Reviews

Disappointed.

it's hard to believe this movie was made in 2022. It felt like a movie from the 90's.

The costumes, the acting, the graphics, everything except the plot was horrible.

I had so much expectations as I was a big fan of the Bungou Stray dogs franchise. However, two minutes into the movie and I was disappointed. But I endured til' the end cause I wanted to know the plot.

The story had so much potential but it was utterly ruined by the acting. The acting was that of a children's play played out in elementary school. And the wigs, even cosplayers have better wigs than this.

Akutagawa's actor was all about rounding his eyes upto the size of saucers the whole movie.

The rest, except Kenji's actor (although sometimes cringe) was horrible at acting. They were just mannequins.

And the action sequences were horrible that I had pause and cringe for a moment.

Read More

‘You should have left Hong Kong immediately.... ...What kept you? ...Or who ?’

*‘The Killer’ was filmed in 1989 and came just after the great success of the two-hit diptych ‘A Better Tomorrow’. Chow Yun-Fat, who had already starred in the two ‘A Better...’ movies, was again called in as the lead actor. The results were so extraordinary that it was from this film onwards that Woo's name began to travel the world (in every sense of the word).

The movie was conceived as a sort of modern remake of ‘Le samouraï’, a famous noir by Jean Pierre Melville, one of Woo's favourite directors, but the Guangzhou director readapted it, according to his precepts, giving us an action movie/noir, capable of merging with the most typical elements of melodrama...All infused with astonishing and spectacular shoot-outs, which, also from a choreographic point of view, will be imitated ad nauseam.

Woo, also a screenwriter, draws truly exemplary characterisations for the two main characters; By setting them against each other and starting from absolutely ‘antithetical’ standpoints (one is the killer, the other the cop) he manages, in a ‘miraculous’ way to make them converge and resemble each other thanks to the typical aspects of his cinematography.

Jeff is indeed a killer, but he is heroic, brave, full of passion, idealistic and sensitive...He has a sense of honour that really doesn't make him resemble an assassin, but rather an ancient knight who accepts his destiny and faces it head-on, without any fear, but rather with a mocking smile on his face; the brotherly, virile friendship and respect that bind him to Sidney is almost poignant, his best friend, also a hitman, physically maimed by a wound but vigorously animated by the same ideals as Jeff.
All fundamental elements in Woo's cinematography.
...And Chow Yun-Fat's performance is truly memorable...

The same rules of honour and moral principles that drive policeman Lee Ying: Lee of course hunts him down, but by some of Jeff's actions, such as the incident with the little girl and the run to the hospital, he is admired, if not actually fascinated, perhaps beginning to perceive the killer's true nature...the two men, moreover, are united by their respective senses of guilt, deriving for both of them from the responsibility of their gestures, which have generated two very serious events.

This common fate, infused with doses of old-fashioned romanticism, a sort of ‘chivalrous code’, a mèlo poetry and that sense of friendship so dear to Woo, triggers an irreversible process that leads all the characters of the movie towards a road of no return, in a sort of almost ‘martyrdom’...and emblematically it is precisely a church that is the place of the showdown.

The extraordinary film direction, as well as the editing, sets a tone of epicness to the entirety, leaving the viewer often open-mouthed, through a series of absolutely breathtaking sequences.

Much has been written about the famous shootouts in John Woo's movies: Choreographed, likened to a kind of a ballet, with unexpected and acrobatic changes of frame...Sudden slowdowns, moments of hiatus that precede extremely violent outbreaks, bodies and bullets leaping and whirling through the air, with the hero on duty moving while handling two guns at the same time (‘a dancer going through the air’ explains Woo), almost ‘in suspension’.

The application of slow motion then reinforces the impact even more, adding depth to the scenes and setting the pace. John Woo is perhaps the only director capable of making even a simple flight of white doves ‘epic’.

Watch ‘The Killer’...and then try to see the Mariachi trilogy by Robert Rodriguez, someone who really has a thing for action movies; Well, you'll notice how much the director of ‘Sin City’ drew from the Asian filmmaker.

Among the film references, I like to point out the boat race during Jeff's last ‘contract’; it has an absolutely Hichcockian ‘construction’, with a rising tension in the style of ‘The Man Who Knew Too Much’…
And there is also a quote from King Vidor's ‘Duel in the Sun’, really poignant...

'The Killer' is one of the high peaks of John Woo's career... it is probably the movie that best defines his cinematic universe and represents one of the most extraordinary modern examples of action movies (but not only).
A fundamental and highly recommended masterpiece.
10/10

-----------------
*An old review of mine from a no more existing forum, here for MDL, the names correspond with the Italian version of the movie

Read More

first half is a snoozer, second half is too crazy

the first hour of this movie is unnecessarily slow not even gonna lie. its a carbon copy of a lot of movies with this same plot, so nothing in the beginning really sticks out to you. even with the FL’s special ability, its not very enticing. the second half with the plot twist was good at first, until about twenty minutes in and then things just get too messy and weird. it was a good plot twist but the writers decided to do too much with it.
the ML’s acting was good, but unnecessarily suspicious? i get that he had to act suspicious for the movie, but when a twist is revealed its supposed to have you like: “ohhhh! that’s why he was acting like that!” except i didn’t react like that at all. instead the twist just made his previous acting make even less sense. anyways, its overall a decent set-up despite the absolute droolfest that the first half is. however as a habitual movie rewatcher, i dont see myself ever rewatching this.

Read More

"Success requires sacrifice"

Yue Song wrote, directed, and starred in Super Bodyguard aka Iron Protector. The clichés and migraine inducing editing were saved in the last act with some mind-boggling fights. If the outtakes at the end of the movie were any indication, plenty of real blood flowed as well.

Wu Lin and Jiang Li were trained as children by their sifu until Jiang Li dabbled in crime and was kicked out before he learned the secret 108 Iron Kicks. Jiang Li joined a crime syndicate while Wu Lin faithfully trained, even wearing 50 kg/110 lbs worth of iron boots for ten years. After their sifu died, Wu Lin went to work for Jiang Li serving as a bodyguard to a spoiled, rich, young woman. When kidnappers came calling Wu Lin would stop at nothing to rescue Fei Fei, even if it meant confronting his friend and his painful past.

Yue Song was hard to take seriously with his terrible mullet and big stomping shoes. Becky Li had the thankless role of the annoying Fei Fei. How many times have we seen this overused rich girl stereotype? And that’s what was really the problem with this film. Nothing was new and I have seen it done better in other movies. The clichés were served up one after the other. Even the big twist at the end was no surprise. The shaky quick editing showing closeups of body parts, tigers, bad guys, good guys, etc. was dizzying. Yue also used comic book coloring and editing for certain scenes. Perhaps Yue was trying to be artistic with the back and forth editing combined with flash backs or maybe he was trying to make a mundane story interesting.

The fights made copious use of wire work as Wu Lin flew through car windows and people were thrown about as though weightless until they doubled their mass when they crashed through whatever wall or unlucky prop or stuntman lay beneath them. The final fight, while unbelievable, was highly entertaining when Wu Lin finally got his mojo going after he cut his mullet. Coincidence? I think not.

Campy, with a wildly ridiculous plot, and highly questionable editing choices, Iron Bodyguard still had entertaining moments and Yue Song made for a likeable hero with his stomping iron boots and iron fists. He was as impervious to injury and death as a Kdrama serial killer. I always enjoy seeing Xing Yu strut his kung fu stuff, even when his character couldn’t figure out what his motivation was. Between Yue’s mullet, the overused story elements, '80s kung fu movie bad guy Michael Chan as the villain, not to mention Yue's T.J. Hooker style of clinging to a racing vehicle, this movie would have felt at home in the late 1980’s. I probably would have rated it higher had it been filmed in the 80’s on my old kung fu movie curve. No points for nostalgia.

30 May 2024

Read More

Soldiers Duty

I love Korea and have studied its history, but this film surprised me and revealed an important detail in the puzzle of Korean history on the rise of the expected "Seoul Spring" in the democratization of society. To speak more about the historical events here, would mean revealing the spoilers of the film, but I can say that the feelings that the depicted events evoke, correspond to the "han" sentiment (and fate?!) of Korean people, which unfortunately we see less and less in modern Korean cinema.

As the title of the film suggests (12:12), the film is dedicated to one chaotic day in which a group of military officers connected under the name Hanahoe, attempted a military coup d'état in Seoul. The panic and chaos that followed, primarily in the military ranks, is excellently portrayed in this film thanks to great actors and a dynamic change of shots where, interestingly, we feel the most tension through the many dramatic phone calls. And although at times it is difficult to follow who is saying what to whom, the events of this chaotic night are presented to us viewers in a brutally honest way that can also serve as a warning to new generations. It is a story about the service, duty and responsibility of soldiers, but also of all other people, because we all need to cooperate for the common good. It is scary how people can deny their moral duties and how colleagues can easily turn against each other.

The film is very long, so I will not make this text longer, but I leave this as a recommendation for all serious viewers to put this movie on their "to watch list". It is well worth the time.

Read More

Love conquers homophobia and internalized homophobia

When a movie touches me, the images continue rolling in my mind after the lights go out, the frames stop.
In a natural setting illuminated by sunlight, on any given school day, anywhere in the suburban geography of Chiang Mai, Thailand, a teenager is determined to accept his own homosexuality in front of others, even knowing that this step can represent for him the hatred, discrimination and intolerance of those who hate, reject and fear homosexuals.
Motor, which is the name of the young man, played by actor Jo Ronaporn Vipataputi, known for his performances in 'My Streamer', 2023, 'Boy Scouts', 2022, 'My Star' and My Star: Uncut Version', both the 2024, he has lost his fear of making himself visible, and is ready to leave behind his heterosexual image with which he has always intended to "be cool in front of others."
He has been involuntarily led to this decision by Gentle, the boy he loves, played by Fongfong Pathomporn Panfa ('My Star' and 'My Star: Uncut Version' 2024), a teenager who is clear about his sexual orientation and lives it without fear, guilt or shame, who, feeling despised by Motor, has chosen to distance himself.
Questioned by Gentle about his attitude, Motor will respond that his behavior consists simply of trying to please others. And Gentle responds: "Being cool isn't about who sits on your bike. It's up to you if you treat people differently."
Motor will not know the meaning of this answer. Motor is unaware of his internalized homophobia and denies it. Motor goes to great lengths to hide the shame and guilt of living his sexual orientation. Not wanting to make others uncomfortable, not wanting to change the image that others have of him, has led him to deny something that is part of him, something that is himself.
However, Gentle's message is clear. Nobody likes to feel stigmatized and rejected. But isn't Motor more afraid of his self-rejection? Isn't it worse to feel shame, disgust, anxiety, and even have behaviors of avoidance or denial of everything related to homosexual orientation due to fear of being rejected?
If in 'My Biker' it is Gentle who pulls the strings of dramatic tension by recognizing that he loves another man, Motor, the heterosexual teenager who in that 2023 film receives the confession of love from his friend, today expresses the conscience of those who are going to fight for their place in the world, even if this means that they have to suffer the hatred and discrimination of homophobes.
The short film, scripted and directed by Nitchapoom Chaianun (Nicchi), delves into the romantic story begun in 'เราและนาย My Biker', between a high school student who falls in love with his heterosexual best friend.
Produced by Wayufilm Production, in association with Pigeon Pictures, 'My Biker 2' contributes to changing the way society views members of the LGBTIQ+ community, especially in countries that, like Thailand, still refuse to recognize equal marriage and where discrimination against gays, lesbians, bisexuals and other members of that human community persists.
'My Biker 2' reminds us that not everything is always "so pretty", as many BL fans seem to believe, and that there is still a long fight ahead.
Works like this should appear from time to time on the screens of many lovers of the genre, so in need of shaking off so much emptiness.
After watching the series 'To Be Continued' I asked myself: "When will BL series come to reflect the real diversity of the LGBT+ community in Thai society? While dozens of BL series are produced and broadcast every year, the stigma and discrimination against LGBT+ people continue to occur. When will creators and directors of television channels understand that making homoaffective representations in BL series more nuanced and political could bring important and positive changes in a society that begins to observe its diversity through television creations?"
From 'My Biker 2' I could say that I would have liked a little more romantic interaction between the two protagonists, such as a kiss, holding hands or resting their head on the other's shoulder. I could express my dissatisfaction with the way in which the existence of a romance between them is evident before the final scene. I could state that I am not entirely pleased with the way in which the pain is shown in young people when they perceive that their romantic relationship is at mortal risk, but I prefer to remain with the conviction that 'My Biker' contributes to the struggle of LGBTIQ+ people.
It is not just the sunlight that illuminates the stage at any point in the suburban geography of Chiang Mai, on any given school day. Together with the Astro Sun, the light of hope also shines. This is its main message.

Read More

An unorthodox Red film, an absolute must-watch.

-SPOILERS FOR THE STORY-
An American doctor falls in love with a girl who loves a wanted revolutionist when she gets him to treat the Chinese guy for one of his ptsd attacks, where he falls into a stupor and chants his dead wife's name. Despite knowing the girl and the guy's love isn't mutual, the doctor only asks the girl's permission to date her and upon rejection, doesn't persuade her. He helps the guy get an Xray to see what causes his attacks, it's a sharpnel embedded in his brain, without removing it he will die soon but removal might result in paralysis.
Because of his entanglement in the political situation, he loses his job and the girl gets arrested, and the revolutionist tells him that he has realised he has truly moved on from his wife's death, and now he's nearing his death because of the shrapnel too and he will surrender to police in exchange for the girl.
It turns out the girl is now pregnant from an encounter in one of his attacks, and she is taken care of by the doctor while the revolutionist is executed. She dies in childbirth and the doctor adopts the baby girl, and asks the police to put the baby's parents' ashes together in a box. When the girl is older, he takes her to see the box and she opens it, and finds her dad's brain sharpnel inside.
The doctor watches his daughter smiling at a street parade with red galore all around and thinks "Seeing her smile, I understand her parents' passion now. They take joy in realising the ideals they believe in."
-END SPOILERS-

One will not be inclined to check this out because it sounds heavily political and potentially racist but damn, it was a pleasant surprise through and through.
It's a gem of a non-judgemental movie, where the story is told from an outsider pov but he doesn't whitesplain things that he has no business doing so, and despite the backdrop being that of a such chaotic and stressful time period, it focuses on the very human emotions even the revolutionists experience and the final result is utterly empathetic and charming. If this movie was made today everyone will be namecalling it propaganda and whatnot.

Read More

pandemic slice of life/BL

Overall: this is one of the slew of BL series (I.e. Gameboys, Quaranthings, See You After Quarantine, Boys' Lockdown) set during the COVID-19 pandemic. Compared to others, it has an angstier more realistic vibe. First watched with an iWantTFC subscription and re-watched when it released on GagaOOLala in 2024 https://www.gagaoolala.com/en/videos/4287/my-lockdown-romance-2020

What I Liked
- the supportive friend who was not a cliche female character
- supportive parents and how the dad said to not promise him grandkids but that the lead character would be safe and happy
- tech integrated fairly well

Room For Improvement
- why did he do the sales pitch, his character actions confused me at times
- odd that he didn't delete the post right away
- maybe because the actors weren't in person with each other, but the ending felt anti climactic

Read More

Low budget trip to Thailand

Snapshot was another short film by director Kim Chang Gyun. Shot on a shoestring budget, Kim took his small crew to Thailand to film a trio of people on vacation. Given that Kim was the producer, director, writer, director of photography, actor, and editor, it’s best to go into this short with low expectations and enjoy the stunning scenery.

Hyeong Wu and his girlfriend, Da Eun, are in Thailand for a working vacation. Hyeong is planning on opening a Thai restaurant so that he can stop working late nights at his bar. They visit Ayutthaya and see the remarkable ruins before traveling to Chiang Mai for the Sunday Market. They chat about life and children in a stilted and awkward conversation as Da Eun tries not to get in an argument. The next day he doesn’t feel well and Da Eun goes to ride and feed the elephants. She meets fellow Korean Se Jin there. They sightsee and talk hitting it off well. Da Eun is concerned about the age gap between her and her boyfriend and that he may have grown older but didn’t mature. When Hyeong and Da Eun travel to Pattaya it’s her turn to fall ill and he goes out by himself. He also meets Se Jin and strikes up a conversation conveniently forgetting he has a girlfriend.

Kim Chang Gyun enjoys having his characters sit and chat for long minutes. As in life, the conversations were often mundane and revealing. The couple came to understand that they wanted different things while attempting to sweep the differences under the rug. Se Jin and Hyeong had even more awkward conversations as he seemed to be intimating that he was interested in her while she treated him more as an older acquaintance. Of course, everyone will be waiting for Hyeong’s two worlds to collide and for him to get his comeuppance. Truthfully, I was far more invested in the women's new friendship then the romantic relationship.

As in Cine Café in Paris, one of the women was a photographer and the other was an out of work actress. This time Kim Chang Gyun played a cad who excused his behavior because a woman was beautiful. Also, as he did as a director in Paris, he showed numerous highlights of the foreign place he was filming in. The couples took us along for their sightseeing tours which I quite enjoyed.

Snapshot was a snapshot of three people’s lives as they became entangled on vacation in scenic Thailand. For a very low budget, short film, it was entertaining. I’m more lenient with these cheap, niche films. The only thing that prevented this from being a 7 for me was the omission of the women comparing notes, which after viewing these characters would have been the most fun scene of all.

29 May 2024

Read More

A pink movie with strange plot

I only knew of it because gagaoolala has posted about it. They did put a warning to watch it when you are alone at home and with good reason. Love again is simple but yet with a strange plot almost sci-fi 'ish. A lonely CEO meets someone who looks like his crush. And there is a really strange love triangle. Trigger warning there's some stalking behaviour and some wrestling. There are a few 18+ scenes. They are both long and explicit as we expect from pink movies. However it must be one of the most realistic acting almost softcore. More than dangerous drugs of sex and macho caponata (they have similar things in the story)which I already reviewed on my ig. It is probably low budget and it kinda looks old-fashioned but it might be a stylish choice. ?? Movies can be really yellow and kinda grainy in the look. The actors did good and I did enjoy the natural state of their bodies. It was a part of making it realistic. I found it okay, but I will probably not watch it again. I did however like the kinda moral of the story- enjoy your life .

Read More

It’s Disappointingly Good Enough

Like always, keep your expectations low so if you don’t get what you expected, you’re still surprised. What I’m saying is, I kind of had high expectations for this movie since I remember seeing little snippets of it as a child and thinking, “Damn, they went through some shit.” Of course, this isn’t to say that the movie is bad or that it was majorly disappointing.

It’s good enough. I see some of the complaints with the film, criticising it for the plot and how they just “wasted their budget on it”. They complain that it wasn’t scary and it was nonsensical. I, however, have a different opinion. I don’t mind that the movie wasn’t scary. It has little to no jump scares. The only thing that might scare you is the little “trick of the eye” moments or the admittedly unnerving setting of the film. There are “ghosts”, sure, if we can call them that but I would argue that the supernatural element of the film is more psychological. Of course, there are certain points that contradict this opinion of mine but I think this because the film already begs the question of, “Is the place really haunted or is it haunted because the people say it is?” and kind of portrays how fear, paranoia, and anxiety play into the supernatural realm.

The one aspect I can confidently give praise to is the acting. The actors did well in this film. I was pleasantly surprised. I didn’t expect anything less of Gretchen Barretto.

In the end, the film is fine. Was I disappointed? A little, yes. But it’s good enough to find it interesting. The production and the acting save it from total dislike.

Read More

‘So...if I believe in ghosts, then they exist...’

*Released in the early 1970s and regarded as the masterpiece of Hong Kong master King Hu, ‘A Touch of Zen’ had the great merit of updating a genre, the ‘classic’ wuxia, condensing within it, thanks also to its majestic but never really ‘heavy’ duration (180'), some of the most beautiful aspects of Chinese cinematography, today clearly re-proposed by contemporary filmmakers from the immense Asian territory, and by all those directors (Quentin Tarantino among the most devoted fans, for instance) faithful descendants of the great oriental film tradition.

It is indeed difficult to speak of a simple adventure movie, because of the mixture of genres that runs through the picture, the repeated jumps from farcical to extremely dramatic tones, the astonishing action sequences alternating with more ‘reflective’ moments (‘definitely Zen’) make ‘A Touch of Zen’ a polyhedral work, multifaceted and therefore truly unforgettable.
Rich in symbols, allegories, even ‘arcane’ elements, always and in any case fascinating, immersed in an environmental setting rich in natural beauty, with an elegant and ingenious use of the camera and a picture capable of emphasising the contrasts, the numerous chromatic nuances (red, black and white, mainly) and alternating day/night sequences, the movie is a real feast for the eyes.

King Hu drew inspiration from a short story by the novelist Pu Songling, whose works have provided material for numerous Asian filmmakers, but it is clear that Hu, with his innovative stylistic choices, decisively marked the modernisation of the Wuxia genre, influencing generations to come (consider that the film's genesis dates back to around 1969...).
And thanks to the director's exemplary ability to synthesise, to the singularity of many sequences, even long ones, which are extremely descriptive and often dialogue-free, the observer is led almost to a kind of identification that puts him completely in the spirit of the work...

The beginning, in an almost western style (à la Leone, to be clear) immediately introduces us to one of the main characters in the story, the painter Gu; a curious observer at first, and then gradually more and more interested in the ‘strange’ pursuits that seem to enliven the sleepy town in which he carries out his occupation...It is very interesting to note how precisely the characterisation of this figure (extremely ‘modern’ in his conception of life) gradually takes on ever deeper nuances.

Also impressive is the Ghost Town (an old military fortress...) where all the characters live, which serves as the main theatre of the story: The painter in the company of his elderly mother, who continually ‘’vexes‘’ him, eager to see him settled:
‘You are 30 years old...You have to get married...get a career...I want to have grandchildren’!...
The mother-son duets willingly break the tension, bringing the film to more comic tones, even if they actually anticipate a development that is by no means banal in the evolution of the plot.

The beautiful Yang Hui-Chen, mysterious and silent, who, helped by the atmosphere of the place, is initially even mistaken by the painter for a ghost, as well as the blind peasant, whose real nature we later discover
Both figures can be considered classic, as they sum up many aspects found in numerous ‘genre’ movies, not only Chinese, but also Japanese...And if at the base of the story there is always the ‘old and healthy’ sense of revenge, it is skilfully melded with certain aspects of Zen ethics that accentuate its chivalrous nature; Precision and efficiency, discipline (which goes as far as asceticism), the noble spirit of loyalty, for example, are all at the core of the main characters' souls and determine their actions...

The Ghost Town, it was said:
During daytime, this former fortification looks like a simple assemblage of crumbling buildings, a refuge for the poor and outcast, At night, it truly appears as a place haunted by ghosts, where noises, shadows and creaks can create suspense and even fright...

Magistral from this point of view, the long sequence of the night battle, shot with an almost natural effect, where the sounds and lamentations, the screams of the fight imply a situation that will only be revealed to us at dawn, with an outcome that is both suggestive and highly dramatic...Cunning and strategy, supported by the ancestral fear of ghosts (‘Sir! the houses are haunted by spirits! ...’), against the numerical superiority of the enemy. It is evident, in this respect, how much ‘A Touch of Zen’ influenced a more recent Hong Kong classic such as “A Chinese Ghost Story”.

And over the three hours you can admire:
- Ironclad duels with jumps and evolutions that defy the laws of gravity...
- Swords with extremely strong blades that can, if necessary, act as trampolines to scale the highest walls...
- Others so flexible (yet lethal) that they can be fastened around the waist, like a belt
- A fight to the death in the middle of the forest that makes you realise how much movies like “Crouching Tiger, Hidden Dragon”, “Hero” and “House of Flying Daggers” owe to A Touch of Zen
- Bows capable of shooting numerous arrows at once
- A villainous commander-in-chief, capable of thwarting our heroes, skilled swordsmen, with only the strength of his hands
- A group of Zen monks armed only with faith (and strong ropes...), led by a master capable of taming the fiercest of enemies with a simple whisper
And so on…

So many amazing elements that constantly relaunch the story, with the aforementioned alternation of rhythm and atmosphere.

The closing, which I have no hesitation in describing as mystical, visionary, with almost psychedelic stylistic overtones, has in itself a truly majestic strength and suggestion...It may leave one doubtful, perplexed, because it does not provide a clear explanation, but there is no doubt that it is visually astounding and that, even from an iconographic point of view, it can open up to the most ‘extensive’ meanings

Majestic, sophisticated, breathtaking but also contemplative, adventurous and captivating, ‘A Touch of Zen’ is a masterpiece that leaves no one indifferent, and is therefore recommended to everyone.
10/10
--------------------------------------------------------------------------------------------------------------------------------------
*I took the liberty of reproposingt an ‘old’ review of mine that appeared many years ago on a forum that no long exists...

Read More

Tell me what you dream at night...

Time Renegades was an entertaining if flawed movie. Two men 32 years apart share memories during their dreams after each had a near death experience.

This film had a strong cast which helped gloss over some of the bigger plot holes. I liked the premise of the story even if it was used erratically. A school teacher in 1983 tried to stop a serial killer using knowledge from a detective in 2015. Geon Woo, the detective, researched past murders which didn’t do much for the present but helped Ji Hwan in the past. Only one character attempted to use Geon Woo’s connection in a more direct manner, something I thought Geon Woo would do. There were a couple of serious lapses in logic and continuity for dramatic effect. One moment which I’m sure was meant to be melodramatically devastating actually made me laugh at its obviousness and relatively low stakes.

The film was strongest in the past, largely due to Jo Jung Suk’s performance as the grieving teacher determined to alter the deadly course of events set in motion. Ji Hwan’s love for the children and desire to avenge a death made for great motivation. Geon Woo’s romantic entanglement with So Eun felt less well developed. While there was no physical time traveling, the consciousness of the men traveled as needed. The ending was the type that I like the least in this genre and one that makes the least sense to me.

Despite my reservations, I enjoyed this film as the two men tried to undo the tragedies of the past and the echoes of death and despair in the present. The film maintained a consistent stream of action so that it was never boring. Some of the performances were better than others. The Teflon villain became almost comical as he survived endless attempts to stop or at least slow him down. The movie’s solution was novel and felt like a nod to Back to the Future, if a more deadly nod. Time Renegades may not have been a dream come true, but this dream weaver was engrossing if not thrilling.

28 May 2024

Read More