' over and over. With the Samurai Trilogy, the film looked and felt as if it might be more like the 1600s rather than 1800s. Even though the film plot and aesthetics are fictional, the coherent ambience helped suspend my belief; I could believe I was watching people in 1600s Japan.

The natural scenery in this film was prominent and alive. Mountains, rivers, trees, rice fields, grassy meadows, etc., all looked full and wonderful. It was like being enclosed in the romantic nature and space of 17th century Japan. And for that feeling alone, I would venture back to watch this film from time to time without taking the film craft aspect too seriously.

Read More

Quality relationships are the biggest impact on happiness

Tokyo Twilight (1957) was Ozu's last film in black and white. It is a family drama and is regarded as one of Ozu's darkest films. This is a film worth watching if you've already seen a few Ozu films and want to be 'completist' in your Ozu viewing. Otherwise, as a stand alone film selection, I don't recommend it for most folks.

Considering the seasonal themes of many Ozu films, Tokyo Twilight features snow, so we are firmly in the season of Winter.

The issue for me, isn't so much the dark themes and plot outcomes, but rather having difficulty accepting Akiko - the distraught daughter who seems to have no luck in life. In some ways, I felt the character's presentation wasn't believable and, as a result, had difficulty empathizing with this character. The two Ozu films that I've seen the actress, Arima Ineko, star in, I was irritated with her characters including Akiko. Ms. Arima's characters present overwhelmingly as stubborn, impatient, and lacking in social skill and regard for others. Perhaps that was intended by Ozu, or perhaps, it was overacted to some extent. In any event, the filmgoer is supposed to feel for Akiko, who has no close relationships to lean on for true support.

Setsuko Hara, on the other hand, plays the depressed older sister role of Takako. She was terrific to watch in this film, and I gained a greater appreciation of her skills after being accustomed to her bubbly, smiling, 'pure' daughter roles in other Ozu films. The subtle sorrow that Ms. Hara projects in Tokyo Twilight is convincing and masterful.

Ozu films can, as an overall style or scheme, be not too explicit about plot. There are ellipses or gaps in the plot. This leaves some of the story plot or character feelings open to interpretation. For many Ozu films, this works well; viewers intuit characters' thoughts and feelings because they're so real and relatable that we don't need image or word to confirm what's going on. However, in Tokyo Twilight, these gaps in plot are more confusing, on average, than other films. It might take some 'studying' after watching the film to come to a full understanding of the plot and themes. I suspect many viewers are not willing to do that, which is why I, again, only recommend this film for the Ozu 'completist'.

Read More

Exploring the gap between Parent and Child

Equinox flower (1958) was Ozu's 48th film (of 53) and his first feature film in color. As with all Ozu films, Equinox Flower is a family drama.

This film focuses on an upper middle class family in conflict; that is the daughter's decision to choose a marriage partner without consulting parents and a parent's view they should be involved in the decision. It might seem filmgoers would automatically side with the daughter in this story, but many will sympathize with the old-fashioned father to a certain extent. If this topic interests you, do watch the film and be aware of your perceptions, thoughts, feelings, and judgments.

One side note, is that the title, "Equinox flower", is also the common name of an Asian lily - Lycoris radiata; it is also called 'red spider lily', 'red magic lily', and 'corpse flower'. It is a beautiful red flower (look it up online!). This flower blooms in August-September, close to the Autumn Equinox. The flower has some cultural relevance to death. Consider what element(s) of the film may symbolically link to this flower. Does it represent the decay/death of a parent-child relationship when the child marries and becomes 'independent' from parent?

This film primarily explores the gap or 'conflicts' in perception that parents and children have of one another. The following 2 script selections represent that gap.

Says one Mother to another mother:

I'm doing all I can,
but Yukiko (the speaker's adult daughter) just keeps telling me
to leave her alone and not bother her.
Children are so ungrateful.
Our children are the same.
It must be the same everywhere.

Says one adult daughter to another adult daughter (--):

I envy you, Setsuko.
Your parents aren't like my mother.
They're so understanding.

--I wouldn't be so sure of that.

They're not like Mom at all.
She always goes on and on
and never gets to the point.

--She has an interesting way of talking.

Yeah, too interesting, if you ask me.
Setsuko, we should team up.

--What do you mean?

You help me
when my mother's being unreasonable,
and I'll do the same for you.

Read More

Ozu's most accessible film; a great first film to start with

Yasujiro Ozu, along with his writing buddy, Kogo Noda, collaborated on 27 films. Ozu, alone, made 53 feature films. Good Morning was Ozu's 49th film, and 2nd film in color. This is one of his 'later' films.

Good Morning (1959) is easily one of the most accessible films for the new Ozu filmgoer. It is in audio, color, and, at 94 min. run time, very digestible. Compared to other Ozu films, it feels less 'heavy', quicker in pace, and is visually stimulating; older Ozu films (especially the black and white films) have a more static visual presentation. There's lots of explicit and implicit comedy in Good Morning, and the music is more 'modern' compared to earlier films. Furthermore, Good Morning leans heavily on the performance of children, including a cute young child who does an incredible acting job. There's something to like in this film for everyone. This is a fine film to watch for a family with children.

As with all Ozu films, this is a family drama. The plot and themes cover the dynamics of an upper middle class household (father, mother and their two young sons). The film also explores the dynamics of neighborhood relations and intergenerational dynamics. The challenges of raising children are explored as are the differences in socioeconomic statuses of neighbors. Compared to many other Ozu films, which focus on adult characters, Good Morning features well-developed children characters. The children actors in this film, in fact, steal the show.

The portrayal of happy-go-lucky children in Good morning, may be a symbolic decision. In 1959, Japan would have had young children (age 1-15) with little to no living memory of WWII. Instead, the children of Good Morning are concerned with television, watching sumo and baseball, and having fun with friends. The adult parents, conversely, are consumed with work and rebuilding the nation from its WWII defeat; they seem too busy to be strict with their children for long, giving in to demands for consumer pleasures.

While this film may not be as 'emotional' or as 'deep' as other Ozu films, it is still a very thought provoking film. For myself, personally, this film made me want to read more about Japan's modern history.

Good morning is a very good place to start for the first-time Ozu filmgoer and is appropriate for children of middle-school reading ability.

Read More

definitely more of a comedy than a horror

This movie is really goofy from like the minute it starts all the way until the end credits scenes. It made me laugh so many times; there's really funny physical humor, lots of great one-liners, the makeup in several scenes made me giggle, and the actors were just amazing with pulling off fear and hilarity. Honestly, with the story, I could guess a lot of it (tho admittedly the Truth of it all did surprise me) which isn't a bad thing, but I think with a different cast it would've been a lot more boring. The three boys as well as the grandparents and "Little Suzuki" were perfect in their roles.

The music was fine, I didn't really feel that moved by it either to laughter or anything else. Another criticism I had is that sometimes the really emotional scenes feel out of left field, or aren't given more than a few seconds to hit before it was already moving on. I enjoyed anyway, but I did notice it and it was a little distracting. Also, while I am queer and a lot of the gay jokes were funny, I wish it could've been handled maybe a little differently. Idk I have mixed feelings about that aspect.

General rewatch value is probably higher than I rated it for myself, because once you know the ending it would def be fun to look back and see all the hints. But personally idk if I'll be rewatching, at least not any time soon. Maybe when I need a pick me up.

Worth a watch for sure, but don't go into this expecting a horror--you will only find a comedy.

Read More

Despite Michelle Yeoh's best efforts, this stunt fell flat

The Stunt Woman starring Michelle Yeoh started out strong giving the audience a behind the scenes look at the grueling and dangerous life of stunt women and men. Then it lost its way and stumbled down a confusing path that not even the graceful Yeoh could save it from.

Michelle played Ah Kam, a stunt woman who through determination finds a job working for Master Tung's (Sammo Hung) stunt company. She quickly becomes one of the stunt family after showing her fearlessness and skill. Paco Yick and Mang Hoi, real life stuntmen and stunt directors, were part of Tung's crew. The film touched on the Triads who were involved with movie making during this time. If the film had stayed focused on the nomadic and precarious life of the stuntmen in Hong Kong, especially before CGI and improved safety conditions, this could have been a fascinating story. Instead, Ah Kam falls in love and becomes a manager of her lover's Karaoke bar. When this falls apart she heads back to her true love, working in the movies. Tragedy awaits her and the crew. The next thing you know she's playing surrogate mother to Tung's wild child son.

Perhaps parts of the story had to be re-written after Michelle suffered a calamitous fall, injuring her back. They actually showed footage of her jump from a bridge onto a truck and her having to be tenderly carried off afterwards, which paramedics should probably have been doing. Or maybe director Ann Hui was trying to show three different traditional eras in a woman's life-singlehood, being a couple, being a mom. Whatever the motivation, the story was all over the place in the second and third acts. A major death happened practically off screen, losing much of the emotional impact. Some story elements were vague at best, others were simply dropped.

Michelle Yeoh did her best with what they gave her as did Sammo Hung. They had a nice professional chemistry together. It was fun to see numerous stuntmen have the chance to show their skills as real characters. Kent Cheng and Richard Ng made guest appearances rounding out the cast nicely. The only drawback in the acting department was the child character. Ah Long was a thoroughly unlikeable kid who only partially redeemed himself.

There were a few fight scenes, but much like some of the stunts, they were filmed from a distance or too close, making the action blurry. With Yeoh and the stunt crew, it seemed as if there should have been much better, clearer shots for us to enjoy.

The movie started out strong and ended with a whimper, a terrible waste of kung fu legendary talent. The film did cause Michelle Yeoh to reconsider some of her movie choices which led to a James Bond film and Crouching Tiger, Hidden Dragon which helped to cement her status internationally. So in the end, this uneven film was useful after all.


2/21/23

Read More

a boring psa of the dangers of technology

i did not hate unlocked (2023) but i was definitely bored. the whole plot is a little too on the nose for me and even reinstates this message quite a few times throughout the movie.

while the movie fell flat for me, two things stood out- the production quality and si wan's performance. the opening sequence is mwah so beautiful. i really enjoyed a lot of the cinematography and how some of the shots and blocking are pretty dynamic. si wan is GREAT here. if only the story was there to back him up.

the first hour is better in terms of pacing and story than the last hour, but si wan appears more in the last. maybe you can watch this movie in the background but don't make it a priority.

Read More

The nasty & rude brother's intrusion to a couple's happy and peaceful life.

That was short—freaking short! It could honestly run for another 20 mins or two and I would never ever mind. It was a cliffhanger in the most annoying way possible, I would say. I almost didn't even enjoy that... It felt like I brush my teeth longer than this extremely-short film.

Anyways, I still wanna say that I enjoyed this short film a lot. I find it really amusing how K-BL industry is now more open when it comes to providing us with this level of interactions and intimacy.

Kissing Scenes was surprisingly intense... something I didn't really expect at first. Although I've known that the past few years has really brought great changes to the industry; but I kind of still wasn't expecting this to be at 'that' level.

Nonetheless, I'm still highly satisfied on this short-project and I'm also hoping to get an extended version of it somehow.

P.S. I'm really curious whether the brother got a hint already of their relationship. Cause I'm sure as hell he already did.

Story - 9.5, Nothing was actually bad about this. Aside from the fact that it was agonizingly short. This would've been perfect if it was really a bit longer. Gosh!

Acting/Cast - 9.5, Kim Jaeheung did really great. Like there's no hint of any awkwardness shown throughout his portrayal. Park Jongho on the otherhand felt a bit unstable and inconsistent. Specially with the slapping scene. I find that very awkward. While, Kim Hyunjoon did quite good. Facial emotion's on point.

Music - 9.0, The sounds used are actually quite decent. Find them really compatible with the cute scenes. But nothing just really left a lasting impression for me (most probably because it's very short already and they don't wanna waste anymore time just to play some actual songs). It was like a good dream I immediately forgot after I suddenly woke up.

Rewatch Value - 9.5, I'll probably watch it again since it doesn't really waste any of my time. I just wanna avoid the disappointed I have had when it suddenly displayed the ending credits.

Overall - 9.0, This short-film truly delivers. If we're looking on how they address same-sex couples reaction when someone unaware of their sexuality suddenly barges in to mess things up in their happy life, then they really did great. I was just dissatisfied on the fact that they spent time to create this only to left the viewers hanging. Above anything else, this one's a Must Watch still.

IF you find my review helpful please let me know.

Read More

This was on friend's rec list and I was intrigued enough to see a story about a porn writer to check it out. My review might be colored by the unconventional order I watched the franchise: this movie first then the Novelist drama, and skimming through Mood Indigo. It's essentially a character study on Kijima the titular character, and the story, like the character, is highly flawed. The 2 most poignant scenes that pretty much sums up everything comes towards the end of this movie and an after-credits scene in MI, of all things:
-When Kijima finally says "I love you" to Kuzumi and says "I can't even express how much I love you."
-Kijima's response to Kuzumi's flowery profession of love: "Words are amazing aren't they? I didn't really understand that, even though I'm a writer."

Those 2 scenes/lines is Kijima in a nutshell. The inherent contradiction of a writer, who desperately wants to write with everything he is, but being unable to express the finer emotions of life because he is scared of actually experiencing those emotions packs an emotional punch in its simplicity.

But this gets lost in the execution and that's the problem. I don't know if it's because the way it's formatted, 2 short dramas, a movie, miscellaneous scenes etc. Taken as a whole series, I found the story repetitive and aimless, or plain unnecessary at points. That "words are amazing but I didn't understand" scene should be more than a throwaway scene at the end of a prequel. Kijima's struggles and personality came through in vague and not so vague hints and suggestions and would've been better to leave it at that. Seeing it play out over and over again got tiresome and that by the time I got to Indigo, thought it was largely unnecessary.

Read More

20th Century Girl was going strong as a light, fluff and full on cliche teen romance with cute characters, fun interaction and a bit of 90’ nostalgia, until the writers decided to be “ambitious” and give it a random, unfitting and poorly executed ending to make the movie “more memorable”. And I’m here questioning why? I get it, as a writer you don’t want to start your career with a cute, but not memorable rom-com, but what we’ve got here is not the way to go.

What went well? Most of the characters are likable, even if they lacked depth. Bora was your typical energetic and bubbly girl, Woon Ho was a perfect first love material with his warm demeanor, and Hyun Jin was the most fun and entertaining of the group. Sadly, the writer did Kim Yeon Doo dirty presenting her in rather unflattering light - clueless about the situation she was in, not getting a hint about the relations people around her have, defined by her circumstances and the illness - little to no info about her as a person.

Surprisingly, I adored all the piling misunderstandings. All of them presented in a light and heartwarming way, showing the mistakes most of us made when we were teens facing our first love.

What’s more - 20th Century Girl is simply beautiful. The use of light and shadows gave me goosebumps more than once. I am a sucker for good dim aesthetics.

So what went wrong? For a movie that is 2 hours long, we truly did not know much about the characters. Halfway through the movie I started to question, how there is still an hour to go and why are we not exploring any of the circumstances the characters are in?

The acting was also not mind blowing. Maybe I expected too much from this cast, but with a plot so simple and full of well known cliches, the performances are what carry it. Here, while everyone did a great job, none of the portrayals of the characters was truly unforgettable. My biggest issues were the more emotional scenes - they did not resonate at all. Maybe because Kim Yoo Jung tried to tap deep into the overly emotional teen, but her crying was more annoying and less moving than I would like.

By now, everyone knows the ending is just disappointing. I honestly don’t have an issue with the idea the writer had for it, but the execution was simply bad - no set up, no explanation, no message to tie it all together, no nothing.

Overall, it’s a decent movie, bringing back many memories of my teen romances and for that I am grateful. It’s not exactly memorable, nor innovative, nor a simple feel good watch. Tries to stand out in the sea of teen rom-coms with the ending, but fails to truly deliver a cohesive narrative that leads to this conclusion.

Read More

For me this is a movie that should not be watched a second time

REVIEW 'FINDING GAME'(RE/MEMBER) LIVE ACTION VERSION OF NETFLIX.
WARNING WITH SPOIL
It seems that you have waited a long time for the hit series of that year to be adapted into a movie. A while ago I heard that the story is being planned to be adapted into an anime, and I was very surprised to hear that there will be a live action version instead of an anime. It's unexpected and to be expected! But is the film as desirable as we think? Please say NO.
I will compare the details in the story, and the movie to give you the most comprehensive view! (I read the story a long time ago, so my memory may be a little bit wrong, hope the sages will kindly give me some gentle comments, please be patient for me!)
The first big minus point for the film is that it is adapted into a movie instead of a television. This shortens the length of the film to only 90 minutes, but the manga is attractive to 150 chapters. That's why the film has cut out the most important details and story situations. “Details make the work of gold dust” (Pautopxki). Cutting out important details makes the film just a bland copy of the manga.
The movie revolves around the first time finding the body (the story has 2 times to find the body) but because it has 90 minutes, it only revolves around the first time. That's why the plot of the movie has changed a lot compared to the manga. Let's take a look at the expensive details removed by the film!
Details of the origin of the red shirt through rumors of people in the school (like Japanese urban legends)
This is probably the MOST PRICE detail the filmmaker gets rid of. The whole school Asuka attended there was always a rumor that a female student came home late from school and she accidentally saw a red shirt. Then accidentally turned his head and was torn into a hundred pieces. Her body scattered all over the school was terrifying. But in the movie, the girl in red suddenly appeared through an online game.
Compare the red shirt in the movie and the red shirt in the manga. The red shirt in the movie must be said to be hyperactive and kill people with NO LAW. See who killed that person, even smart enough to dive into the pool to kill the other 3??? The plus point is that this red shirt can be shaped well, as expected, but the filmmaker has made the red shirt in the movie far different from the manga, which will probably make a lot of fans of this series inhibited! What is the difference between the RED T-shirt in the MANGA and the movie? The Red Shirt in the Manga has a rule to kill people to give the others time to find the body.
Rule 1: The red shirt will go all over the school, any player who sees the red shirt and turns his head like in urban legends, immediately the red shirt will appear behind and no matter what, he will know.
Rule 2: If the player doesn't turn his head, this little red shirt who doesn't know how to handle it will jump on the player's back and sing it a rhyme, if the music runs out then... Die
Rule 3: This red shirt will be as active as the one in the movie if someone takes Emily's teddy bear.
Perhaps deleting these 3 rules will make the movie circuit faster, but also more bland and make fans of this series inhibited ️
DETAILS BY FINDING AND ANNOUNCEMENT . Only now do I remember one more murder rule of this girl in red. In the movie, the person who asked to find the body is also the girl in the red shirt who is always funny. In the story, it's more interesting, the person asking for the body is a kid in the class. Every day it appears to ask the people it chooses, during the day when it asks, it's like a lost soul, sometimes the players have tried to kill it to keep it from asking, so that it won't have to play but failed. At night, the person who asked to find the body will act as the announcer and will announce the location of the red shirt to the player. Not like in the movie, you have to turn on the lights to cheat and hide from the red shirt :v.
Rule #4: Anyone who tries to open the announcer's room the little red shirt will show up and BOOM. After the end of the game, one of the players must stay behind to continue the game, acting as the finder and announcer.
DETAILS OF THE DEATH OF THE SISTERS. I don't know if the director of the film skimmed the story, but the death of the red shirt in the movie is exactly the same as the initial doubts of the players when learning about the death of the red shirt. In the small film, the red shirt was raped by a man and chopped up. In the story, there was a dark curse that the parents of the two little red-shirted sisters played with, so it haunted them to form the game. The red shirt has a sister, the two are twins, the sister will be in the radio room with the announcer, this sister will control the red shirt because the red shirt is very obedient to her. And the two sisters are the game administrators
Above are the details and situations of the expensive story that the film has cut. Let's review the movie together
Advantages: The actors are all beautiful boys and girls, know how to dig deep into the reality hidden in each person's heart, which is loneliness. The image of the red shirt is good, the movie details are somewhat innovative compared to the manga, which is also very interesting, the color of the film is beautiful, the sound is also very good, many people say the murder scene is boring but I think it is better than many other movies.
The new episode I'm talking about is the part where Emily turns crazy into a monster, not the manga kkkk
Cons: The movie happens too fast, anyone who has never read the story must be able to imagine the end of the movie sometimes, the actors are quite stiff, laughing and crying. Cutting too many details of the story, the female lead sometimes acts a little too inhibited (like some other instant series with that small scene that doesn't complete the task but stands there crying). Cut too many characters, everyone reading the story will be clear, not focusing on psychological analysis of characters like the story. Skip the inference to find the body. Instead, make a map to mark the places to find the body like in the movie. The image of Emily is not as beautiful as the prehistoric humans, the snowman in Doraemon.
In general, the film has also saved a bit of the detail of the teddy bear turning into a monster, which makes the film flow quickly and ends. But overall it's boring, failing given the massive success of the manga. Perhaps the film has upset the expectations of manga enthusiasts. The above article is my subjective opinion, I hope everyone keeps a cool head and gives me suggestions!

Read More