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Music is terrifying and beautiful
Glass Heart boasted one of the more beautiful casts that I’ve seen recently. Satoh Takeru, Machida Keita, and Shison Jun were three-fourths of the band Tenblank. Miyazaki Yu rounded out the band as the lone female member. High on music and low on plot, Glass Heart was more mood than narrative. Fortunately, the music was pretty good for a drama making it a fast, upbeat watch.Musical genius Fujitani Naoki has gathered a guitarist, an on-line music sensation, and finally an amateur drummer who opened his heart back up to music three years ago at an impromptu concert in the rain. The group is an awkward fit at the beginning with the men’s egos and Akane’s lack of confidence. Guitarist Sho takes care of Naoki when he wears himself out. Kazushi’s own writing skills expand Naoki’s mind when it hits a wall. And Akane’s unique drumming style calls him. The band doesn’t realize that Naoki is working against the clock to release the music inside him.
The plot was paper thin and barely a scaffolding for the music videos. Few things happen in the 10 episodes. An estranged brother is reconciled with, a singer with a crush on Naoki as well as a jealous manager have to be dealt with, and the bandmates struggle to keep up with Naoki’s musical madness. Naoki’s old traitorous music partner is the lone source of conflict and doesn’t really cause many ripples in the band’s trajectory.
The performances were all solid, though Sho and Kazushi could have used more airtime. Right now, Miyazaki Yu is listed as a supporting cast member, but I would argue she was the lead. A non-threateningly cute, eager, every-girl, Akane stood in for the female audience and was usually the focus of the story when it wasn’t on Naoki’s genius. As per usual, a big chunk of the male drama population fell in love with her. I saw no chemistry between her and Satoh, though chemistry is often in the eye of the beholder. From the moment Sho princess carried Naoki, that was my ship, right until the moment when Sho asked Naoki, “Is this a proposal?”
I enjoyed the music, the found/made family, the reconciliations, and the karmic blow back for the cheaters. It was a quick, enthusiastic binge. Lucky Me ended up being my favorite of the songs and Suda Masaki’s voice my favorite of the singers. For the nice music, beautiful men, call to love through music, Glass Heart was worth the watch for me.
“Music isn’t concerned with who wins or loses. It just plays. That’s why it’s terrifying and beautiful.”
31 July 2025
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"Keep your enemies closer"
Knight Flower was a funny, entertaining cross between a female Robin Hood and Zorro. The story may not have had any surprises, but in this genre as in most. execution is key and Knight Flower kept the action moving and the long boring monologues by the villains to a minimum.Yeo Hwa never even met her husband who was killed on the way to the wedding and has been a cloistered widow for 15 long years. Stuck in the family shrine most days, never being able to set foot outside of her in-laws’ property she only has her maid Yeon Seon for company as she waits on her older brother to finally return and take her with him. What no one in the household knows except for Seon is that at night Yeo Hwa dresses in black and helps the helpless with her money and martial arts. Everything is going smoothly until she runs into the new Capital Defense officer, Park Su Ho. With lots of push and pull between the upright lawman and the vigilante, as well as the requisite romantic tension, the two find they have much in common as well as common enemies.
The first episode felt slow to me, but it picked up the pace as it went along and never slowed down again until the last episode. Given the prison-like existence of the widows and pressure to commit suicide for the family honor, it was a whimsical release to have the heroine running over rooftops and rescuing the male lead on occasion. Of course, only women were held to these standards. Widowers were free to go about and even encouraged to remarry. Repression reconfigured to look like honor.
I enjoyed the story, but stumbled some with the casting, or perhaps the writing. Full disclosure, I enjoy a good noona romance so that wasn't an issue . Nor do I have a problem with an older woman being an action hero, much older men do it all the time. Lee Ha Nee is a beautiful woman but at 40 she did not look 32 nor very athletic. Her character was someone skilled with living a double life for years, but Yeo Hwa could not manage a poker face when needed. Yeo Hwa was quick to act but often slow to catch on to the bad guys’ plans. Lee Jong Won looked like a sweet puppy who adored Yeo Hwa, but added little depth to his character. A quick glance at the cast list and it was easy to pick out who the baddies were going to be. When one used his kind grandpa voice instead of putting a character at ease, chills should have been running down their back. And Jo Jae Yoon can always be counted on to chew up the scenery maniacally.
Knight Flower, aside from bringing up the appalling way widows were treated, was for the most part a romantic action comedy. While there were some fights, they weren’t bloody or deadly. Most of the deaths occurred 15 years prior to the current story. The one murder in the present story actually felt quite deserved. So, if you like your historical dramas light and funny, with a little romance and a little action, this might be a good fit.
21 February 2024
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"It never ends until we're all dead!" That's the spirit!
Mercy for None wasn’t an extraordinary drama but it did what it set out to do-show mercy for none. As far as Korean revenge entertainment goes it succeeded for the most part. For those familiar with the genre there were no real surprises, but they never let the plot or action slow down. During Nam Gi Jun's lengthy revenge rampage they kept the “hero’s” plot armor to a minimum until the last two episodes. If nothing else, it was good to see So Ji Sub in a drama once again.Normally, I’d give a mini-plot summary about now, but this was a revenge drama so despite the twists and turns it was quite simple. Retired gangster Nam Gi Jun is called back into action when his brother is murdered. Nam Gi Seok was slated to be the JuWoon successor so there were plenty of people with an ax to grind. And grind and slash numerous characters did with axes, knives, bats, iron bars, with plenty of old school action. Gi Jun discovers how deep the treachery runs as he pounds through the bodies with his mighty fists. He could have given One Punch Man a run for his money.
So Ji Sub didn’t have to give an emotionally nuanced performance. He did what he needed to do, look fierce and bloody as he fought gangs of men. Mercy for None was a who’s who of ahjussis and harabeojis. The old boys gave a master class in acting. Sadly, there were younger actors who lacked the gravitas and menace required for their roles. With the exception of a female lawyer with a couple of quick scenes there were no women in this world, no molls, no nurses, no mobster mothers, this was all testosterone all the time.
The fights were well choreographed, especially for a drama. They contained more gore than your average Kdrama so if you are squeamish be prepared. This drama was an 8.5 for me until the end of episode four and then the “twists” and “surprises” began to weigh it down. Gi Jun’s fearsome abilities tread over into the supernatural as the drama wore on which took away from it. Despite only being 7 episodes long, it could have been cut to 5 or 6 at the most.
I desperately wanted to hold a class for these career gangsters. Things Every Bad Guy Needs to Know: 1) Round-house kicks are pretty but useless in a fight. 2) Never bring just your fists to a machete/gun/bat fight. 3) Never leave your weapon behind---there will always be another fight. 4) When using a gun, never let your enemy get too close. 5) Never trust someone who works for the enemy no matter how much you used to like them. 6) Be nice to the hired help. It could save your life. 7) Never turn your back on your enemy. Never. Ever. Like ever.
If you are looking for character development or innovative storytelling this is not that drama. If you are wanting to get an action and revenge fix with an easy on the eyes protagonist, you might want to give this drama a try.
13 June 2025
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"Hatred is a creature with sharp teeth that bites when you least expect it"
Trinity of Shadows is a misnomer. This drama was more shadow than light, with far more sides than three. Nearly everyone was walking around with their personal pain bubble eating away at them. Not your typical serial killer story, but not always coherently laid out either.Hsu Tzu Wei is a no-nonsense squad captain with a dark past. She unleashes hell on any man that dares to bully or harm a woman. Chen Chia Hao has been on the force for three years, he harbors dark secrets that motivate him to investigate. Yang Chi Hsiao is a city councilor running for re-election. Despite his constant battle against corruption, he too, hides a painful secret. A closed case links the three with a dangerous presence who has plans for all of them.
This drama had plenty of twists and turns, slowly unfolded to keep the audience in the dark. All the major characters who graced the screen were in desperate need of therapy. There was no soft place for any of them to land, and instead of seeking out healthy relationships they were drawn to each other like a magnet to steel. Impulse control was in short supply to be sure. The bad guy pulling all the strings desperately wanted someone to blame but never looked inward to see his own role in his self-destruction.
I don’t want to go into the story or even my praise or concerns too much so as not to spoil anything. By the tenth episode it did feel like the script was running off the rails. The scenarios became more convoluted. Not that I’m against that, as the melodrama and pain levels were ramped up to impossible levels by the last shot. I would have preferred a few more questions answered and the ending to be clearer so that I didn’t have to go back and watch it twice. I don’t think I’ve ever watched a drama filled with so many overtly traumatized characters suffering from deeply festering hatred. Just like dead bodies-that hatred was bound to come to the surface just when they thought it was dead and buried.
22 June 2026
Trigger Warnings:
Sexual situations. A rather graphically implied sexual assault that was disturbing. Again, heavily suggested by word and camera angles--hacked up bodies. Smoking. Suicide. Torture. Drug use. Sex workers.
Major Spoiler Comments Below:
* * * * * *
Seriously, major spoilers below
* * * * * *
Abandon all hope if you have not watched this drama
* * * * * *
Finally warning----
Through the whole drama I really worried that Hsu would end up being the killer from 23 years ago. But even after the final scenes, Yang seemed convinced her mom did it. Hsu was willing to turn herself in for Dong’s death (why????? He was a murderer, stalker, and was threatening them) and have her mom turn herself in for the murder 23 years ago. The mom left after the murder instead of staying with Hsu or taking her to Hong Kong with her which would have seemed more logical if Hsu had been the killer.
Hsu and Yang had to move into the godforsaken house because the body was buried in the yard. Talk about eternal torment. I also wondered if her mom was underground as well, but guess she got an Uber out of the house before the cops arrived, or more likely Dong’s car. Whose pink purse did Hsu throw away? I didn’t see anyone carry it in the present or past. Who wants to bet that Hsu and Yang either end up a double suicide or a murder-suicide? Or she’s institutionalized because it looked like she C-r-a-c-k-e-d. Yang kept yammering on like nothing was wrong. These people were very good at burying bodies and feelings.
And finally, not sure Chen Chia Hao should have been listed as a main character since he was off-screen after episode 10. Talk about burying feelings and bodies! Liu Kuan Ting is only 2 years younger than Sandrine Pinna, why did she keep referring to him as a kid instead of just rookie? Everyone has their kink---Chen hooked up with sex workers, Hsu and Yang always seemed to do the deed in front of windows.
This was one dark, demented drama with several killers. Who could ever look at a suitcase the same way?
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Song of the Samurai: Fateful Showdown in Kyoto
4 people found this review helpful
"I smell violence on you"
Song of the Samurai: Fateful Showdown in Kyoto was a raucous sword swinging, foot stomping, unhinged samurai drama based on a manga that was based on real world people and events during the waning days of the Shogunate. The names and places were familiar even if the purple hairstyles were not.In 1912, an old man recounts the tales of Hijikata Toshizo to a curious young woman. The viewer is transported back to 1859 when the reckless, "thorny brat" Toshi, joins the poverty stricken Shieikan dojo. Kondo Isami is the leader and protects his disciples like a mother hen. Most of the young men are kind and view each other as family. They hope to find a patron lord or government job during the tumultuous era when the Shogunate was headed for the exit door as the Imperial Court was ascending. The even more reckless and unhinged ronin, Serizawa Kamo, enters the picture with his two minions. With spies and assassins lurking in the shadows or in narrow crawl spaces, life becomes precarious for the Shieikan crew.
Toshi’s main goal was to become the strongest man in Japan. He wasn’t terribly bright and was always ready to fight, inwardly rejoicing when he jumped impulsively in over his head. The only time he truly felt alive was when he was brandishing his sword against a stronger opponent. The flipside of the coin was the flamboyant Serizawa who reveled in women and booze, but his “blood boiled” only when meeting a worthy adversary. Props to Ayano Go for uttering his lines and fighting with a cigarette constantly dangling out of his mouth! Neither Toshi nor Serizawa were concerned with politics or the standard samurai life. Though the apolitical Serizawa could see where the life of the samurai was headed.
The majority of Kondo’s group weren’t highlighted much. The charismatic Saito Hajime had his moments to shine, strategist Yamanami Keisuke played a vital role, and the young Okita Soji had a nice fight. The others came to the forefront as needed for reaction shots or in a crisis. The Grim Reaper didn’t darken the screen until the next to last episode. Kondo was regaled as an uncommonly fierce fighter yet he never really had a chance to prove his metal. The flashiest fights were nearly all Toshi’s. So, if you are a Yamada Yuki fan, you will be in for a real treat.
The challenges were full body, gravity defying fights. Ronin flipped, spun, rolled, kicked, and punched as much as they sliced and diced. Shout out to the amazing stuntmen who sold the action in the battle scenes. Since it was based on a Manga there were ridiculous weapons involved on occasion. And even more ridiculous characters. There was no shortage of “cuckoo for Cocoa Puffs” people on the Shogunate and Imperial sides. This was also a world where women did not exist, except for the geisha Oume. I’m still not completely convinced that the young woman in the intro wasn’t a figment of the old man’s imagination.
Song of the Samurai was bloody, fast paced, and took historical liberties for entertainment purposes. The characters and weapons were campy, often over the top. I couldn’t help but root for Kondo’s Kids as they were brave and loyal to each other (for the most part) and ready to take on any challenge regardless of the odds. “Certainty of death, small chance of success…what are we waiting for?”* My biggest complaint was the ending. After paying for an enormous cast of handsome faces, the finale felt like they ran out of film and just had to stop. Hopefully, there will be another season to wrap things up. Overall, it was a fun romp, never slowing down long enough to get boring.
“To bloom in battle and fall in battle. Samurai are flowers that bloom in full splendor, unafraid to fall. The Shinsengumi were the last flowers to bloom in the dying twilight of the Bakumatsu Era”
18 June 2026
*Gimli, LOTR Return of the King
Trigger Warnings: Dismemberments. Spewing blood. Smoking. Some really dreadful hairstyles
Easter Egg: Watch for the 47 Ronin throwaway comment that was not a great foreshadowing for our motley crew
~~~Slightly spoilery comment below:
**If there was a prequel, maybe there will be another season to wrap up what will be a devastating ending for our spunky group of swordsmen. Was really hoping they would show the clash with Serizawa and just epilogue the rest of it. History is history and was not kind to the feisty group which will be heartbreaking.
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"The devil loves to play the angel"
Detective vs Sleuths aka Demon Hunter was a frenetic carnival ride strewn with dead bodies, mental illness, and revenge. It proved the old adage to be true, “Just because you’re paranoid, doesn’t mean they aren’t out to get you.”Lee Jun is a disgraced ex-detective who sees and hears things that other people do not. His motto is, “Whoever battles monsters should ensure that he does not become one.”* A dead man reveals a sinister plot to Jun. With each death comes a clue pointing to the next one-all cases of Jun’s that lacked the evidence to prove guilt. A very pregnant inspector, Chan Yee, becomes caught up in Jun’s madness all while her department is convinced he is actually mad and may be the criminal perpetrator.
Jun was considered a Chosen Sleuth before he broke down. But in this film, the question of who was the sleuth and who was the psychopath, became deeply entwined. A team of murderous avengers calling themselves The Chosen Sleuths hunted down the suspects in Jun’s notes, meting out their own form of justice. The Hong Kong police were often shown as ineffectual and quick to jump to conclusions leading to tragic results. Jun’s manic episodes and connections to the cases eroded any confidence in his abilities and innocence.
DvS moved fast and erratically with a large cast. When cops were killed and everyone cried, I had no idea who they were talking about. The bad guys had at least three huge vans of deadly avengers. The camera bounced around as much as the cast did. A few breathers for the audience to process the information being rapidly dumped minute-to-minute would have been nice. Most annoyingly, the Cantonese dubbing was terrible for several characters.
Lau Ching Wan was excellent as the brilliant, if very unstable, Lee Jun. Once I learned how to keep my balance on this topsy-turvy rollercoaster, it became more bearable and thrilling. The grand finale was a grossly over the top explosion that threw everything it could at the screen to be memorable. In some ways it succeeded, while still not managing to feel convincing. A wild, hallucinogenic, and violent film with numerous red herrings, Detective vs Sleuths dizzily stumbled about as it sought to discover who was the sleuth and who was the psychopath. Sometimes, both things can be true.
16 June 2026
*Quote Note: "He who fights with monsters should look to it that he himself does not become a monster. And if you gaze long into an abyss, the abyss also gazes into you." Friedrich Nietzsche’s “Beyond Good and Evil”.
Trigger Warnings: Countless deaths by knives, guns, and fire. The bodies really stacked up in this one. One torture scene.
Slightly spoilery maternity note: Perhaps Chan Yee’s baby was the real demon. No umbilical chord? Yeah, that’s creepy.
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Three rebels-a Mongolian fighter who wears an enormous hoop earring (Chin Kang), a Muslim tracker who keeps his ear to the ground (Li Chung Chien), and a monk who carries a golden Buddha on his back (Phillip Ko Fei) attempt to kill the local official who is making a deal with the Russians for guns and cannons. Unbeknownst to them, two other rebels are undercover in the official’s mansion (Mang Fei/bodyguard and Yu Tien Lung/interpreter) with eyes on their mission and the official’s comely daughter. Two lower ranking officials are planning on making a deal with the Russians to secure higher positions for themselves. A combustible finale cannot be escaped.
Two of the three inept rebels were played by Chin Kang and Phillip Ko Fei who were often relegated to villain roles. Mang Fei and Yu Tien Lung played the gossipy rebels in the palace. Yu also choreographed the fights with mixed results. Yueh Hua was the captured rebel who had very little face time in the film. Bryan “Beardy” Leung was the menacing Captain Koo while poor Lo Lieh was stuck in a grandma wig as the treacherous Cher.
The plot was all over the place with the three inept rebels constantly trying to kill the official without any luck. When they weren’t fighting Qing guards, they were usually fighting each other. The fight choreography was often sped up which provided for several unintentionally humorous scenes. There were also a lot of wide misses with kicks and fists. The wire work was limited to jumping over security walls which the three did when their plans repeatedly went awry. I’d put the fights on the lower side of average, at least they weren’t kung fu posing or dancing.
Five Kung Fu Daredevil Heroes was neither horrible nor memorable. Although the explosive ending included a scene I don’t ever remember seeing before so there was that. Only for hard core old school martial arts fans who are completionists or fans of the actors. As always, rated on a curve.
16 May 2026
Trigger warnings: One scene had numerous severed body parts.
The film is cropped on the sides. It was also faded which was not helped by the typical low budget Taiwanese films of this time period that did a lot of filming at night or in the woods.
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"He is good for nothing. I've made a mistake."
Birth of Happiness aka A Happy Businesswoman was incredibly close to being a great film for me. 1963 RoK (and most anywhere) wasn’t exactly a feminist utopia and the film's attitudes towards women reflected that. Yet Tosun had a strong desire for independence and used her wits to defy her parents and make money on her own. Of course, a handsome guy showed up and ruined everything, I mean, fell in love with Tosun.Tosun’s father owns a bus and refuses to pay her for work she does for him. Around the same time, Shim Jae Gu comes to town looking for a bus driver job, part or full-time. Tosun’s dad kicks Jae Gu out believing him to be unworthy. Tosun has pity on penniless Jae Gu and buys him cigarettes and loans him enough money for a hotel. When her father finds out, they have a terrible row and Tosun moves out to make a living on her own much to her mother’s chagrin. She and Jae Gu hatch a plan to go into business together if they can earn enough money for a car. A developing love makes their goal more complicated.
First of all, Tosun was an amazing female lead for the most part. She was optimistic, inventive, resourceful, and bounced back when life knocked her down. She could outcon a conman and was always searching for the next best way to realistically make money. Though she was tight with her cash, she also helped people when needed. Jae Gu, on the other hand, was easily discouraged, emotionally weak, and easily duped. When the going got rough, he went drinking, gambling, and seeking intimate entertainment from the local bar hostess. Worst of all, he blamed Tosun for his failures. As so often happens, the heart wants what the heart wants and Tosun loved Jae Gu.
The film also focused on Tosun’s relationship with her mother. Tosun’s mom ran interference for both of her daughters with the dad as he was a difficult and stubborn man to deal with. When Tosun moved out, her mother was devastated. Aside from the loneliness she would face without her daughter, girls could not leave home before marriage or else their “innocence” would be questioned. Tosun refused to let that belief limit her.
I liked Tosun’s drive and cheery disposition though people did not want to get on her bad side. She could defend herself and reputation with words and fists. The romance dragged this film down as I could never see what Tosun saw in Jae Gu. Worth a watch for Tosun or if you are in need of inspiration to try, try again in life.
13 May 2026
B & W note: The film was quite dark in places and smudged looking in a few others. Mildly distracting but I’ve seen much worse.
AKA Tosuni: Birth of Happiness
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"For what purpose are you walking the path of the sword?"
Miyamoto Musashi was a crash course in the legendary figure starring Kimura Takuya. Despite it being twelve years old as of this writing, I thought the cinematography and quality of the drama were well done. And then there was Kimura whom I have a soft spot for, especially with a wig and sword. Battle on!Takezo is involved on the wrong side of the Battle of Sekigahara. More brawn than brains, often operating on instinct, he has the raw skills of a swordsman but not the patience or techniques required. After being captured attempting to leave a message for his friend’s mother, the monk Takuan imprisons him in order to teach him discipline. After his release the newly named Miyamoto Musashi heads out to make a name for himself with his sword hoping to find a job with the Tokugawa shogunate. Along the way he fights, finds love, new advisors, and personal growth.
I enjoyed Kimura in this role. He brought the wildness needed for Miyamoto’s youth, the bloodthirsty determination that followed, and ultimately the calmer swordsman attempting to balance life and death on the edge of his sword. Maki Yoko had the thankless role of Otsu who could be cloying. Nakatani Miki appeared as a geisha styled quite similarly as her role in Jin. Sawamura Ikki played Miyamoto’s rival and what could have been a beautiful bromance if swordsman pride did not come into play. Honestly, I don’t understand the need to be the best when the only way to prove it is, 'one of us will be the best and one of us will be dead'.
The fights were entertaining if straining believability. At least Mifune Toshiro used the terrain to his benefit in his film while Kimura had to take on 70 samurai at one time on flat, dry ground. There was quite a bit of wuxia wire work as Miyamoto leaped great heights or dropped from heights designed to kill other men. He also had super healing abilities because this story didn’t have time for such things as sword wounds. To quote one of the Yoshioka, “How come he won’t die?!”
I burned through both episodes which were around 2 hours each as this mini-series was fast paced, never slowing down much to bother with historical exposition or character development of supporting cast. It helped that I enjoyed watching Kimura devour this role even when the pacing could stumble and the narrative could be heavy handed. For three and a half hours characters berated Miyamoto for killing people even when his life was being threatened and then at the end, his use of the sword was deigned by the cosmos to bring greater purpose and potential to all people. Uh, say what again? Overall, I enjoyed this mini-series though I’d only recommend to people who are fans of Kimura, like martial arts flicks, and have a rudimentary knowledge of Miyamoto.
11 May 2026
Trigger Warnings: Though there was a LOT of sword action, no heads, arms, or legs went flying. Sexual encounters were implied with some groping but nothing bared or overt.
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Cute romcom to lift your spirit
Mentalese Express was one of the cutest short or full length romcom films I’ve seen in a long time. Filmed mostly in an authentic elevator recreation, the actors had to make the most of voice overs and tiny facial give aways.Ssu Tsen Li notices a handsome Japanese salaryman in the elevator she takes, a man she calls #27 for his office floor. Shinji Hayashi also notices the woman with a mole on her neck like his and pleasant-smelling hair. Terrified he’ll be deported from Taiwan for being a stalker or pervert for sniffing her hair, he begins to fear their morning elevator ride as much as he anticipates it.
This short film ran the gamut of relationship stages without either character speaking more than a word to each other. Two awkward puppies overthinking every aspect of their actions and non-actions placed both introverts into romantic hell as they desperately tried to find a way to approach the other person. They had an inadvertent helper in Cologne Man who realized early on that the two were attracted to each other. Oblivious Co-Worker provided a proper female foil and source of jealousy. A rich romantic microcosm existed within the confines of a metal box. Would definitely recommend this short film for anyone who enjoys romantic encounters of the introverted kind.
9 May 2026
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"The world must be a difficult place for a guy like you"
Yakusho Koji gave another brilliant performance in Under the Open Sky as an aging ex-con and former yakuza member. Known as the Brawler from Kobe, recently released Mikami Masao, had much to learn about the world outside of the crime families.At 60 years old, Mikami Masao is released after spending fourteen years in prison. He is determined to be through with his criminal ties and never go back to jail. With the help of a sympathetic lawyer, he is set up with a place to live and a modicum of government assistance. He suffers from severe hypertension limiting the few employment opportunities available to him. A television station wants to share his story, especially if they can reunite him with his mother on air. Mikami has lived much of his life on a set schedule with emotional and physical guardrails. Now he must learn to deal with the casual cruelty in the “civilized” general pop he is surrounded by without resorting to violence.
Unlike so many actors who have limited means of conveying expression, Yakusho Koji put on a master class of nuanced acting showing Koji’s every thought and response without the viewer catching him acting. You could feel Mikami’s frustration with the system that treated him like a pariah, coping with the disrespect he was often shown, realization that the world had moved on without him, and joy when he used his particular skill set on a pair of thugs. Mikami was forced to learn patience and self-control around people who were experts at eliciting angry responses. His own body forced him to his knees with debilitating hypertension. And Koji glided through every emotional speed bump and ditch expertly. I loved that Nishikawa didn’t make Mikami perfect. Though generally kind and generous at heart, Mikami had a temper and had no compunction against resolving problems or slights with his fists. Or a ladder.
Director Nishikawa Miwa based her script on the novel Mibuncho. She deftly exposed polite society’s ability to ostracize those who did not fit into a perfect mold. Unhappy people who followed the rules felt entitled to mock those who had strayed or were different. The yakuza was not glamorized and for the most part Mikami accepted responsibility for his troubles. The film also showed how difficult it is for ex-convicts to turn their lives around. Aside from personally changing their ways of handling conflict, they are faced with limited employment opportunities. Most businesses are reluctant to hire anyone who has been incarcerated. It’s not surprising that 50% of released prisoners end up back in jail within 5 years. It’s the same in my country. Once they’ve paid their debt to society, they still need to eat, have shelter, and a way to make a living and going back to the safety of what they are familiar with can be tempting. For Mikami, the crime families never looked down on him and made him feel small whereas he faced rejection constantly in society. Unlike many released convicts, he had a support system of people outside the crime world who came to care about him.
Having spent nearly half his life in prisons, Mikami Masao just wanted to be an ordinary person. What he found was a whole new set of rules. “Let it slide…Don’t get involved…Look out for yourself.” The weak and other were still bullied and preyed upon by “good” citizens, but in acceptable manners. He not only had to learn to trust and love again, but also to look the other way. I enjoyed this bittersweet story of Mikami’s resiliency and determination to change his life no matter the challenges and to seek out the beauty hidden under the open sky.
“You have to be patient out here. Patient with few rewards. But at least you can live under the open sky.”
8 May 2026
Trigger warnings: Bare bottoms and breasts but not in a gratuitous manner
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A young man is asleep at his desk with pieces of an action figure he is working on scattered around him. The film doesn’t say for sure what the young man’s issue is, whether it’s agoraphobia or another anxiety disorder, but it’s clear he’s highly uncomfortable being outside of his cluttered apartment. The only organized space is his bookcase of neatly ordered action figures he has assembled. When a delivery man haphazardly slides a package toward his door but not near it, our introvert is in a conundrum. In his endeavor to stay partially within his safe space and still retrieve his precious box, he accidentally locks himself outside. Thus begins his awkward and strangely pleasurable journey to the locksmith.
I found this short film soothing and refreshing. This young man was thrown into his worst fear and while there were negative experiences he was also shown kindness and had the chance to show kindness to another. Definitely worth ten minutes of your time. I only wish it had been longer, I would like to have seen if his forced adventure had any long-term healing on his life.
5 May 2026
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"Fail and it's treason. Succeed and it's revolution."
12.12: The Day has been lingering in my PTW for some time now. Knowing what the film covered was going to be distressing, I needed to wait until I had the proper frame of mind to tackle it. I’m not sure there’s ever a great time to grapple with the gut-wrenching betrayals, knowing the blood and tears shed following the coup, but I did my best to comprehend the dark events that occurred on 12-12-1979.After President/Dictator Park’s assassination, unease flows through the government and military as people within jockey for prestigious positions. Three key figures rise to the top, at least momentarily. Jeong Sang Ho is the new Martial Law Commandant. Chun (Jeon)Doo Gwang leads the Defense Security Command and also the shadowy Hanahoe. No one moves or says anything that he doesn’t know about due to his intricate network of spies and phone taps. Last, but not least, is the reluctant new commander of the Capital Garrison Command. Lee Tae Shin is loyal to his oath and his country with no political aspirations. When Jeong assigns influential Hanahoe generals and colonels to far flung places to reduce their influence, Chun decides to act. He gathers the leaders from Hanahoe to consolidate his military might and seize control by arresting Jeong and using the troops to take over. In order to repel the rebels, the virtuous Lee must outwit the Hanahoe who has infiltrated nearly every level of the military and firmly planted corrupt politicians in their pockets.
Watching a film like this was painful as I already knew how the day was going to end. Greed and the desire for power and unquestioned authority are always attractive to wannabe tyrants and the cronies hoping to cash in on an authoritarian regime. Successful dictators tend to be good at branding and Chun was no exception. “Only if we fail is it called treason. If we succeed it’s called a revolution.” Or a “grand revolution.” Nowhere in the film did any of the traitorous team members express a dream for peace and prosperity for all the people of the RoK. Not when it would be so much fun to be in charge and torture whoever got in their way.
Korea’s Hydra organization was the Hanahoe. General Lee simply could not compete with soldiers more loyal to Hanahoe’s leadership and organization than the country. Chun was also aided by the rigid hierarchies in the society including age, regional favoritism, and seniority. Different commanders gave conflicting orders leaving much of the rank and file confused and with no choice but to follow the truck or soldier in front of them. And then there were the cowardly and/or greedy politicians who gave up before the battle had even begun.
Hwang Jung Min’s Chun bordered on maniacal. He splendidly portrayed Chun’s bone chilling menace that both terrified and enthralled the military officers in his circle. His intensity bordered on scenery chewing a time or two, but he accomplished his dramatic mission—to make us loathe Chun. In contrast, was Jung Woo Sung’s calm and ethical Lee. This general wasn’t afraid of making the hard decisions even in the face of overwhelming odds. He also wasn’t afraid to parse words. My favorite quote that I wish had come true, “All of you stay right there. I’ll bring the tanks myself and crush your f*cking skulls.”
The RoK would go through one of its hardest self-inflicted painful periods in history. The disappearances, torture mill, and Gwangju Uprising were about to kick in because of ineffectual leadership, a sinister network, and a nefarious general willing to risk everything to rule the country like a despotic king. 12.12: The Day was tightly written and superbly acted for a day no one wants to remember but must in order to protect it from happening again.
1 May 2026
Notes: Due to libel laws or some such reason, the names of historical figures were changed.
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"The slower you go, the further you can reach"
Wings Over Everest felt like a patchwork of other mountain climbing films going back to the Eiger Sanction (1975) or the Archer Sanction (2015) for that matter. It might have worked if they had grounded the mountain climbing in some measure of realism. Not even Yakusho Koji could save it.What I liked:
There were beautiful shots of the mountains. Score one for Mother Nature!
Yakusho Koji-I would watch him in anything and this film is exhibit A of that dedication.
Austin Lin made for a cute Cowboy helicopter pilot. Zhang Jing Chu as Xiao Dai Zi portrayed a feisty heroine who did what was needed to be done to save herself and her team.
The cast was an interesting international crew: China, Japan, Canada, and Taiwan though with some questionable dubbing at times.
What didn’t work as well:
The bad guys were obvious and their motivation was weak.
The opening scene let the audience know to check their brain at the door regarding mountaineering and rescue. Dai Zi may have been a great climber but she had a terrible habit of falling off of cliffs. I stopped counting at 4 times. Perhaps due to unacknowledged oxygen deprivation or hypothermia, she also had strange hallucinations.
Oxygen schmoxygen. Who needs it? Or protective goggles? Or any gear to protect from the frostbiting wind and cold, not to mention (literally) blinding sun.
I know the final mountain scene was supposed to be touching yet was so ridiculous it reminded me of a scene from Ice Age: Collision Course (2016). Why couldn’t there have been a dinosaur or UFO? Go all in on throwing logic off the mountain! That might have bumped my score up!
There were times when I turned my brain off that the film had its moments, but they were few and far between. Stupid logic and stupid laws of physics interfering with movie magic. To “summit” up and not to “be-lay” the point but Wings Over Everest was an okay movie if you like the actors and/or scenery but it likely won’t “rock” your world.
27 April 2026
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"If I can't save a city, I will save those close to me"
When I saw that Zhang Jin was in The Wild Blade of Strangers I was sold. The story and editing had a few hiccoughs but the action was solid for the most part, the main reason for watching a film like this.Tian An Ye and his older friend, Zhao Qian Sun make and sell charcoal. When they head to the walled city to sell their product, they end up saving a wounded woman and her baby. The palace had recently gone through a change of management, accomplished with deceit and at the end of a sword. Nie and her baby found themselves on the expendables list and in desperate need of a hero. Tian had no intention of stepping in until old Zhao convinced him to provide the two vulnerable people protection with his very special skill set.
The plot was thin and obvious which wasn’t super important once Zhang Jin jumped into action. A real martial artist, his moves were believable. How well you’ll like this film may depend on whether you enjoy his screen presence. I did and could have bumped this up to an 8 if the story and editing didn’t have a few issues including one very politically incorrect character that would have been out of place 20 years ago with the terrible depiction. Another actual martial artist, Jiang Lu Xia, as the mysterious Qi, held her own with the choreography. Her character reminded me of one Brigitte Lin might have played back in the day.
You didn’t have to wait long for action scenes. The film had several fights that utilized a variety of weapons and traps. The choreography veered into martial arts dancing on occasion. In this case I was willing to overlook it when Tian spun around because the moves didn’t have a thousand slow-mo pore counting close-up edits. The only disappointing fight was the first one between Tian An Ye and the formidable Zhang Xu Qing. The wire work was extremely awkward and conspicuous, reminiscent of 1970s kung fu flicks. Their rematch was thankfully much smoother and faster. As with many heroes, Tian’s superior fighting skills waned when the script called for it.
The Wild Blade of Strangers made good use of stock wuxia characters and political infighting. The film was at its best when Tian was wielding a sword, lethal bamboo, flaming cloth, or guandao (I think). When it relied on the narrative, the plot holes revealed themselves along with the shallow character development. Overall, I enjoyed this film and could recommend it to people who like their sword fighting with a small serving of political intrigue thrown in for good measure.
25 April 2026
Trigger warnings: People lost their heads, but without spewing blood or rolling noggins. The only scene that bothered me was a torture scene though it did yield a spikey weapon for Tian to employ as a weapon.
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