Reviews

It's OK, nothing noteworthy.

It's a good movie to watch when you're bored or just want to play something in the background. There's not really a good slowburn aspect, but that is to be expected of a movie. Story was meh, but it did have a somewhat creative plotline with the Matryoshka doll and it's significance. In my opinion, the main character Hirofumi is FAR too awkward. There's a line between being awkward but the acting is bearable and then there's being awkward and the acting being awkward too. Although I will say that I liked the love interest, Shinji. His acting was actually not that bad and felt genuine. On the other hand, these two as a couple did not feel genuine or authentic and the final kiss scene was honestly repulsive because of how unnatural it felt. Dude was kissing with his eyes wide open and they even added an intimate scene that looked even worse because they were just flailing around and mouth breathing on one another. The movie is old so I can't be too harsh on it but it definitely has it's shortcomings. I'd watch only if you just need something to watch. It wasn't horrendous, just awkward.

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the film had a statement to make!

what i liked

+ the story of this film shines light on the corruption that goes on with the authoritative figures of society

+ the actors were convincing in their roles. the cast nailed their characters

+ the setting of the film was giving modern coming-of-age. in scenes like at their gigs and the car ride leading up to the events but then it builds up and becomes intense yet still maintaining a somewhat cool tone. the film gives a glimpse of what could have gone wrong without becoming extremely disturbing if they did not have their said privileges (police brutality is way worse irl)


what i didn't like

- cussing was overused in my opinion and at times, it felt quite cringe because was it necessary to add "f*ck/ing" at certain dialogues? i get that they're supposed to be edgy and relatable to the youth today but the script writing could have been better in that aspect BUT i must say and slight spoiler coming ahead...

i'm paraphrasing here but it hit when jk said "kung hindi sa pangalan nya, makakalaya ba kami dito?" #shook

that was something that stuck with me at the end.

overall,

i recommend blue room. however, it is heavy and should not be watched around children.

blue room definitely had me pondering upon issues that our society faces when one becomes drunk with power.

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watched this film tonight and this is what i think!

what i liked

+good acting. the main characters, jane + rk.. they brought marge & mike to life. i must say though i feel like everyone portrayed their characters really well. side note: i just found out on this website that jane was one of the screenwriters, no wonder she nailed it as marge! :)

+ i also enjoyed the visuals of the film! the scenes at the beach and the place they met was something they went back to. given that this film was made in 2020 (or atleast released idk), the use of their locations was well done

+ music was nice. very mellow and suitable for the mood the film is setting us up for

+ tbh the plot twist was quite unexpected. i think it was unique for an overused trope that i've seen in newer filipino drama/romance films. i don't wanna spoil anything so i guess you'll know what i mean when you've watched it. so i do appreciate the plot twist :)

what i didn't like

- well, the story of the film mostly. the premise was intriguing. a struggling artist and med student meeting again after they've shared a connection at the church. it would have been nice to see how their relationship unfolded in a different way. but i guess these things do happen (for the most part) and i can appreciate that ana's character was solid until the end.

overall,

i enjoyed "us again" and i do recommend this to watch if you're thinking about it or need recreational sobbing :)

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Three minutes travelogue for Wu Lei fans - not a drama

I had watched this before, but not noticed until now that it was included on MDL as if it was a full movie or drama.

It is not uncommon for actors to do travelogues or vlogs of their trips, even modeling abroad, videos that can be shot quite professionally, like the most recent fours short videos linked under the title "On The Road" that Chen Zheyuan shot in Dubai in mid April 2024. Such pieces are usually watched mainly on the original social media of their idols by fans of the actors or of the fashion they showcase in foreign settings, or discovered by the fandom explorers.

This video, If I'm Not Wu Lei, shot in Sri Lanka, dates back to the times when tourism boomed in Asia before covid. It comes with a message : "Don't Wait For Life, Live It". Wu Lei has lived it up to do road trip vlogs of his bike travels in the Xinjiang, and an introduction to the coastal city of Xiamen, as brand ambassador. If the latter featured well known highlights of the "must see" circuit, it also included experiences that felt more personal, like this little video , where Wu Lei watches the country fly by from the train window, or briefly encounters curious youngsters of a different culture, in a kaleidoscope of pictures that make those in front of the screen feel the rush and impermanence of traveling.

But traveling abroad can also be romantic, and this was incorporated later in his full drama Amidst a Snowstorm of Love, set for a good third in Helsinki, Finland, with a small trip, not unlike this Sri Lanka one, to Annecy in France, before the evening out stargazing on top of a mountain.

For the rookie fans of Wu Lei (in addition to trawling his Weibo pages and other social media), I recommend the pages of the blog and YouTube channel of " Wu Lei Galaxy ", which is very comprehensive and up to date.

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"There will be no end to the sorrow"

Early Train from Taipei is one of about 200 Taiwanese language films to have survived that were made between 1955-1970. This film was popular during its day and has been restored with only a few flickering skips still evident. There was no doubt what type of film this was going to be during the intro when an artist tells his friend there is a sad story behind two disparate paintings of the same woman. While I can appreciate its place in history, the endless melodrama and flat characters caused my interest to wear thin by the end.

Siu Lan and Hue Thao are two beautiful people who live and work in the countryside and love each other. Siu Lan’s father died leaving her ailing mother in deep debt. When the creditor comes calling demanding payment, Siu Lan asks a friend to find her work in Taipei. The work turns out to be as a taxi dancer. Within a couple of weeks, she’s sending significant money to her mother to help pay down the debt. Hue takes the train to visit her but derides her for her choice of employment implying she needs to go home. He leaves her a note and catches the train, hiding from her when she follows him to the station. Siu Lan attempts to quit but her boss does not handle her resignation well, and from there on her life takes a decided turn for the worse.

A heavy-set couple back home brought comic relief whenever they encouraged Hue to visit Sui Lan. But that laughter was soon drowned in a torrential flood of tears. Tears of guilt. Tears of loss. Tears of sorrow and anger. Tears of hopelessness and remorse. And tears of pain. The last third of the film was a relentless parade of pain. With each new dilemma the catastrophes felt more like manufactured drama desperately trying to force the audience to cry than from any organic developments to the story. Siu Lan and Hue were tortured over and again. The lyrics to the songs implied that Siu Lan had been enticed by greed and the big city lights, but she appeared to remain the same lovely girl she always had been and was only working in the city to pay off her mother’s debts. She would have preferred to stay in the country with Hue and her mom but her innocence was exploited by the cruel club owner. Whatever lessons fate was trying to teach her for having sought to make money in the city, I’d say it was overkill.

I did like that the connections between the women were strong. Siu Lan’s friend, Suat Gno, stayed loyal to the end and felt deep regret over finding Siu Lan a job at the club. Suat Gno also cared for Siu Lan’s mom when Siu Lan was unable to. It was good to see Ko Yu Min, veteran of numerous kung fu flicks, play the defense attorney (paid by Suat) exasperated with Siu Lan’s martyr complex. His perfectly timed eyeroll expressed my sentiments exactly. It was difficult to watch this woman who only had good intentions be victimized over and over again. First by the lascivious men in charge of the club and then later by the justice system. Lastly by herself. Taiwan was going through a growth faze with young people heading to the cities for better jobs. Apparently, this melodramatic tale connected with audiences and was quite popular. The Last Train from Kaohsiung was a successful prequel to this film and there was possibly at least one sequel to Early Train. I would like to find the sequel to see if they saved Siu Lan and Hue Thao not only from their emotional damage but also the physical damage they endured.

Early Train from Taipei was a love story between two people torn apart by the evils of the big city. Beauty and “greed”, even if used for protecting the family were punished like using dynamite on a gnat. I appreciated this time capsule for what it was and am grateful it was saved and restored for future generations to see. Despite that, I struggled with the almost gleeful degradation of Siu Lan and Hue Thao as a cautionary tale for young people desiring to leave home for the promise of a better life in the city.

17 April 2024

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Extraordinary

I just watched 'Lahn Mah' today, and it's easily one of the best Thai films I've ever seen. There was a lot of fun(Actually, jokes are stunning, I heard many people laugh in the theater), sadness and touching in this film.

This movie provided the mood and reality of being in Thai-Chinese families like the scene that throw flowers to the ancestors' graveyard, words that are using or celebrating Chinese New Year. Moreover, the acting was impressive. The reasons why I said that are the emotional depth that Billkin, Grandma and other casts give to understand their own characters. The smooth energy of their interactions throughout the movie creates a genuine familial atmosphere, making it feel like a real family dynamic on screen.

In addition, the inheritance fight among M(the protagonist), M's mom and 2 M's uncle adds another layer of complexity to the narrative which turns out M got the most but before that there's a fight to get the grandma's house and it made a question to the audience that will M get something for taking care of grandma?. This subplot not only adds depth to the characters' motivations but also reflects larger themes of tradition, obligation, and the complexities of family relationships.

On the other hand, it's worth noting that while the film's acting is impressive, the pacing of the proceedings may feel a bit brisk, particularly in terms of character development. Viewers may find themselves wanting more insight into the characters' backstories, especially the childhood experiences that shaped their personalities, or more time to understand the dynamics of their relationships before pivotal events unfold.

To conclude, 'Lahn Mah' is a film that shows both tears and laughter, showcasing heartfelt moments and a deep sense of love and care, especially between M and their grandmother. However, the pacing issues, particularly in character development, leave some room for improvement."

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The story of this sad comedy was probably not only very strong for me, and the end of the film only confirmed it for me, which is also proven by the three wins and a large number of nominations of this film at film festivals, but ...
The way I'm used to trances mainly from RuPaul's competitions (and that there are still many different kinds of competitions), but mostly good to excellent professionals perform there. Filipinos, on the other hand, are known in their film projects for often horrible, mocking, grinning trans people, and actually these people do not have a good reputation in the audience world, and I was a bit bothered by the second roles of "miracles" of the two main characters Mark and John, otherwise two well-known and excellent and sympathetic Filipinos actors (Guzmán+Gamboa), when I didn't believe their "hands" and femininity for an inch and these scenes had a rather repulsive effect on me. Damage.

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A modern day romance inspired by the work of Edgar Allan Poe

“I cannot, for my soul, remember how, when, or even precisely where, I first became acquainted with the lady Ligeia.”

But 白晓宇 Bái Xiǎo Yǔ, the Edgar Allan Poe fan and graphic designer, certainly could remember the day and date (2010, June 8) he knocked over 王斤斤 Wáng Jīn Jīn ’s desk. Her face and name stuck in his memory, not only because of the strange meaning of her name (a “catty”, 斤, is a traditional Chinese unit of mass used across East and Southeast Asia, notably for weighing food and other groceries) but also because of her unusual Gothic hairpin.

Bai Xiao Yu (his own name meaning “white”, “dawn” and “universe”), having failed to follow her all the way home on his bicycle when she took a taxi, immediately drew a portrait of her.

He came across her again after college and following her, overheard her mentioning Poe in a Beijing bar on Liangmahe bar street (an area which existed, north of Sanlitun, but which has undergone lots of changes and demolitions in the early 2020s ; the Seven bar looks fictional - I know none of that name thereabouts). When Xiao Yu ordered two newly invented cocktails (I liked the recipes!) with titles from Poe’s stories, JinJin turned to face him, and they went home together after a long night's intellectual communing reintroducing themselves at dawn, and next, traveling on a dare, all the way to their hometown, hooking up and living as a married couple for a year.

But Jin Jin feared routine and the “mundane” life. She was insecure about her talent as a writer, despite Xiao Yu’s comforting words. She drifted from tourism to script assistant, with her job taking her away for months on film sets.
Xiao Yu had also experienced setbacks at work, and changed his job to set up a business of escape rooms and refurbishing the hometown horror theme park. His eyesight worsened and he was wistful when he described to a fellow sufferer the beauty of the sunset seen from the hospital window.

It was thrilling to hear the budding couple, at the dawn of their relationship, excitedly recite the excerpt “I mean to say that, subsequently to the period when Ligeia's beauty passed into my spirit, there dwelling as in a shrine, I derived, from many existences in the material world, a sentiment such as I felt always aroused within me by her large and luminous orbs.” Although Wang Jin Jin was not like the fictional heroine, from a “decaying city on the Rhine in Germany”, sporting dark curly tresses, she was in a way like Ligeia, fascinated by literature and yearning for more learning. But unlike Ligeia, she did not die and come back taking possession of a corpse. The last images of the movie, where the horror theme park was revamped with a secret room designed specially for Xiao Yu, provided an esthetic and welcome surprise.
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The movie is adapted from the novel 《被我弄丢的你》 ("You Whom I Lost") by Zheng Zhi (郑执) also screenwriter for it ; the director was Han Yan (韩琰). Filmed between February and May 2023, it was announced to be airing for the anniversary of filming wrap, on Women’s Day March 8, 2024.

On February 20, the film released a trailer with the theme song “You Whom I Lost” (https://www.youtube.com/watch?v=LQG-t0nmFiU ; MV with pinyin & English translation here : https://www.youtube.com/watch?v=4u4Zm9S5MkM), composed by Jia Wang & Chen Wenhua, lyrics by Guo Dongnan, sung by Chinese diva Karen Mok (Mok Wenwei).

The movie was widely anticipated with over 20 million pre-sale tickets and breaking 100 million at the box office on March 11.

Zhang Jingyi played the free spirited but finally regretful JinJin, who missed her love repeatedly, figuratively, and physically when the train and the truck went in opposing directions. Some will be shocked by the fringe and hair style JinJin kept (although attenuated in the end): whatever, nothing can really make her ugly.

Tan Jianci played the young man cursed by upcoming blindness, with delicate movements of his eyes and posture as the lights dimmed for him. Xiao Yu wanted to treasure his happy past and the moments with JinJin whom he could never totally read the mind of, but whom he never totally lost the memory of, despite she had broken up with him.
The mention on screen in the end of the movie is 你就是我的想要生活 (you are my life’s yearning).

For those who would like to read “Ligeia” or more of Poe’s work, here is a link : https://poestories.com/read/ligeia

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Yikes!

What a terrible plot. The FL apparently needs to change everything about herself and become ultra skinny, with no work on her part btw, for the ML to be interested. He was a crap ML, so I'm not sure why the FL should want to be with him in the first place. Move on to someone who's actually good. Also, if you want to change your body and be skinnier, you should do it for yourself, your health, and mental health (if it bothers you that much). And if you choose to do that, it will take a lot of work. Surgeries will not solve it for you and won't keep it solved either. Such a horrible message!

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When I say cute movie, its underestimating the movie

When you feel like there isn't a good romance movie, this movie shines like no other. Out of the rom-com fests, or sad girl romance drama fests, and unhappy, heart-wrecking, mind-crying, "realistic" love stories, this is a true gem.

It isn't special. It's got no special script or actors. It got nothing out of the ordinary but then again what is ordinary? In Drama Land, we have so many stereotypes and cliches that this movie with its not-so-much simpleness happens to be perfectly fit into what seems like pure bliss.

We have a simple ML and witch. it isn't love at first sight but it sure does feel like it. With his simple ways, the stupid and unwavering ML does whatever he can to win the FL. It's not a special love story but it sure hits your jellies.
(We all love a quirky and dumb ML whose dumb ways just exist in our hearts.)

I don't know if its the setting or the entire vibe check of the movie, but it's nice and wonderful to sit and watch.
Def rewatch material!!

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Too bad the storytelling around the stakes and the editing hindered my enjoyement

I was quite disappointed by this action movie. More specifically because the most interesting aspect of the plot (with the submarine scenes, all involving a deep and gutwrenching psychological aspect) is only coming up past the 2/3 of the movie. I'm left to wonder if I would not have appreciated much more the film if it had been edited in another way around rather than creating a false suspense regarding the identity of the antagonist.

The performance of the casting was overall good but not stellar. At the end, surprisingly enough, it is two of the guest roles (played by Cha Eun Woo and Lee Min Ki) that grabbed the most my attention. I wish that Lee Jong Suk would have been given a bit more room to shine and do more in terms of dialog as well as characterization. Once again, maybe a different edit of the story would have allowed to have much more powerful stakes for the story.

Regarding the production value, it was pretty good. There are some rather thrilling action sequences and good ideas in terms of directing. There are a lof of variety in the dangerous situations faced by the main protagonists. The soundtrack is quite absent from the movie, not that memorable but there is a pretty sorrowful that I enjoyed during the ending generic.

I would not necessarily recommend this to people as I did not particularily enjoyed my watch. My main issue with the film is coming from the scenario and the way the story is building up the characters. I did not manage to engage with the main roles and in an action movie, rooting for the good guys and understanding from where they are coming from is critical to really get me invested and care about the story. Here, I started to care much too late and felt that the 2/3 of the movie was not as exciting as I would have wished.

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How much and in what way will our own decisions and those of others affect us?

One of the most complex and uncomfortable topics in human relationships is infidelity, but our worst qualities, decisions and actions are a great tool for cinema, which can turn even the most twisted relationship into an emotional, deep, complex story. and explosive, which divides opinions and leads us to explore what we do not dare to see in ourselves.
Infidelity is ugly and painful, and can be traumatic for many people, but it becomes interesting and arouses curiosity when it is a "tragedy of others", the kind that movies show us, and it is also a good way to learn about more about the subject, the reasons that lead us to betray our partner and the way we deal with all that.
'Spring Like a Lover', by director, screenwriter and editor Daisuke Shigaya, is a 2017 Japanese film that proposes an unusual love triangle between three homosexual men whose lives fatefully intertwine.
Kazu (Konosuke Furuya) distrusts her current boyfriend, Shin (Tact Igarashi), a moody photographer, because she believes he is unfaithful. After an argument, Kazu revisits her ex-boyfriend, Takashi (Kazuki Kawakami), but discovers that he is now married to a woman and is unaware that this man is the one Shin has been having sex with behind his back. After the reunion, Takashi rekindles his feelings for the person who once shared his bed.
In this story about sex, betrayal, obsession and toxic relationships, the lives of these three men become complicated after the infidelity of one of them towards his partner. Of course, no one deliberately wants to harm others, but that is exactly what they end up doing.
One night, Takashi tries to have sex with Kazu, but Kazu immediately rejects him, not wanting to be involved in a relationship with a married man, and returns to Shin's house.
In Kazu's absence, Shin goes out to the terrace where her boyfriend has a beautiful caged songbird and deliberately tries to make the bird fly out of the cage. When he doesn't succeed, he leaves the door open.
In this short film that explores the universality of human emotions and poses a question: How much and in what way will our own decisions and those of others affect us? When reality breaks through, this complicated love triangle leads to tears, confrontations , breakups and violence.
After returning home, Kazu and Shin's reunion allows them to reconcile and strengthen their relationship. However, Takashi has not been able to forget Kazu, so he confesses to his wife about his sexuality, and she breaks up with him, but not before accusing him of betrayal for not having been honest with her.
Kazu is the most empathetic character of the three. Because he cares about Shin, he is able to activate a protective instinct in him. She loves her boyfriend, so she will seek to prevent him from suffering the consequences of her own actions and decisions, even if the price is high. He has seen how the photographer is heading towards a precipice and since there is nothing he can do to stop him, he appears frustrated and helpless. The image in the bathtub is, in addition to being heartbreaking, symbolic in this sense.
Shin is not a good man who messes up and makes a mistake. Both the script and the film are responsible for emphasizing that she is deliberately unfaithful to her boyfriend, and this fact will unleash all the subsequent conflicts. In addition, he violates people's privacy by taking photos of them in the streets without their consent, so he has to flee when he is caught in the act, because although in Japan it is not a criminal offense to photograph people's faces in public, it can be a crime. a civil offense if the person who has been photographed finds or fears that their image may be published anywhere.
On the other hand, Shin shows a cruel and violent face, not only for hitting Takashi, but for retaliating against Kazu in the bird for abandoning him and leaving the house. Even so, the strong emotional control she has over her boyfriend is evident.
Between arguments, crying, beatings, nude scenes and explicit sex, the 33-minute duration of the footage passes, which should not be analyzed, evaluated, labeled and classified as BL. There is a tendency among lovers of the so-called "Boys Love" to classify as such any love relationship between boys on the screen, and when they discover that the audiovisual shows a more complex dynamic, with characters with diverse nuances, circumstances and conflicts that surpass those of the genre of their preference, they accuse that this is not what they want to see, that they do not understand the film or television proposal, and they advise others not to see the artistic product, but not before giving low ratings on platforms where they are discussed. and analyze these dramatizations.
'Spring Like a Lover' is not a BL genre film, but an LGBT+ themed drama. The viewer should not expect to find here a tender and light romance between boys of those in which the audience is more interested in knowing the height of the step from which one of the protagonists will fall into the arms of the other to be happily ever after, in instead of living an experience closer to real life.
That is why 'Sprint Like a Lover' does not shy away from presenting damaged, broken, unfaithful, lying and miserable beings, as well as betrayal, infidelity, dysfunctional relationships, violence in the couple, breakups, pain. It does not shy away from showing romantic lives that are flawed and in complete anarchy.
If Shin's infidelity has an impact on the couple and on Takashi, the latter is the living reflection of human misery, selfishness, hypocrisy and limitless cruelty in demanding sex from Kazu in exchange for Shin's freedom, in addition to accept money from Kazu to drop the charges against her boyfriend.
The three men carry the entire weight of the film, without ignoring the brief presence of Takashi's wife, and are capable of transmitting emotions with gestures, silences, screams and looks in a performance as subtle as it is extraordinary, closing an intense, heartbreaking film. and very emotional.
The ending does not surprise fans of dramas that explore relationships with all their contradictions, conflicts and realities. Shin's infidelity causes his own ruin and that of the other two men.
"No one is an island, complete in himself," the poet John Donne wrote centuries ago. That is why Shin's actions influence both his own life and that of the other two characters, and end up affecting them directly. By being forced to assume the consequences of their own decisions and those of others, they see their worlds destabilized and condemned to a spiral of many other equally erroneous and destabilizing acts and decisions.
It is then that the viewer can understand the message of the film: the importance of becoming aware that every decision we make and every act we perform has natural and social consequences. We are all responsible for every decision we make and every act we perform, in such a way that we can say that our life is the result of our choices and not of circumstances. While it is true that circumstances influence our reality in life, it is also important to accept the fact that what is truly determining is the way in which we choose to react to each situation that is presented to us.
Perhaps somewhat underrated at the time, with the passage of time it has gained public understanding, but it must be seen because Daisuke Shigaya knew what he was doing with this film of rebellious and explosive emotions. We are rational beings, which adds one more element to the mere instinctive aspect that characterizes us. The fact of being rational beings implies that we can choose the way we react to the different circumstances in life, hence the statement that our life is the result of our decisions, not the circumstances.

Observation: MDL and other platforms make a mistake by labeling Tact Igarashi as Kazu. The character of Kazu is played by Konosuke Furuya, while Tact Igarashi plays Shinji Matsumoto or simply Shin, Kazu's photographer boyfriend. The character of Takashi is played by actor Kazuki Kawakami.
The director, screenwriter and editor of the film is Daisuke Shigaya.
Please, if someone could help verify and correct the error I would appreciate it. Thank you.

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