Light And Sugary Sweet, But Will It Truly ” Touch” Your Heart.?

There are probably three main factors which will drive watchers to picking up this drama.Let’s not kid ourselves, though. The majority of watchers will probably be drawn to this series for our main costars Lee Dong Wook and Yoo In Na performing again as starred-crossed lovers after their renowned onscreen chemistry in the hit-drama Goblin; The Great And Lonely And Great God (2016-17).

However, here’s the biggest question that anyone watching this drama and looking through a series of often biased verdicts by watchers praising it with “10/10”; is it actually worth watching ?

Perhaps the most important thing to summarise about ” Touch Your Heart" is that the majority of the show is an easy-going, romantic comedy.The drama follows actress Oh Yeon Seo (Yoo In Na) who had rose to fame because of her enthralling innocent look, which made her the crème de la crème of commercial films or advertisements in South-Korea. However despite desperately yearning to be taken seriously as an A-list actress, she was widely critiqued for her bad acting.

Unfortunately, she got caught in a drug scandal with a big business tycoon, which damaged her career and forced her to off the grid. Two years later, Yeon Seo’s reputation and name is still being dragged in the mud by the controversy with no solid acting offers or contracts, but she continued to lift her head up high. Then one day, she discovers a drama script for another actress in their agency, and becomes infatuated with the premise, fantasying about taking up the role as a lawyer. Convincing the screenwriter to cast her despite initial rejection , the writer finally acquiesces under one condition ; Yeon Seo has to prepare for the role by working in a law-related job for three months. This is easier said than done, however, when Yeon Seo starts off on the wrong foot with the seemingly stoic and straightforward top lawyer at the company, Jung Rok ( Lee Dong Wook). Yet as Yeon Seo and Jung Rok begin to bicker and run into predicaments, both main leads soon find their hearts being melted by one another’s love...

A concept such as ” Touch Your Heart" can easily grow tiresome by the archetypical characters and cliches because it is not entirely unique in itself. Admittedly, this became evident at times within the show becoming enthralled with its own treasure trove of cliches, however, its wrong to entirely dismiss that there was nothing inherently enjoyable about the formula either. The majority of characters ( including secondary ones ) were enjoyable and although they often took time to grow close towards, they had time to sometimes grow outside of the more evident labels enforced in the beginning of the show.

The main female lead Yeon Seo did seem to ring warning bells initially of going down the " ditsy goddess” trope early on in the drama. Whilst Yeon Seo could often be prescribed to the previous trope at times , she was often a loveable character by her genuineness, intellect , resilience and Yoo In Na’s added charm. Lee Dong Wook’s chosen role as Jung Rok may rise eyebrows by his straight-laced role again as the ” stern and abrasive male lead ” ( similar to Goblin), however, Dong Wook seemed to be able to capture Jung Rok’s journey out his shell and development as an individual with emotions and feelings, especially regarding his relationship with Yeon Seo.

Perhaps the one refreshing element of their bond came through defying unhealthy tropes . Yes, there relationship was cliche-ridden by being founded upon the ” opposites attract” and ” rivals to lovers" archetypes , but as their relationship developed, it became apparent that they were able to grow out of the shadows of falling into the territories of ” romanticised” emotional abuse and gaslighting. The couple soon began to grow on mutual respect as they were able to smooth-out misunderstandings by Jung Rok’s brusqueness and Yoon Seo’s emotional honesty .

Even our secondary couple consisting of Lawyer Choi Yoon Hyuk (Shim Hyung Tak) and Lawyer Dan Moon Hee (Park Kyung Hye)was oddly entertaining. Their pairing could could have easily blown into being poorly-sketched and tiresome by the cliches of their stereotypical contractual relationship and full-on personalities , however, beyond the stereotypes of being one another’s ” adversaries ", Yoon Hyuk being a " spoilt mama’s boy" and Moon Hee falling for her looks, they did have some genuine heartfelt moments which helped to fortify the characters as individuals.

On one critical note, whilst the storyline revolving around the prosecutors Jung Rok’s close friend and roommate Kim Se Won (Lee Sang Woo) and Yoo Yeo Reum (Song Sung Yoon was necessary to some extent for plot development , their associated storyline did drag on due to an overexposure with screen time . The friendship dynamic between Se Won and Jung Rok of course was heartwarming in parts, however, having intrigue around Se Won and Yeo Rum as individuals was minimal due to lacking development and an overuse of cliches dragging these characters( in some circumstances)as dull plot mechanisms.

Overall, ” Touch Your Heart" is an entertaining drama- formulaic in parts, with a sprinkle of angst but mostly topped with a lighthearted viewing experience for watchers to help take your mind off heavier subject areas. The cast undeniably were brilliant for the most part ( although though there were some questionable line deliverances) by helping to bring the characters to life. Even the easygoing OST helped to warm up scenes and add a spark to Lee Dong Wook and Yoo In Na’s fairly good acting behind an enjoyable and heartfelt romance onscreen. If you’re a fan of cute and fluffy romantic comedies with a touch of humanity, or you desire to see new life being breathed into certain old cliches, then ” Touch Your Heart" is certainly for you.

Read More

The Hong Sisters Have Finally Returned To Wonderland..

For most watchers first looking over the drama, Yeo Jin Goo ( Hwayi; A Monster Boy and Moon Embracing The Sun) would seem to be one to steal the show from his legendary roles in numerous dramas and movies , yet, instead, it is IU ( My Mister and The Producers) ‘s role as the angel-faced yet foul-mouthed owner of the hotel, Jang Man- Wol who instead quickly steals the show from Jin Goo in her glamorous frocks.

From inspired attires straight out of Daphne Du Maurier’s gothic modern romance tale , Rebecca ( 1938), to Katherine Hepburn’s little black dress in a favourite film of the Hong Sisters, Breakfast At Tiffany’s ( 1961), IU
truly embodies the mature and complex core of a cynical female lead who is shaped by her own experiences and choices rather than merely love itself.

Yet whilst the casting of the show is fairly diverse with fellow Kpop costar P.O being cast as the giddy hotel receptionist and Bae Hae- Sun as the strict housekeeper of the hotel, some of the roles within the show (especially the storywriting ) felt slightly lacklustre in comparison. ( Particularly P.O and Kang Mi- Na’s romance as their respected characters, which did have some bittersweet moments in particular to P.O’s character, but Mi Na’s character Soo- Jung had little relatability despite her tragic circumstances).

Admittedly this isn’t entirely the fault of the actors as one noticeable flaw which arose in the drama was how the Hong Sisters had added little complexity or emotional value in regards to the respected storylines of some of the other characters (excluding Man Wol of course). The biggest example of this arose with Jin Goo’s character, Gu Chan-Sung.

Man Wol was supposed to be the fiery ‘Yang’ to Chan Sung’s level- headed ‘ Ying’ personality within their relationship, there was little to actually express or delve into Gu Chan- Sung apart from the evident plot roles. His father dies several years presumably after his first scene in a flashback in the show , yet Chan- Sung neither really expresses anguish nor heartbreak at this fact. Whilst there is the arguable emphasis that Chan-Sung is too rational to break down over these matters, this is greatly contradicted within the scene when Chan- Sung simply loses his composure at a bus stop over thoughts of Man- Wol. Undeniably a heartbreaking scene and a moment of brilliant acting from Goo, this scene just doesn’t entirely add with the intended composure of Chan Sung who in several episodes prior, who didn’t bat an eyelid to the return of his mother as a ghost.

This also moves us onto the other problem of Hotel Del Luna; how the storyline played out. Ironically, Hotel Del Luna’s biggest problem wasn’t trying to adhere to the typical cliches, but instead trying to overcome them at the last minute. Obviously, there is nothing wrong with a drama doing this, however, where the evident flaw lies for Hotel Del Luna is that rather than only doing this a couple of times to mark a red herring by diverting the audience’s attention ( and then deliver an actual plot-twist by moving onto the expected becoming the unexpected), the Hong Sisters tried to do this at every given opportunity during the storyline. Without spoiling anything, I will say this. The novelty of the storytelling becomes less effective when you did this too often, and so whilst Hotel Del Luna was certainly interesting within certain character plot-lines ( particularly Jang Wol’s past), some of the show for a major part felt anticlimactic and disjointed in the long run.

On a more positive note, however, Hotel Del Luna’s magic is greatly brought to life through fairly good CGI and storytelling upon this element. Whilst not entirely touching new ground in the face of predecessor shows like Goblin , Hotel Del Luna still brings its own element of dark fantasy through traditional Korean mythology being brought into modern Seoul. From disturbing evil spirits, bartender ghosts like Kim Seon Bi ( Shin Jung- Geum) to deities such as the mysterious Mago ( Seo Yi- seok) with unpredictable plans of fate for our main characters.

Additionally, whilst the finale of Hotel Del Luna has caused a lot of debate amongst drama fans, the bittersweet ending was surprisingly appropriate for the drama . Overall Hotel Del Luna was an enjoyable watch (although perhaps flawed by some elements of the storyline and certain characters’ contributions to the show )-the elements of dark fantasy, traditional mythology and IU’s stellar performance as the twisted and cynical Man- Wol will keep you captivated. Although not flawless, definitely worth a watch.

Read More

Did Love Alarm Season 2 Ring Another “ Alarm” Bell For Bad Story-writing?

With a nearly two year gap between season 1 and 2, an additional director Kim Jin Woo onboard, anticipation from drama fans about the fate of Jo Jo ( Kim So Hyun)’s love life, and high expectations about the overall production value , it may surprise a lot of reviewers scrolling through some of the top reviews, how many fans have scored the drama with adequate ratings. Some of these comments tend to argue along the same ineffable and biased notions that it was a “ bad ending” and “ not as good as season 1”, however, how does the story actually play out through an objective criticism in terms of characterisation, coherency and storyline in season 2?

“ Love Alarm Season 2” picks itself up during the initial time-skip of season 1, with previously “ high school” characters now ensuing careers or studies; Jo Jo is a university major, her current “ complicated ” boyfriend Lee Hye Young ( Jung Ga Ram) works as a technician at JoAlarm ( the development company for “ Love Alarm”) and former flame Hwang Sun Oh ( Song Kang) is becoming a famous national model and endorser for the app, however, Jo Jo has been hiding a secret about her app that allowed her to cut off the signal in order to inhibit her true feelings from Hye Young and Sun Oh . With the desire to reveal her feelings again, Jo Jo decides to pursue the mysterious Brian Cheon in order to unlock this feature.

Before addressing anything about the show, it is probably most prominent to point out the confusing chronology at times within the opening of season 2, by not initially “ leaving” off from the cliffhanger of season 1. Although it is understandable that a wide gap between seasons could have left viewers a little cloudy upon events and thus starting on a different storyline wasn’t “ too illogical”, it was a little head-scratching that screenwriters Lee Ah Yeon and Lee Na Jung didn’t attempt to even address or explain this suddenly “ different” storyline from season 1’s ending. This naturally left a massive hole within story development, not least for our main trio and their previously poorly-tackled characterisation from the past season.


Kim So Hyun wasn’t entirely “ unwatchable ” within her role as Jo Jo, but her performance did feel a little lacklustre due to general line deliverances. In terms of Jo Jo’s character development, there were a couple of more notable traits for Jo Jo than her season 1 counterpart , by actually acting out upon her emotions rather than remaining “ obliviously unaware” as well as a fairly traumatic backstory. On the other hand, Jo Jo still failed from breaking her initial mould as the “ prosaic heroine” of the series due to the same ridiculously staid personality traits imposed onto the character by screenwriters Lee Ah Yeon and Lee Na Jung.

The most evident example of this being Jo Jo’s “ complicated” feelings between Hye-Yeong and Sun Oh, which whilst evidently used to “ heighten” the tension of Jo Jo’s love life, still seemed fairly cruel by Jo Jo’s similar indecisiveness as the first season at times, by not forthright addressing her affections rather than leading on both male leads in such an immature manner . ( This is advocated by a later plot development which proves Jo Jo’s true nature.)

It is important to address this factor of immaturity, due to the evident age difference from different seasons often allowing a character to develop and mature as a consequence of their experiences. Instead, Jo Jo seemed to make the same mistakes as her past self by making ridiculously stupid decisions questioning how on earth she lived so long, let alone pass her exams to get into university. This is exemplified in an early scene of the series when she is working at the convenience store and hears a love alarm go off and her stalker’s uncomfortable actions towards her, Jo Jo’s first thought is to walk home by herself, talk to her stalker and then proceed to run away without thinking to call the police or at least her friend Mon Soon ( Bae Da Bin) in order to ensure the same thing doesn’t happen again. Whilst this scene was used to “ drive tension”, it did seem to gloss over the uglier possibility of what could have happened to Jo Jo as a consequence of her stupidity in reality as well as the more “ romanticised” tones of emotional and physical abuse appearing in the series.

This naturally draws us onto the biggest elephant in the room since season 1, the “continuously brooding” ( and “ preferred” love interest by many devoted fans of the series ) Sun Oh. Similar to his costar, Song Kang is a fairly good actor, however, his performance consisted mainly between stoic, constipated expressions and furious yelling for a major proportion of the series.

Arguably there were some better insights than season 1 into Sun Oh’s fairly estranged relationship with his mother Jung Mi Mi ( Song Sun Mi) and his unhappy family life, however, rather than screenwriters allowing this to gradually mature or allow Sun Oh to develop from his inferiority complex in season one, his personality is still written off as fractious, immature and egotistical within his portrayal in season 2 by often storming off, breaking things and hurting others in the procedure. In particular, this is seen through how Sun Oh interacts emotionlessly his “ girlfriend” Yook Jo ( Kim Shi Eun) and often manipulating her overt feelings towards him, as well as his interactions with Jo Jo.

With his unrequited love towards Jo Jo since high school becomes the main highlight of their “ possible pairing” for many fans and whilst it is understandable why Sun Oh felt anger or upset towards Jo Jo not replicating her feelings, it does not excuse some of his terrible actions towards our female lead. Sun Oh’s actions of publicly embarrassing Jo Jo in front or her classmates , kissing her without permission whilst she is respectfully dating Hye-Hyeong and then throwing another temper tantrum by flaring up in Hye Hyeong’s face without accepting or apologising for his mistakes , made him an incredibly difficult individual to truly romantically pair with Jo Jo by his lack of respect towards her feelings ( and his former best friend Hye Young).

This naturally draws us to the lovelorn Lee Hye Young, who viewers are made aware early on in the series that he is aware of Jo Jo’s ambiguous feelings towards him in their relationship , yet nevertheless does not force or implicate Jo Jo to give him an answer. Whilst Hye Young remained the most respectful towards Jo Jo as an individual and as a love interest, his obsequious beliefs that “ one day she will love me too” seemed a little questionable towards Hye-Young’s fairly hot pursuit of his own feelings towards Jo Jo in in season 1. Consequently, the introduced relationship between the two characters felt more “ obliged” in order to keep the “ storyline moving ”, than intricately complicated as it should have been with Jo Jo’s feelings. In addition to this, there still remained many unanswered questions towards how Hye-Young landed a job at the company as well as more realistic insight into his qualifications at work whilst presumably not in full-education.

Perhaps the one actual interesting element of the second season remained within the mysterious appearance of Brian Cheon ( Ki Do Hoon) who makes the characters ( most notably Jo Jo) wonder if he is actually their “ dead” classmate and seemingly former developer Duk Gu. Whilst this is an overarching storyline in parts of the episode, the ending result felt incredibly letdown and lacklustre by lacking development or screen time as well as wider development for second female lead Park Gul Mi( Go Min Si), rather than in favour of the heroine’s questionable romantic pairings.

As a consequence, the pacing of the show felt oddly imbalanced between moments of genuine interesting development, and dragging scenes of puppy dog eyes by Hye Young and Sun Oh towards Jo Jo from a distance creating many notable plot inconsistencies . The ending of the series was more a matter of opinion that particularly “ bad” or “ good”. Diehard fans who haven’t really acknowledged the direction of the plot, may feel disappointment, yet whilst still undeniably half-baked in comparison to the initial premise introduced in the show back in season 1, it was not an entirely “dire ending” for the show as well .

Ultimately, “ Love Alarm Season 2” did initiate more mature themes and backstories behind our characters, however, lacking character development, inconsistencies, a coherent and riveting plot line in a fictionalised reality and rushed development in parts, made the second season feel more like a surreal dream phase, than a coherent and complete finale for “ Love Alarm”.

Read More

The Sageuk Returns With Bloodshed, Tragedy And Sociopolitical Themes...

Screenwriter Kim Eun-Hee first introduced us to the webtoon-based“Kingdom” ( the intriguing, bloodthirsty political cutthroat sageuk) back in 2019 , with its zombie-survival storyline and characters in order to keep audiences hooked at the edge of their seats.

Yet similar to all the best offerings in the zombie genre, Kingdom is about much more than mindlessly fighting hordes of the ravening undead. Its initial creator Kim Eun-hee has said her webcomic (as well as the series) Drama) have been inspired by chronicles in “ the Annals of the Joseon Dynasty”—accounting the medieval dynasty that lasted some 500 years (1392-1897), where hundreds of thousands of enigmatic deaths occurred possibly through mismanagement of the authorities.

Consequently, whilst Kingdom’s zombie attack in Season 1 notably highlighted some political suggestions whilst focusing on bloodthirsty scenarios , Season 2 uses the outbreak as a means of exploring broader sociopolitical themes. The general populace suffers from starvation and pestilence as their ignorant or oblivious leaders strive for political power. It is only fitting, then, that the starving commoners become the zombie horde, while the hunger for power of certain leaders results in rash decisions that could mark the end of the Joseon Dynasty.

Of course, this is nothing entirely groundbreaking for South Korean storytelling in general. However, it is refreshingly original and within its universal allegory. Regardless of culture , time or nationality, corruption exists and may (quite literally in the case of Kingdom ) turns the rivers red.

In the opening of Kingdom Season 2 is a fast-paced one but what follows is an intrinsically observant look at a struggle behind the scenes of a kingdom and country torn by bloodthirsty wars and politics. Yet with a notable heavy focus upon the political intrigue or the show, it would seem apparent that viewers can easily become a little bogged down by the heavy subject areas. Strangely, Kingdom Season 2 hits the balance just right between grappling action and driven politics behind a country. Although the subject matter of politics still weighs heavily in some scenes, it is brilliantly counteracted by its coordinated camera angles narrowing onto the swift and brilliant fight scenes of the show, whilst not losing its core to mindless violence as well.

Fortunately, there are just as many (if not more) people able to find the better angels of their nature and rise to the occasion. Whilst Prince Chang ( Ju Ji Hoon) ‘s often felt a little lacklustre in season 1, season 2 helps to solve this issue by deepening his role as the protagonist through his notable interactions and experiences with other characters and memories from the past, with a notably stronger and more intricate moral compass. Similarly, Seo-bi ( Bae Doo-Na)’s character’s transition from a plot device in season 1, becomes notably apparent within her role as an altruistic heroine in Season 2, where the character becomes a driving force within learning more about the disease. Even Yeong-shin’s characterisation since season 1 from a seemingly disdainful character to a complicated hero, is marked by helping Prince Chang complete missions including at risk of his own life in this season.

However, Season 2 also marks notant motivations and transitions from moustache twirling villains, to well-rounded antagonists such as Queen Cho ( Kim Hye Joon). Whilst nonetheless some of her actions cannot be defended by being horrifyingly ruthless , they did help to add intrinsic depth towards Cho’s motives. In addition to this, one particular character that made a strong impression is the traitor among Prince Chang's most trusted allies hinted back in Season 1 . Without any spoilers towards the identity of the turncoat , it is surprising to say that there was a notably empathic reason behind their actions.

Pacing -wise, the drama zips across the actions in double-quick time (though its zombies are definitely way too fast). This makes it perfect for binge-watching which was certainly what we ended up doing. It was nearly impossible to stop watching once you’ve started, with each episode ending on a cliff hanger that’ll make you immediately switch to the next episode for more. Each episode is over an an hour but with how action-packed each episode is, it hardly feels like any time has passed before you find the credits rolling.

Read More

Your Lighthearted Manga-Adapted Setup…

As a premise ‘ Komi-San Can’t Communicate’ ( alternatively known as Komi-San Wa, Komuyoshu Desu’ or ‘ 古見さんは、コミュ症です。’ ) is a fairly heartwarming setup. Based upon the manga of the same name, having spawned an anime also and adapted to the small screen by screenwriter Mizuhashi Fumie, ‘ Komi-San Can’t Communicate’ tells the tale of a high school student who aims to be “ average” , Tadono Hitohito ( played in the drama by Masuda Takahisa), who ends up unusually befriending popular girl Komi Shouko ( Ikeda Elaiza). Despite appearances, Komi struggles with verbal communication and therefore due to having select mutism, has to write down everything she wants to say on a notepad. She enlists the help of Tadono to help her make her goal of having 100 friends ( due to having none) a reality.

However with a sweet and heartwarming premise and more than 23 volumes of manga to execute into a space of eight episodes, it was evident that Mizuhashi would be very restricted towards which storyline elements to follow and cut out. On the other hand even with its short duration length, ‘ Komi-San Can’t Communicate’ often felt as though it missed out on more nuanced opportunities to explore characters, relationships and also plot without having to lean heavily upon certain tropes and comedy in between.

As far as the acting is concerned ‘ Komi-San Can’t Communicate’ is admittedly a mixed-bag. Of course this isn’t to downgrade the actors themselves as individuals, but their performances and line deliverances could admittedly come across as slightly over-the-top and exaggerated rather than feeling comically-timed or dynamic. ( Naturally this is also down to the problem of the script’s dialogue also.)

The characters are specifically there to serve a purpose throughout the show and this does come off with differing results. As the main lead Tadono Hitohito is arguably a slight anomaly; whilst the drama ( similar to previous counterparts) uses his surname for comical motives ( I.e. Hitohito being taken from the Japanese expression;” tada no hito (ただの人)”, meaning “just some guy”) , he is undeniably an intriguing character ( against his own motives). Tadono embodied a trait which is often overlooked in male leads and that is empathy. The male lead can
read people like a book giving him a sweeter note and pick up on Komi- San’s feelings easily.. However instead of presenting the “ inner Tadono” for comical scenes to voice his inner-thoughts and feelings, Tadono lacked a lot more character drive than his previous counterparts. Whilst it was played off for a comical reason it felt odd that the drama didn’t touch upon the reasons behind his choice to become “ normal” as well as his family. Even touching upon these motives and characters briefly would’ve given Hitohito a sense of being more than just a plot device to keep the storyline moving alongside his “ potential chemistry” with Komi.

The romantic factor between both characters is admittedly more “ hinted at” throughout the show than prominent.

Then of course there’s Komi Shouko. Shouko is a really sweet female lead and stands out against the typical two tropes of being “ aloof and cold” as well as “ loud and vivacious” by her introverted nature and social embarrassment. Her ability to make unlikely friendships with Hitohito alongside kindhearted and lonely gyaru Manbagi Rumiko( Yoshikawa Ai) did seem to prove that her intentions were good. However similar to Tadono, Komi often struggled with having more subtle character background. For example there’s the issue with Shouko being perceived as “popular”. Whilst it may have come across as Shouko being “ unapproachable” and “ pretty”, this also raises questions as to how Shouko did not isolate herself socially, or became a victim of bullying by standing out. Naturally whilst it is based upon a manga and more exaggerated tropes are executed into reality, it felt odd we weren’t given opportunities to explore more about how she’s perceived as being popular, Shouko’s reasons for not talking as well as any possible links to her childhood or family interactions to provide clues.

The comedy in the show is admittedly over-the-top. Whilst this isn’t entirely bad per say and the drama does odd a surprisingly lighthearted and sweet moment between Hitohito and Katai Makoto ( Mizobata Junpei- who is cut out of the show after his initial use) ‘s friendship, as well as the attempted “ cool” persona put on by his replacement Naruse Shisuto ( Shirota Yu), it’s easy to understand how this may not appeal to everyone, as more subtle and intertwined comedy is often less common to find throughout the drama.

The ending admittedly has its flaws and strengths also; whilst it did add a sweeter note and help to clarify something important for Komi, it left off with more questions than answers. Of course cliffhangers aren’t necessarily bad per say in dramas, but the abruptness of this ending without wrapping up our other side characters felt a little odd and lacking within character direction.

So is ‘ Komi-Sam Can’t Communicate’ actually worth watching or should you just skip it? The acting front admittedly isn’t the strongest and whilst respectfully members of the cast have had better performances, it doesn’t necessarily take away from the fact that the drama is sweet and lighthearted. The basic trope executed of “ high school friendship tale” isn’t necessarily original, however, characters do surprisingly grow on you throughout the show. Admittedly a lot of these characters alongside the comedy and due to air time often felt a little bland with those expecting a dynamic love story between Komi and Tadono possibly being disappointed. On the other hand for those just wanting a drama in order to cheer-up or looking for something to quickly binge-watch, then ‘ Komi-San Can’t Communicate’ is worth watching.

Read More

Teen Spirit With A Shaman Twist…

Let’s be honest. The Great Shaman Ga Doo Shim’ is a verbatim title. ( As there’s not a lot left to the imagination to work out what this drama is about.) Admittedly Park Ho Jin’s drama doesn’t try to brand itself as “ the next Goblin ” or a “ new fantasy phenomenon”. It is a teen “ cutesy” fantasy tale about the supernatural, but often leans more into the realm of “teen angst” with main leads Ga Doo Shim ( Kim Sae Ron) and fellow classmate Na Woo Soo( Nam Da Reum) ‘s journey through high school also. (At the time of writing director Park’s wish for a sequel season to explore more about the characters was confirmed also .)

As a consequence the drama featured an array of intriguing characters. However their ultimate contribution to the storyline and depth admittedly does vary dependent on screen time and the screenwriting also. Kim Sae Ron was fairly dynamic as quiet and mysterious high-schooler Ga Doo Shim. The former child actress carried an ambience of perfect angst, suaveness and longing which was perfectly matched for her role . As a character it was evident that Doo Shim could’ve gone down two possible routes; one-dimensional and unlikeable by being egotistical , or a more well-rounded heroine who has a likeable charm by struggling with her emotions and carrying empathy. ( Fortunately with our female lead it was the former case. )

Doo Shim’s character development was arguably the most pivotal from begrudgingly accepting that she can see ghosts and trying to be “ normal” , to opening up to new friends ( particularly Na Woo Soo) , feelings and understanding that she can use her powers for the greater good. Yet whilst her setbacks do help to make her feel realistically flawed, there are moments surrounding Doo Shim which felt like more of an excuse to “ heighten dramatic tension ” rather develop her character gradually or focus more time upon making Doo Shim feel realistic.

For example whilst Doo Shim’s relationship with her mother Hyo Shim( Bae Hae Seon) did see the typical rocky road between a parent and a daughter, there was a lot of missed opportunities to explore more about their complex bond . It was evident how much Hyo Shim genuinely cared for her daughter, however, Doo Shim and Hyo Shim rarely had opportunities outside of necessary plot to talk about their shared bereavement , feelings or emotions without queuing into comic relief or angst. Perhaps with a sequel season it is wrong to condemn a final verdict over this relationship as “ poorly-written” overall, however, hopefully season two will give more chances to covering this relationship rather than putting it on the back burner.

Then of course there’s our main male lead Na Woo Soo. Nam Da Reum did a great job as the plucky prodigy with a heart of gold . Initially starting off as a plot device in order to awaken Doo Shim’s “ character growth and feelings”, it was refreshing to see Woo Soo leave the realm as the prosaic potential “love interest” and the “ sidekick who is new to this world” to having more complex depth . One particular focal point to exploring Da Reum’s greater sense of altruism as a character came through his unusual friendship with underdog and best friend Kim Il Nam ( Yoon Jung Hoon). However this is also where we hit a major rut with Woo Soo as a character; he displays emotions, but he rarely acts out upon them unless they’re necessary to the storyline.

There was brimming potential to explore a lot more about Woo Soo’s darker side which he did display at points in the drama such as his silent threat to Jo Soo Jung ( Lee Ji Won) after her potential blackmail, as well as his anger at Kim II Nam during the main events of the storyline. When the story covered the major events surrounding Kim II Nam it seemed odd the drama switched Woo Soo’s personality towards being “ mopey yet calm” rather than using this as a golden opportunity to explore more about Woo Soo’s own negative feelings or hero complex, as well as heal the wound between Woo Soo and Doo Shim helping one another through these events.

Yoo Sun Ho’s performance as witty dead high schooler Hyun Soo was pretty delightful. As a character Hyun Soo serves both as an example of surprising comical foil as well as wasted potential also. On one side whilst Hyun Soo does have his more brief yet bittersweet moments surrounding his death and his search for his mother, he did often cool down more heavy scenes with deadpan expressions or annoying Doo Shim. However there was a lot of unexplored ground with Hyun Soo’s sentience in the series such as being a ghost, never being able to physically age( unlike Doo Shim or Woo Soo), his search for his mother as well as a lack of deep connection between himself and Doo Shim ( who she seems to have grown up with pretty much ) which were never explored and left anticlimactic with the way the drama abruptly ended l his character arc early on .

This moves us onto the antagonistic force of the drama. Now officially there are two antagonists in the drama; the malevolent sprit, and of course an “ unforeseen” antagonist ( until they were revealed after a major incident). Positively this did present more multi-layered complexity than the entity merely being the “ big bad”, as well as pointing out a clear sociocultural criticism towards the cruel “ dog eat dog” hierarchy in the South-Korean education system . On the other whilst their motive was clear and had the potential to be realistically intriguing , their actual reason covered textbook moustache-villainy rather than being given more intrinsic depth. The ending was ( unsurprisingly) fairly anti climatic- not bad per say and certainly helping to add a more conclusive ending for our antagonists, as well as a. interpretative finale for our main leads but nevertheless slightly rushed with the climax coming to a halt early on, rather than being built up or allowing time for rising tension.

So is ‘ The Great Shaman Ga Doo Shim’ actually worth watching? Park Ho Jin does a good job at building up our main characters as endearing and likeable leads which are further sold by dynamic performances with Kim Sae Ron and of course Hyun Soo, as well as the mystical and supernatural lore of the drama. On the other hand whilst Ho Jin’s potential sequel season could give room for tying up loose ends and problems ( including exploring character depth and relationships which sometimes felt disregarded), there were several inconclusive screenwriting moments which often felt rushed, cliche, one-dimensional or anticlimactic . Overall ‘ The Great Shaman Ga Doo Shim’ certainly remains one of the stronger fantasy drama contenders for 2021 - it is not flawless from a screenwriting perspective and there’s a lot of ground that Ho Jin needs to cover going on forward, but a fairly easygoing watch.

Read More

Is There Enough “ Bewitching” Charisma In ‘ The Witch’s Diner’ To Keep You Watching ?

Wish-granting storylines aren’t anything new to fiction, and certainly not to K-dramas. However, screenwriter Lee Young Sook’s adaptation of the eponymous novel (by writer Go Sang Hee )attempts to whisk away the audience to the magical diner of wish-granting witch Jo Hee -Ra ( Song Ji -Hyo) and her human business co-owner Jeong Jin ( Nam Ji -Hyun), as they deliver a dish of revenge best served cold…

There’s a lot to say and critique about ‘ The Witch’s Diner’. Appraisingly actress Song Ji Hyo was really good here. Starting off on a note which was hard to take seriously with her patchy red hair-dye job, Ji-Hyo undeniably has a charisma which allows you to easily become attached to her as the drama unfolds. This performance was equally rivalled by Chae Jong Hyeop’s sweet ambience onscreen as side character and teen high-schooler Gil-yong. Whilst the drama seemed to sometimes struggle with “ sticking out” in comparison to fantasy predecessors, it did have some surprisingly profundity scenarios in weekly episodes ( as well as tasty-looking food)- Gil Young painfully finds himself unable to help a classmate who is being mercilessly bullied , a customer at the diner makes a shocking sacrifice in order to escape his status of being a “ cowardly loser”, a young woman suffers heartbreak and throws away her own talent in order to be with him again

On a more critical note ‘ The Witch’s Diner’ doesn’t quite have the same charm in order to make it as memorable from previous fantasy drama predecessors due to the poor build-up of screenwriting at times. Ji Hyo’s onscreen persona Hee-Ra is a case and point of this problem; a character who the screenwriters want to keep you in the dark about for as long as possible, but rarely arising strong emotions for viewers with her recondite past, as there was little dramatic buildup or unseen twists which haven’t been “seen and done before” here.

Costar Nam Ji Hyun wasn’t bad per say here as Jeong Jin, but her performance didn’t quite resonate as much as it should’ve done either. Admittedly this isn’t entirely the actress’ fault. It was evident to see the goal here with her character ; a relatable and normal female lead with a mysterious past, but the ideology behind this type of FL is usually built upon emotional investment and sentimentality . Jin instead was nearly always unfazed and apathetic. Whilst it didn’t seem to be intentional, Ji Hyun’s facial expressions just seemed to radiated stoic expressions half the time , as though seeing a magical wish come to life is just another daily occurrence in the life of a mundane heroine.

If this matter couldn’t be worse, there was also Jin’s complicated co-partnership with Hee-Ra. It should’ve been interesting, but the gradual development was just poorly-tackled. Hee-Ra initially acts upon Jin’s wish for revenge in a more lethal form. Jin was seemingly disgusted to the core by the actions of the witch only to happily sign a a better business deal with Hee-Ra( who Jin now considers to effectively be a contract killer). It is understandable how the drama wanted to build this relationship up from “ resentment to solidarity” but the quick excuse that Jin was seemingly “ too emotionally inflicted by her own troubles ” only to happily going along with someone she deemed as merciless felt an odd and unsatisfactory leap in development.

Then there’s the “ potentially romantic “setup between Jin and Gil-Young onscreen. Whilst respectfully in real-life we shouldn’t forget these actors are nearly the same age and do have really good onscreen chemistry , the age gap between their onscreen personas was fairly significant . The result being that Gil-yong's obvious crush on Jin feels like it should be a more plausible romance than it really should. This might or might not relate to his “ secretive” wish, but then most of the problems of this drama seemed to manifest by tense build-ups, and then unsatisfactory results.

“ The Witch’s Diner” is a fairly mediocre fantasy drama-not bad with solid performances by most of the cast and intriguing subplots, but just lacking the grandeur and originality of its fantasy predecessors. The series could’ve easily done with more division even in this short space of time to build upon the characters ( who often felt one-dimensional), or at least have commissioned more episodes in order to divide time between storyline and character development more interchangeably.

Read More

A Sugary Sweet Romance Story...

Love is Sweet accounts the tale of emotionally sensitive and hardworking investor Jiang Jun ( Bai Lu) , who after landing a place at MH firm, runs into her old childhood friend Yuan Shuai ( Luo Yunxi) , now one of her conniving bosses determined to make her life a living hell. As Jiang Jun tries to guide her new career between work and making allies with the sudden arrival of a new friend from a rival company Du Lei ( Gao Hanyu) , Yuan Shuai’s secret feelings from his youth are rekindled again for Jiang Jun, as Jiang Jun finds herself more and more bamboozled by Shuai’s actions.

As you may have guessed, Love Is Sweet is filled with all the cliches and certainly isn’t what I’d typically define as “ original” or “ unique” in regards to a new concept for a Chinese drama. From high school crushes, boss and worker / cohabitation romances , excessive product placement ( looking at you Burberry ) and the “ older woman and younger man” tropes, it certainly does beg the question what on Earth is the point of watching a drama which has been seen and done before a million times.

Going into Love is Sweet with zero expectations ( and certainly seeing this concept done incessantly in Chinese Dramas before ), one of the things which immediately clarified the answer to this question for me, was its ability to hook you as a watcher from episode 1 ( despite the tropes) , something which must exceedingly be praised as a consequence of relationships between characters and of course the cast‘s acting abilities . None is this more shown than Bai Lu’s portrayal as Jiang Jun. Whilst I will be honest that Bai Lu didn’t entirely tread new ground within her new portrayal as the “ workaholic, independent woman” trope, yet, she did perfectly capture the essence of a successful, yet hardworking and emotionally- driven businesswoman (something which I wish some Chinese dramas would portray more in romance dramas rather than the “ airhead “archetype ). In addition to this, there is no denying that Bai Lu’s chemistry and the scriptwriting for her character was approached in a refreshingly modern manner to her romance with , Luo Yunxi’s character, Yuan Shuai.

Again, the relationship between Yuan Shuai and Jiang Jun has been seen and done before a million times in Asian Dramas, but, the one thing which did impress me in a more realistic manner ( and no, we are not talking about Shuai’s aftermath of excessive product placement in buying her gifts ) to their relationship rather than the “ tight embrace; do or die ” approach of most asian dramas, was that refreshing respect and obstacles within their relationship as two working individuals. This was shown particularly throughout the drama by ; the distances sometimes their jobs presented within travel, the occasional arguments and the respectful distance that the characters would take as well as respect of privacy ( well, in most cases),and of course ,Yuan Shuai’s refreshing speech near the end of the show, where he tells Jun that he will respect her choices, just as he hopes that she will respect his. Undeniably, this is something which was brilliantly portrayed by Bai Lu’s costar, Luo Yunxi, who took upon the role as the smart yet love crazy businessman brilliantly, and a portrayal which I hope that Asian Dramas seek to explore more often.

Like with all dramas, however, there is the dreaded cliches of love triangles without respect to the characters’ contrasting personalities in a forced manner, particularly through Du Lei ‘s sudden transition to feelings for Jiang Jun and of course, Jiang Jun’s supervisor Qiao Na ( Zhao Yuan Yuan)’s “ feelings since she knew him” cliche for Shuai. Whilst thankfully the show didn’t dive into the oldest trope in the book by putting Qiao Na and Du Lei together, there was still a lot of inconsistently with the love interests here for the leads; not least destroying the friendship between Du Lei and Jiang Jun ( with little redemption either ) and writing off Qiao Na’s feelings in order to make way for the relationship with Jiang Jun and Shuai by pairing her with a younger lead by the end of a drama. Whilst there was certainly nothing entirely wrong with deciding new love interests both characters, the way this was done demeaned a lot of unnecessary time in the show apart the obvious “ spanner in the works of love” trope, which took away a lot from both these characters as individuals.

On a more positive note, I was mildly surprised by the emotional depth behind the build-up of the relationship between Jiang Jun’s best friend Xu Li ( Shane Xiao) and Shuai’s younger cousin and technology genius Li Xiao
Chuan ( Riley Wang). Playing upon the overrused cliche of the “ older, slightly ditzy” woman and the “ younger, attractive and cool- headed” boy, it was inevitable both leads would end up with one another through the “ opposites, attract” scenario, yet, what did surprise me was that rather than the female lead entirely chasing after the Male lead, the show reversed the old trope by providing the Male lead being in the female lead’s shoes later in the show; as shown with his jealousy when Xu Li is “ being hit on ” by another guy. Whilst there are a couple of criticisms I do have within the portrayal of Xiao Chuan’s controlling nature over Xu Li at times during later scenes , it was a surprising reverse on the trope to see a level of depth to this cliche.

Overall, it’s fair to say that Love Is Sweet doesn’t tread on new ground with overrused tropes, product placement and inconsistencies for a romance drama. Despite this , it was a surprisingly enjoyable show within watching our two leads and our side couples slowly developing over the course of the drama without toxicity and often realistic mutual respect in their relationships , something which I’d hope more Asian Dramas will be able to portray in the future.

Read More

Not Even The Right Shade of Song Ah’s Lipstick Could Save This Series...

As an eponymous novel adapted into a 16-part drama, it is always evident that there will be implausibilities with storytelling due to having cut certain material and storylines, however, the drama “ She Would Never Know”( or alternatively translated “Sunbae Don’t Put On The Lipstick”’s ) biggest inconsistency ultimately boils down to its inability to accurately create driving characters and storyline, as well as an intrinsically well-rounded relationship between our two main leads Song Ah ( Won Jin Ah) and Chae Hyun Seung ( Wo Roon).

Surprisingly the concept of the show wasn’t entirely “ terrible” in itself. Although not original or thoughtful by playing out its concept as an office romance drama , screenwriter Chae Yoon did seem to initially introduce interesting themes about South-Korean culture from the workplace, the beauty industry and the clear divide between respect of older colleagues as well as this posing an obstacle to seek out relationships ( as shown by Hyun Seung’s respectful term “ Sunbae” ). However, this show soon gave way to its own calamitous downfall by choosing rather than exploring these issues of social divide with respect and dignity, glossing them over in biased favour of the questionable relationship and characterisation between Song Ah and Hyun Seung over the course of the series.

Before continuing this review, it is important to advocate that the problems of the characters did not lie with either Jin Ah or Wo Roon as actual actors in the series . Although honestly both actors have had more beguiling performances in the past ( Jin Ah in “Steel Rain” and Wo Roon famously in “Extraordinary You”), there was nothing entirely unwatchable about either actor during their performance. At the same time, it is a fair conclusion that there was nothing intrinsically captivating about either performance , however, this may also be deduced as a consequence of the quality of screenwriting as well and the problems behind characterisation .

Before addressing possibly the biggest elephant in the room through the character of Hyun Seung, it is probably important to explain why Song Ah was an intrinsically poorly-written female lead upon certain grounds.

As a character, Song Ah was defined notably by her trope as the “ Sunbae” archetype; the “ slightly older female boss and crush ” of main lead Hye Seung, however, the “ age gap” between the characters never felt that strikingly important for the characters themselves . Although it is important to respect that a socio cultural age difference can be natural obstacle in relationships, even by South-Korean standards, a year difference between characters is nothing particularly shocking or controversial.

Beside her necessary drive as a plot mechanism for the affections and obstacles for Hye Seung within her relationship with the sociopathic Lee Jae Shin ( Lee Hyun Wook), it was hard to prominently define Song Ah as anything more than a complacent doormat for the male characters in the series to walk upon.

This is not advocating that Song Ah didn’t react emotionally to her circumstances and it did help to present a level of some humanity at times to her character, however, at the same time, viewers never really can intrinsically “get to know” Song Ah as anything more than the “ love interest” in the series; we do not get to see a lot about Song Ah’s background and wider interactions with friends and family to learn more intimately about Song Ah as a defined person, and her intrinsic reasonings towards even going out with Jae Shin ( despite his despicable personality) in the first place. Additionally what is also teeth-grinding about Song Ah as a character was falling hook, line and sinker again for the same and just as problematic relationship with Hye Seung. This is not stating that Song Ah shouldn’t have been with Hye Seung due to being the main pairing of the show, but the message put across by the screenwriter seemed to implicate that Song Ah had both little self-respect and dignity as an individual by allowing Hye Seung to continue on with his emotional manipulation without raising problems against this.

Naturally, this draws us onto the biggest elephant in the room; Hye-Seung. Introduced as the “hoobae” of Song Ah and a younger man at the company, and the “ hopeless romantic”, Hye-Seung’s feelings for Song Ah in the beginning of the series are fairly sweet and naturally act as the major driving force of the drama through trying to win the affections of Song Ah . However, only a couple of times in the series, are we actually exposed to Hye-Seung’s sense of identity outside of obsessions with Song Ah, and when we are shown this Hye-Seung’s flaws become strikingly prominent and unaddressed to audiences. The most notable weakness of Hye-Seung’s character can be sourced from his feelings towards Song-Ah growing to become a fairly self-absorbed and disenchanted obsession that he will win her over through meddling in her social life outside of work.

This is certainly most striking in the first episode with Hye-Seung’s direct words to Song Ah shown onscreen ‘ it doesn’t suit her’ by wiping away her lipstick. Although this can be initially taken on in a romantic light by Hye-Seung’s overt intimacy establishing the main pairing in the series, there was something a little unsettling by Hye Seung’s to control even Song Ah’s appearance in this scenario. To make matters worse for those unaware what was happening in the pretext of this scene, Hye Seung decides then to openly tell Song Ah of her boyfriend Jae Shin’s behaviour behind her back. Arguably, Hye Seung was open to Song Ah rather than leading her around in circles about Jae Shin’s behaviour, however, it seemed a symbol of repressive control by Hye Seung to suddenly start dictating Song Ah’s personal life in a form of emotional manipulation.

This often made it hard to truly romanticise or see both respect and dignity towards the relationship of Hye Seung and Song Ah, due to neither character being able to learn from past mistakes or addressing one another’s problems mutually in a health manner. The perfect example or the is seen in a later episode from the series when a drunk Hye Seung bumps into an emotionally unstable Song Ah and proceeds to proclaim that they should date. This is not just merely controlling, but emotionally manipulative upon Hye-Seung’s part as well.

Naturally, romantic relationships in real life are messy and complicated, and there was some elements of this transcending over into the relationship of Hye Seung and Song Ah in these scenes, however, it is important also to consider both Hye Seung’s past habit of emotionally gaslighting Song Ah, as well as Song Ah’s worrying complacency to these acts as well. . Rather than allowing Song Ah space and time away or approaching Hye Seung with good intentions as a friend before a lover due to her conflicted emotional state of being, he is too egotistical within his own selfish desires to date her, than to actually respect her feelings and psyche. This is not a healthy or symbiotic relationship of respect and dignity.

The pacing of the show oddly felt imbalanced as a consequence of the invest within Hye Seung and Song Ah’s lacklustre pairing often driving away a sense of overarching storyline and greater focus on other characters such as Jae Shin and more interestingly the chairman’s granddaughter Lee Hyo Joo (Lee Joo Bin) . Yet rather than allowing viewers to see intrinsic development and obstacles within the romantic pairings of the show, the drama rode too heavily upon cliches often resulting in the overall storyline feeling run-of-the-mill, than captivating or an intriguing love story. The ending is evidently sugary sweet, but perhaps delivered a less impactful result than viewers originally hoped.

Fundamentally it is probably fair to say that “ She Would Never Know” wasn’t terrible within acting or the premise itself, but it became its own worst enemy with poorly-tackled characterisation, a questionable portrayal of a relationship between our main leads, lacking overarching storyline and plot as well as pacing. This is a typical and cliche romantic drama perfect if you’re bored and have nothing else to do, but certainly not worth spending actual time watching.

Read More

Soundtrack #1; A Discordant Love Story…

The recent venture of juggernaut industry company Disney into the world of K-dramas has marked an onslaught of mixed reception from viewers and critics alike. Nevertheless with a recent investment by the international streaming service Disney+ into copartnership and copyright deals with South-Korean producers and companies, it is hard to ingore the recent presence of Disney within the world of K-dramas. Indeed, the latest series to come out in selected countries from the streaming service, ‘ Soundtrack #1’, is no exception. A stipulated love story between two friends, ‘ Soundtrack #1’ is a short and benign romance drama which while bittersweet in parts, could often feel contrived by its setup and characters.

The narrative of ‘ Soundtrack#1’ focuses upon two close friends. Lee Eun Soo ( Han So-Hee- ‘ The World Of The Married’, ‘ Nevertheless’ and ‘ My Name’, ) is an aspiring lyricist. Nevertheless despite having the ability to pursue her dream job, Eun Soo is struggling to find a source of inspiration and has hit a difficult period of writer’s block.

Thankfully Eun Soo has found comfort and support by relying upon her friend and photographer Han Sun Woo ( ZE:A’s Park Hyung Sik-‘ The Heirs’, ‘ Strong Girl Bong Soon’ and ‘ Happiness’). However as Eun Soo and Sun Woo attempt to navigate their current relationship, it becomes apparent that romantic feelings between friends aren’t always so easy to navigate.

‘ Soundtrack #1’ came together as the byproduct of screenwriter Chae Yoon (‘ She Would Never Know’) and director Kim Hee-Won ( ‘ Fiery Priest’, ‘ Vincenzo’ and upcoming series ‘Little Women’). While Hee-Won was certainly not treading upon unfamiliar ground with the romantic melodrama ‘ Soundtrack #1’, it certainly seemed an intriguing choice to pair up Hee-Won, a director known famously in recent years for her witty slapstick comedy-style and revenge dramas, with screenwriter Chae Yoon, who is associated with the lighthearted romance series ‘ She Would Never Know’ for ‘ Soundtrack #1’. Nevertheless despite the eccentric pairing choice, it is arguable that the contrasting idiosyncratic styles between screenwriter and director helped to bring a certain flair to the miniseries.

Perhaps it is important to establish that ‘ Soundtrack #1’ doesn’t push boundaries within its initial setups and plot premise. It is a basic and conventional romance story. In particular it was evident to see the influences of screenwriter Chae Yoon within ‘ Soundtrack #1’. The similar rhetoric of the male lead attempting to escape the friend-zone with his lifelong friend and crush, convoluted feelings developing between close friends and of course repressed feelings causing complications along the way were certainly similar to Yoon’s previous screenplay .

Nevertheless it is hard to deny that despite the lighthearted angst of ‘ Soundtrack #1’, there was a distinctive trait of interminable melancholiness and yearning within ‘ Soundtrack #1’. Director Hee Won’s classic touch of internal and external conflict have become reoccurring themes throughout several of her projects. Although ‘ Soundtrack #1’ may not possess a tale about a character with an eventful past or a personal vendetta, it certainly did highlight the complications that can arise within feelings, careers and between contrasting elites . ( For example Sun Woo’s internal disillusionment and fixation upon his work and coveted feelings for the female lead helped to perfectly contrast Han So-Hee’s external struggles and uncertainty as a songwriter.)

Then of course there’s the discussion surrounding casting choices. Han So-Hee has admittedly triggered mixed-responses amongst viewers and critics alike for her initial performance as main female lead Eun Soo. The actress’ previous career trajectory has seen her star in a mixture of different genres and styles with her recent performance( at the time of writing) in the revenge-thriller ‘ My Name’ being widely praised.

Nevertheless it is hard to deny that despite Han So-Hee’s talents within certain roles and genres , i her performance within ‘ Soundtrack #1’ could often feel somewhat lacklustre with line deliverances and emotional intonations initially. So Hee’s performance did admittedly improve somewhat in the latter-half of the miniseries with a level of heartache being conveyed within her onscreen persona but it is perhaps fair to say that Soo Hee’s performance could feel somewhat lacking at the best of times.

Costarring alongside actress Han So-Hee was ZE:A’s Park Hyung-Sik as main male lead Han Sun Woo. Hyung-Sik has certainly gained a lot of experience within the world of rom-coms and melodramas and this certainly did allow the actor to approach his onscreen role with an easygoing charm. However despite Hyung-Sik’s talents, it is difficult to deny that there were times where the actor could feel somewhat stilted by certain dialogue deliverances .

Then of course there’s the discussion surrounding Hyung-Sik and So-Hee’s potential onscreen chemistry. There was certainly nothing wrong per say with Hyung Sik and Soo Hee’s onscreen dynamic. Although there was an initially inconsistent start , the onscreen chemistry was decent enough. However it is still hard to ignore that while their potential was certainly not unwatchable it rarely felt coherently natural. Perhaps it can be said that these problem boiled down to the flaws of limited screen time . Throughout the duration of the series, an onslaught of variable acting performances by the main cast in addition to the limitations of a restricted time frame rarely helped to allow this onscreen dynamic flow naturally.

Under the directing leadership of Kim Hee-Won, it is clear to see that the four-episode formula and short episode lengths for ‘ Soundtrack #1’ was a double-edged sword.

Of course, it naturally enforced the narrative to be compact and concise within its restricted time frame and duration length. The series was rarely caught up in the trap of being lost down the rabbit hole of an abundance of unnecessary subplots and irrelevant characters. ( Instead these subplots were only briefly touched upon such as So Hee and Sun Woo’s work careers.)

Although there were supporting characters within the series such as Composer Kang Woo Il ( Kim Joo Heon-‘ It’s Okay Not To Be Okay’, ‘ Do Do Sol Sol La La Sol’ and ‘Juvenile Justice’), Sun Woo’s business partner Yoon Dong Hyun ( Yoon Byun Hee- ‘ Love In The Moonlight’, ‘Mr. Sunshine’ and ‘ Vincenzo’) and several surprise guest appearances ( including Yoon Seo Ah, Seo In Guk, Lee Jung Eun, Park Hoon and Park Min Jung), these secondary characters were rarely featured beyond their necessary face value in order to trigger or intensify certain plot events.

On the other hand while a restricted time space did allow the narrative to be more cutthroat with its themes and storyline, it did certainly highlight some specific drawbacks also as a consequence of this compact formula . A limited time frame rarely allowed viewers to see the onscreen relationship between characters being explored beyond their necessity to the plot, hardly allowing opportunities for ‘ Soundtrack #1’ to subvert all of its cliches or experiment with new formulas. Naturally,this could sometimes lead to certain narrative points such as the later development of Eun Soo and Sun Woo’s relationship feeling somewhat rushed.

When it came to filming and production it is certainly noteworthy to point out that Hee Won’s stylistic approach to the series helped to captivate the journey and feelings of characters throughout.

Slick editing and glossy gradients helped to animate scenes to life with specific palettes and tones popping out onscreen. Additionally this helped to differentiate between idealism such as through the eyes of Sun Woo as well as the stark reality presented by Eun Soo throughout the series. ( Perhaps one of the most memorable contrasts can be found in the first episode of ‘ Soundtrack #1’ during Sun Woo’s photo shoot of Eun Soo. Through the literal lens and vision of the male lead, Eun Soo is adorned in a flowing white shirt and smile, giving off an ethereal ambience and air of confidence. In a contrasted scene, viewers are shown reality from the perspective of Eun Soo, adorned in drab clothing and hunched over a computer screen.)

With the title name such as ‘ Soundtrack #1’ it should come as no surprise that the series is heavily invested within using imagery and the OST synchronically. For ‘Soundtrack #1’, this came through an onslaught of schmaltzy and sugary love ballads and solo tracks.

Of course for a series predominantly focused upon young love and relationships, this isn’t an entirely odd choice. However rather than selecting an impressive score for the series or at least choosing songs than could’ve heavily fomented emotional and tear jerking scenes, ‘ Soundtrack #1’ was caught in a slight rut with some of its chosen tracks being unimpressive. Perhaps the few exceptions to this can be found through lovelorn ballad “ Wanna be your lover”[ “이젠 친구에서 연인이 되고 싶어”] by Monday Kiz , LeeHi’s upbeat track “We'll Shine Brighter Than Any Other Stars” [ “우린 어떠한 별보다 빛날 거야”] and Prerettiest One’s acoustic guitar song “ Standing Egg” [“ 너만 예뻐”].

‘ Soundtrack #1’ is a series which does little to diverge away from the expected tropes and basic setups of romance dramas. Although there an were certainly some questionable acting moments at times and the limited time frame for the narrative often led to events feeling rushed, ‘ Soundtrack #1’ was surprisingly able to attain a balance between lighthearted fluff and bittersweet angst. Additionally, the collaborated efforts of Kim Hee-Won and Chae Yoon allowed the narrative to explore an idiosyncratic perspective by both director and screenwriter upon romance and repressed creativity. Although perhaps ‘ Soundtrack #1’ was let down at times by its OST and pacing at times , the four-episode miniseries certainly will offer viewers with a decent and quick binge-watch.

Read More

Will ‘ Shoplifters’ Steal Your Heart?

Hirokazu Kore-eda’s films have long been held as masterful arts of work in themselves; profound, complex and subtly crafted-something that ‘ Shoplifters’ presented beautifully throughout its storyline.

Lily Franky takes on the role of Osamu; the head of the band-wagon group of rouges seemingly appear as a middle-aged husband alongside his middle-aged wife Shibata Nobuyu ( Ando Sakura), their two children teenager Shibata Aki ( Matsuoka Mayu) and their young son Shibata Shiota ( Jyutu Kairi) and granny Shibata Hatsue ( Kiki Kirin). However the house is filled with untold truths and secrets; Osamu gaining most of his profit from shoplifting by enlisting the help of Shiota, Nobuyu stealing things from clothes’ pockets during her laundry job, Aki being part of a peep show in order to make ends meet and Hatsue’s seperate past life and gambling addiction at the local pachinko machines in secret. Yet the family find themselves ineffably stuck in a rut when they come across Juri ( Sasaki Miyu); an abandoned and abused little girl who is quick to warm their hearts but with undeniable consequences towards their future.

The casting choices of the move were undeniably brilliant with each actor feeling masterfully placed like pieces on a chessboard by Kore-eda. Yet admittedly one of the most dynamic of the movie came through Kiki Kirin’s role as Shibata Hatsue; sadly her last role before her passing shortly afterwards.

It should come as no surprise rust Kore-da’s unlikely Palmes D’Or winner offered viewers a sociopolitical depiction upon the deep-rooted trauma of a family united under one roof, alongside the fear of poverty. The narrative of the film took no wasted-time with subtly painting the dysfunctions of modern Japanese society and hypocrisies as well as the audacious details of characters and how they’d e linked together.

Yet against the beauty of the film’s narrative there was an admitted flaw with ‘ Shoplifters’ and that came through the initial problem of pacing. The film is admittedly slow-burn and whilst necessary for building up the storyline as well as delivering its twist-ending, lacked a greater sense of momentum towards the plot and attention of viewers.

Nevertheless Ryûto Kondô’s cinematography highlights a stark depiction of more grounded issues of the film such as child abduction, abuse and abandonment against the surrealist fantasy -world of Kore-eda’s microcosm of a seemingly mysterious family. The OST is admittedly less memorable than other parts of the film but Kore-eda’s placed emphasis on visual aesthetics other auditory became evident in the final act of the film beautifully encased in snow; a final flurried blur between the fairytale and childlike world of the family’s insular bubble and the cold and harsh reality of the events that are unfolding also.

Kore-eda’s ‘ Shoplifters’ is undeniably a heartwarming, bittersweet and audacious film about family. The subtle narrative and character-build was masterfully depicted alongside the strong performances by the cast. Admittedly whilst the film could sometimes hit a rut with pacing, the movie’s themes and finale offered viewers with a deeply thoughtful and contemplative film.

Read More

A Fleeting Tale Of Young Love Underneath The Cherry Blossoms…

There’s a particular Japanese idiom which comes to mind when talking about the concept of ‘ Yoshihiro Fukagawa’s ‘Love like the Falling Petals’ and that is simply “ Mono No Aware” (“物の哀れ”)- “ The pathos of things, the sensitivity of things which are transient”. At the root core of this idiomatic expression comes to mind with the imagery of fleeting beauty, and none so more than the blossoming and ephemeral period of the Sakura ( cherry blossom) during spring in Japan. Indeed, the symbolic imagery of the Sakura blossom in ‘Love like the Falling Petals ‘ is supposed to represent the beating heart of the narrative. Melancholic and bittersweet in parts, ‘ Love Like the Falling Petals’ is a film which while helping to capture the unpredictable transience of the seasons and young love, could often feel just as fleeting as the cherry blossom.

The film is based upon Uyama Keisuke’s novel "My Lover, Like Cherry Blossoms" (“桜のような僕の恋人”). Adapted to the silver screen by screenwriters Tomoko Yoshida (‘The Liar and His Lover’, ‘Blue Spring Ride’ and ‘Gakkou no Kaidan’) and Uyama Keisuke (‘Switch Girl!!’, ‘Nobunaga Concerto’ and ‘Tonight, At Romance Theater’), the narrative predominantly focuses upon main male lead Haruto Asakura ( Nakajima Kento- ‘Koishite Akuma’, ‘Bad Boys J’ and ‘Nisekoi’). An aspiring photographer with low self-esteem, Haruto falls head over heels in love during a fateful encounter with bubbly hair stylist Ariake Misaki(Honoka Matsumoto- ‘Mio On the Shore’, ‘My Name Is Yours’ and ‘Byoshitsu de Nembutsu o Tonaenaide Kudasai’).

However just as Haruto starts to gain confidence in order to pursue his lifelong ambitions in order to become a photographer, Misaki begins to develop a rare disease that causes her to age rapidly before the falling of next spring’s cherry blossom.
As mentioned previously, ‘Love like the Falling Petals’ attempted to offer its audience with a somewhat sombre reflection of the futility of contingency as well as young love. The initial tone set for the movie is established as somewhat bubbly and sprightly rom-com . ( As established with Haruto and Misaki’s unconventional ‘’meet cute’’ after Misaki accidentally cuts Haruto’s ear with a pair of scissors.)

However as the plot begins to be set in motion with Misaki’s evident dilemma, ‘Love like the Falling Petals’ turns into a sentimental sob story, occasionally dipping into a melodramatic tone also. In addition to our main leads there is also a subplot revolving around Misaki’s brother, Ariake Takashi (Nagayama Kento- ‘Puzzle’, ‘Crows Explode’ and ‘Toge: The Last Samurai’) and his fiancée Yoshino Ayano ( Sakurai Yuki-‘ Love Craft Girl’, ‘A Crimson Star’ and ‘The Night Beyond The Tricornered Window’) attempting to take on the financial burden of Misaki’s circumstances.

Nevertheless despite the attempts for the series to lament over the sorrows of time and existence, the narrative for ‘Love like the Falling Petals’ could often feel discombobulated with its messaging. Of course, while the movie did possess an intrinsic message and an arguable social critique surrounding the financial and emotional burdens of the elderly in Japanese society, these messages could often feel as though they were only approached on a surface-level. This was mainly due to the fact that ‘Love like the Falling Petals’ would often only brief skim over details in a bombastic manner (such as the limited screen time given to the subplot revolving around Misaki’s brother), rarely delving deeper in order to avoid offence.

Kento Nakajima starred as main lead Haruto by adding a reserved yet somewhat blatant charm to his onscreen persona. Co-starring alongside Nakajima was Honoka Matsumoto as Ariake Misaki. Despite Matsumoto’s brilliance as an actress, her performance as Misaki could feel somewhat overblown at times with overexaggerated line deliverances and reactions. Nevertheless, Matsumoto did help to add a tethered charm to Misaki in later scenes of the movie as she falls deeper into a cycle of senescence.

Nakajima and Matsumoto’s onscreen chemistry is decent enough. Matsumoto and Nakajima’s onscreen interactions could feel somewhat childish and stilted at times in the opening of the movie. However by the second-half of ‘Love Like the Falling Petals’, the main leads’ onscreen chemistry turns angst-ridden and woeful, adding a bittersweet as well as an overemotional tone by the ending of the film.

The trajectory of ‘Love Like the Falling Petals’ can arguably be divided into two parts. In the first-half of the film, the narrative takes a lively and pacy approach to Haruto and Misaki’s coup de foudre, while the second-half downplayed events in order to focus on a more serious matter of Haruto and Misaki’s attempting to overcome complicated relationship and problems.
Admittedly this did provide to be a double-edged sword for ‘Love Like the Falling Petals’; the first-half allowing opportunities for viewers to understand the liveliness of Haruto and Misaki’s early courtship, while helping to present the climatic problems of the final part. On the other hand rather than allowing opportunities to delve further into the emotional edge of the characters or their personal backgrounds, Misaki and Haruto’s depth as characters could feel somewhat limited. For example this was particularly shown through the problem of Haruto. His precise reasons for becoming a photographer were limited and unexplored, while the emotional toil for Misaki and her illness were often enforced rather than explored subtly.

In addition to the pacing of the film, it is important to acknowledge the talents of the directing under the leadership of Yoshihiro Fukagawa. Slick and glossy, Fukagawa’s filming encapsulated an onslaught of aesthetic symbols and scenery. In particular, Fukugawa placed heavy emphasis upon the changing of the seasons from the falling cherry blossoms of spring, to the first snowfall of winter in order to mark the literal and metaphorical cycle of the narrative. On the other hand despite some mesmeric moments of the film, the CGI displayed in the opening as well as long-distance shots at times could feel somewhat sloppy at times.

‘ Love Like the Falling Petals’ is a bittersweet love story about transience and young love. Nevertheless despite the movie’s impressive shots and cast line-up, the narrative could often become just as fleeting as the cherry blossom with limited writing cliches, pacing and execution.

Read More

Easily One Of The Best K-dramas of 2021…

Supernatural K-dramas have been done countless times before in K-dramas, so, just what makes " Sell Your Haunted House" stand out? Well, it’s important to be honest by saying that like most dramas out there, it does have its ups and downs. However, “ Sell Your Haunted House” has a beguiling charm due to its cast, storyline and themes.

As a character, Ji Ah could have easily become irksome for viewers as the archetypical ” angst-ridden orphan female lead adorned in black”, but, actress Jang Na Ra undeniably brought a dynamic ambience around her role as our mysterious psychic. (Which is hard to imagine any other actress being able to imitate.)

This is shown case and point during one of the most emotional scenes of the series when, the emotionally conflicted Ji Ah, comes face to face with her mother Hong Mi Jin (Baek Eun Hye). The battle of tears behind Jang Na Ra’s eyes became one of the most beautifully emotional and poignant moments of acting throughout the entirety of the drama.

Although , it’s important not to turn a blind eye towards some of the show’s downfalls either;not least with Jung Young Hwa’s performance as In Beom. This is not to spark hatred towards the actor as he is undeniably really good. ( As shown in previous roles such as “ The Three Musketeers”.)However , Jung Young Hwa’s performance honestly lacked zest at the best of times- sadly not helping to truly authenticate his character via performance alone .

Every cloud has a silver lining and this certainly became prominent by the character development of Young Hwa’s onscreen persona In Beom. Whilst In Beom’s introduction did seem to establish initial warning bells that he could go down the road as the tiresome " comic relief" , however, the male lead was offered the chance to escape this trope by using screentime to explore his conflicted emotions ( especially over his " gift") and his ambivalent morality surrounding later events of the series . This did not seal In Beom as being ”heinous" or "bad"; he is a kind-hearted person, just refreshingly not a "flawless hero" or the " perfect love interest" either.

On this front, it is important to admit that tastes may vary upon the " romance" between our leads; for the most part, it is incredibly platonic. Without spoilers, the link between our leads is similar to being " soulmates", rather than having a passionately romantic undertone . Admittedly whilst this did serve a refreshing break from the cliche-ridden romanticised relationships of dramas, tastes will evidently vary for viewers. ( Therefore if you’re expecting a particularly passionate romance in this supernatural drama , then " Sell Your Haunted House" isn’t for you.)

Even our side characters grew in different ways. Joo Hwa Jung ( Kang Mal Geum) seems to start off the series as Ji Ah’s pompous and self-righteous assistant, however, the series helped to explore her complicated backstory and bond with Ji Ah . Heo Ji Cheol ( Kang Hong Suk)- the self-proposed “ Chief”- and one of In Beom’s closest friends Kim Tae Jin ( Heo Dong Won), seemed to be established as the " comic dead weights" in the series, however, they did provide themselves to be more than cliches with their actions during moments of tension . However, it was equally entertaining to spend time with our cynical detective Kang Han Suk ( Kim Sung Bum) gradually developing credulity and respect for our psychic Ji Ah’s help during crimes. To top it all off, Kim Mi Kyung’s guest appearance in episode 13 ( as the Blue Salt Owner/exorcism supply craftswoman) was short, but, her added charm and sassy tone during line deliverances helped to establish an unusually respectful relationship between Ji Ah and the craftswoman.

Yet whilst "Sell Your Haunted House" had some formidable tour de force moments and characterisation , it did seem to struggle with establishing a more profound antagonist. Now, arguably ( without spoilers), there are two major antagonists here, however, the one which should be mentioned is certainly Do Hak Sung ( Ahn Kil Kang). Let’s be honest. Yes, he did serve his purpose as the " driving force" of events in the series. But , for our trio of screenwriters ( Ha Soo Jin, Jung Yeon Seo and Lee Young Hwa) to have otherwise created profoundly-developed characters , Hak Sung was the ultimate anomaly by fitting the trope as the "moustache twirling villain" of the series.

On the other hand, the one thing which ‘ Sell Your Haunted House’ truly authenticated was tackling difficult subjects as a social criticism of the South-Korean housing system through the differing backstories of the dead.From a vengeful spirit yearning for unearned incomes, property evictees and more , " Sell Your Haunted House" builds onto a fresh premise with a mixture of horror, supernatural and thriller genres.

The ending was fairly appropriate for the genre. It’s easy for some viewers to feel a little underwhelmed by the anticlimactic battle, however, the series did use time in between to wrap off storylines and permit an appropriate farewell to our main characters.

So, is it worth watching? In between a spine-tingling OST and a generic villain," Sell Your Haunted House" offers an oddly dynamic take on the supernatural genre. It isn’t without its faults or flaws, but, its intriguing characters and a fairly stellar cast easily establish it as one of the few good dramas to have come out of 2021, so far...

Read More

The Icing On Top Of The Cake With Yeri, But Not Quite Having That Extra Cherry On Top…

Unravelling time- travel where our frantic heroine finds herself rescuing her lost love or crush from moral peril, isn’t new ground for K-dramas. Yet the immediate status around idol actress Yeri ( Red Velvet) being cast as lovelorn female lead Oh Ha Rin, has undeniably attracted the web series to receiving hype .

On a strong note Yeri’s acting is pretty solid here. She has a vibrant ambience around her character, immediately dragging viewers into sitting up and paying attention to the storyline. As it has been said beforehand, there is no beating around the bush that ‘ Blue Birthday’ is a fairly “ seen and done concept”, but this doesn’t mean that the director isn’t willing to try something new either. Park Dhan Hee’s cinematography was really mesmerising in a lot of shots. You could tell by the array of palettes, the pathetic fallacies that the director was trying to convey. Light hues of daylight could animate Ha Rin’s jovial mood , whilst darker, moody blues of the sky, a room or the rain brought the scenes surrounding Seo Jun ( Hong Seok)’s death or Ha Rin’s bereavement into a more hard-hitting and colder reality.

Yet ‘ Blue Birthday’ can truly be defined as a mixed party bag of flaws also. Whilst Yeri’s acting was decent, her fellow costars often struggled to pertain the same level of solidity over the course of sixteen episodes. Not unwatchable, just certainly not bringing these characters to life either. Admittedly this wasn’t entirely the fault of the cast as character writing could also be a cataclysmic problem with the mini series also . This is mainly because none of the characters ( including our mains) really seem like everyday people. Now it is arguable that this is the point of the series; it is a fantasy-romance mini series about two teens in high school and so nothing regarding their personal lives outside of this main plot is that important . On the other hand what makes a character feel relatable and real is drawing parallels and similarities with our own lives by their interactions and relationships with other characters which whilst it did exist, was only really shown to make the storyline move or crack into some “ comic relief” moments.

Again it’s wrong to entirely condemn the series here. There was some surprising twists and revelations with Seo Jun’s familial background which played a major part in unravelling the enigma of his death, as well as adding angst-ridden chemistry to Seo Jun and Ha Rin’s onscreen potential relationship.

On the other hand whilst Seo Jun was a useful plot device to keep the mini-series’ storyline on its feet, it’s hard to truly define Seo Jun’s greater calling as a character by his build-up, typically revolving around school ( rather than the series gradually building this up through small revelations of his family life) and his potential romance with Ha Rin. Sadly similar to Seo Jun was Ha Rin. Whilst it’s understandable that her main goal was to save Seo Jun through her “Groundhog Day” setup, it was baffling that Ha Rin seemed to have little interaction or revelations about her relationship with family or a personal past problem during this period that she wanted to focus on as an individual. To explain this further it’s fair to say that we’ve all made personal mistakes in the past and most likely often wish we could change them. Arguably part of Ha Rin’s “great mistake” is the feeling of letting down Seo Jun by being unable to prevent his death. That’s understandable and what made her grief resonate with audiences, but that’s also only necessary to the major plot line. Rarely do we see or delve into Ha Rin diverged subjective regrets on a personal level either with friends or others also.


In terms of our antagonist ( and without spoilers), it is fair to say that the storyline indicates subtly but early on through portraying this character in a negative light towards the true villain. Are they well-written? This character really just serves one purpose and that is to be a plot device to add tension and drama to the series. Whilst they do have some motives, they’re mainly disregarded and rarely fleshed-out in order to paint this character as “ being evil for the sake of evil”. Not entirely terrible for the pragmatic purpose of the drama, but certainly fitting more into the “ moustache twirling villain” category than complex.

On more nuanced note, there are also some seriously questionable moments within the drama’s writing logic that made little sense realistically in the drama such as Ha Rin ( despite being a fairly witty character when she wants to be) talking in a public place about a key plot revelation which could’ve easily put her in further danger ( and refuses to acknowledge further risks) or liability for her previous fatal mistakes , the main villain’s classic mistakes which could’ve been easily picked up upon earlier, the incompetency of the police ( including lack of DNA testing) and of course the shift between the present and a decade ago for Ha Rin not feeling that significant for viewers. It is arguable that perhaps the screenwriter was trying to show this from Ha Rin’s perspective by this suddenly becoming part of her normal everyday life. However for Ha Rin this is also a nostalgia trip down memory lane of her teens. It would have been understandable if small passing popular cultural references, slang, technology or fashion had brought it home for Ha Rin ( and viewers) towards being in the past. Instead it was hardly to truly grasp when we were stepping back in time. Aside from a quick wardrobe and makeup styling change for Yeri which was meant to indicate; “ Oh, Yeri had on a school uniform, and schoolgirl bangs. We must be in the past again.”

In conclusion ‘Blue Birthday’ wasn’t an unwatchable mini-series. The ending was decent enough and in between aesthetic cinematography shots, Yeri’s performance and the plot premise as well as the mysterious events surrounding Seo Jun’s demise in the storyline remained enticing factors for watchers. On the other hand, the screenwriting with characters, mismatched dialogue and logic as well as the acting and pacing remained the mini series’ greatest downfalls. This was certainly not a terrible with an easy amount of fluff and darker themes to keep you watching , but not without its evident inconsistencies either.

Read More

Taking Away The Romanticism Of The South-Korean Militia…

Military enlistment is a topic which is often swept under the carpet in South-Korean culture, or romanticised in stories near the finale as part of the “ long wait” between lovers at the end of a drama storyline . ( The drama itself presenting a parody of this scene when a young woman causes a scene to promote her “ love” for her boyfriend enrolling only to present a stark contrast in the circumstances afterwards .)

PD and screenwriter Han Jun Hee as well as screenwriter Kim Bo Tong takes an anti-romantic ‘Fullmetal Jacket’ - style approach to the short series ‘ D.P’ The enlisted men alongside Jun Ho are viewed as nothing more that batch coded weapons and those who leave their side are viewed as merely loose-cannons without names or dignity . Yet the drama is unsurprisingly without director Han Jun Hee’s wry sense of comedy either- sardonic and satirical rather than sweet and slapstick, but woven well into the introduction of characters and the narrative.

The cast undeniably helped to make the storyline come to life. Actor Jung Jae In did a brilliant job ( like the rest of the cast) as main lead Jun Ho ( Jung Hae In). A troubled youth who shares his own conflicts and troubles before enlisting in the army and being forced into the military defect arrest team , Jun Ho becomes morally conflicted over the reasons why men leave the army for various personal reasons and the dire corruption of the authorities. From romantic heroism turned tragic to bittersweet realism, the duller and stark cinematography presents a harsher and prominent message to viewers about these stories shown per episode .

On a more critical note the drama isn’t without its flaws either. Whilst the messages are prominent as a criticism against the authorities and corruption ‘ D.P.’ began falling short especially after the 3/4 mark. The acting notably did degrade slightly as well as delivered line deliverances, and the pacing began to struggle Adding to the dilemma was defining more about Jun Ho’s calling of identity from given inferences in more vivid detail to explain his ideologies, as well as during the last few episodes. On the other hand the ending was certainly unexpected-profound and helping to define the key messages of the drama, but will likely leave viewers with their jaws dropping.

Overall a fairly good watch though admittedly not for the faint hearted . The pacing and more definitive character writing were sadly slight letdowns for this drama but ‘ D.P’ does make up for it with a profound and critique about the South-Korean military enlistment scheme, as well as using a catchy OST and moody cinematography to present these messages clearly .

Read More