mysecretsoul
United States
Joo Ji Hoon will be the initial draw for many. His performance as Yoo Ji Ho is tremendous fun. While the character starts off ridiculously trusting and naive, his development in the second half more than makes up for it. This point is also where Ji Hoon settles into his element. Seemingly improved from Warrior Baek Dong Soo, Ji Chang Wook plays a precariously balanced role with ease. I wanted to hate his Yoo In Ha, but couldn't completely; he was such a pitiable man and, in another life, things might have been different. The three veteran actresses portraying the mothers were also compelling, Chae Si Ra in particular. It must have been difficult pulling off such a complicated character like Young Rang.
Music may be considered another star in Five Fingers. There were many pleasing vocals, including a sad theme by Ji Chang Wook himself: "Fills My Heart." Lim Jeong Hee's "Don't Love Me" seemed to play the most and nearly brought me to tears once or twice. Classical and original instrumentals pepper the rest of the scenes. These work marvelously to amplify their impact and while dynamic, never bring the action over into the cheesy.
Viewers should be aware that Five Fingers deals in themes of domestic abuse and portrays one of the most dysfunctional families ever to grace the screen. The portion before the time skip can be a little hard to watch, and personally my emotions were all over the place.
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Having spent the better part of the series sobbing, I will attest that this is a tear-jerker. Stories that deal with severe illnesses often are. Refreshingly Good Life avoids becoming maudlin and though tears well up, they don’t always spring from tragedy. I found myself most moved by the powerful relationship between Waku and his father; the change love brought into their lives at the most crucial hour…this is more important than anything else. The short length of the drama guarantees a sharp focus on their journey. There’s just no time for romantic detours or melodramatic spoons dipped in to stir extra conflict. (As a side note, Waku’s adorable yet illuminating narrations were fantastic; their presence bolstered the emotional atmosphere of the plot exponentially.)
Only two performers stand memorable, which works since Good Life focused almost solely on their characters. Sorimachi Takashi tugs insistently at the heartstrings as Daichi Sawamoto, the “papa” of the title. His character brought to mind the imagery of a trembling pillar; Daichi tries to take everything on his own shoulders, never letting anyone else see his deep vulnerability. As a result, he appears strong but aloof – blindly unable to understand that his life is lacking. Transformation from such a person into the gentle and loving father whose heart finally opens is conveyed compellingly, both by the writing and Sorimachi. On the other hand we have Kabe Amon, who played impressively as Waku. Not only is he super cute, he’s startlingly believable. It was easy to forget Kabe is healthy in real life and that Sorimachi is not actually his father (despite their immense chemistry).
Music is fittingly simple and nostalgic. Unfortunately, the soundtrack soon feels repetitive by the halfway point. A specific piano melody manages to stick in my mind, as well as the tender “Mata Ashita,” by JUJU.
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Writing for this series remained consistent and strong throughout, even maintaining good pace. Characters rarely failed to behave in an intelligent manner. The much-lauded, flooring twists are just as crazy as you've heard (and better yet, even supported by prior evidence in the story). What is most impressive to me though, is that the script remains faithful to itself and the spirit of the genre. We are shown a seedy, pessimistic world which is…well, cruel. Potential viewer expectation aside, this kind of darkness is what we were promised from the first and delivered at the last.
Nearly every lead was dynamic, from Shi Hyun and Hyung Min to Jin Sook and Safari. Even the hardcore villains had strokes of complexity which made most more than mustache-twirling monsters. These grounding factors may not cease our hatred of them, but at least add some level of understanding. Yoon Soo Min likely is the weakest link of the main cast, her arc included; she needed a bit more weight to contend on equal footing with the other plot lines. The completion of her journey manages to be satisfying nonetheless.
Jung Kyung Ho shines brilliantly as both star and main draw of Cruel City. Decadent charisma pours from him in droves, lending his Doctor’s Son an impossibly fierce magnetism. The most compelling action sequences belonged to Kyung Ho also; I quickly fell in love with his sharp knife skills and cat-like elegance. It's important to note he filmed the final episodes with a nasty back injury; his epic performance is not only a product of talent, but dedication and hard work. This drama was also very kind to Lee Jae Yoon, whose slowly developing Hyung Min I gradually gained affection for. He portrays the team leader as smart, sympathetic, and steady -- with a shot of menace to prevent him being a boring goody-two-shoes. Honorable mentions go to Kim Yoo Mi and Yoon Hyun Min; their respective characters Jin Sook and Hyun Soo are over the top cool and attractive. To say I became deeply invested in the fate of both of them is an understatement.
“Love is dead,” according to one of Cruel City’s most recognizable themes: Kim Young Jin’s “Wound.” My love for the music will never die, though. It is stirring and atmospheric, always well-utilized in show. Even instrumental tracks are memorable, though the rare vocal was always delicious. Many fans here at MDL went crazy trying to find out their artists and song titles before the soundtrack was released.
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A major selling point of Shark rests in its surprisingly solid plot. The writers seem to have taken delight in the meticulous set up of their mysteries and, for the most part, executed them perfectly. Something I found unique was the way human ugliness and desperation colored the events. Many characters committed terrible acts and possessed deplorable qualities; innocent people suffered and became cornered by forces they couldn't control. It felt honest and multifaceted, a fantasy painted in the realistic gray tones of the world. Unfortunately, despite obvious care worked into the script, I felt disconnected from most of the characters until late. They often felt like mere pawns shuffled along the winding path of Yi Soo’s revenge. By the time one truly becomes invested, few episodes remain. This might be why people are conflicted about the ending, though it worked for me in any case.
Unsurprisingly Kim Nam Gil owns the stage as the vengeful Yi Soo. Not only is this his first drama appearance in years, he's still wildly talented and believable. Even when his character merely played puppet master from the shadows, Kim Nam Gil found a way to infuse him with humanity. His performance is equal doses pitiable and menacing, good and bad, black and white. Without him, Shark sinks. Ha Suk Jin (Joon Young) and Park Won Sang (Detective Byeon) play the most consistently sympathetic individuals in the series. They also feel the most like the “good guys,” in a story where you can never know who to trust. My first extended experience with Son Ye Jin was lackluster; I believe it may be the fault of the writers, since the young Hae Woo resounds more than her dithering adult counterpart. She felt most like a straw man whose purpose was to lead us through Yi Soo's machinations. I did like Honey Lee in her turn as Secretary Jang. Her interactions with the character of Dong Soo were surprising but much needed comedic gold.
There's absolutely nothing to complain about regarding Shark's musical repertoire. Instrumental tracks play their part without becoming heavy handed. Two vocals stand out: Boa's haunting ballad "Between Heaven and Hell,” and the soulful offering “Sad Story” of Boohwal's Jung Dong Ha.
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Viewers may note with some interest Jet Li in the starring role. Casting him was not a mistake. He disappears so completely into Sam Wong that I completely forgot Jet Li, famed action star. All that was left the gentle, loving father trying desperately to find a place in the world for his misunderstood child. Nothing would please me more than to see Li continue to show such different sides of his acting. As Sam's autistic child, Da Fu, Zhang Wen had a very convincing performance. He must have studied carefully to gain such a high level of realism. It was also easy to feel the love portrayed between the two; without such chemistry, the story would have failed.
Another well-handled aspect would be the use of cinematography. Gorgeous shots and quietly nurtured imagery adds a gentle sense of tragic beauty to the experience.
More sensitive viewers should be careful with this film. You may experience deep emotions despite the fact Ocean Heaven is subtle as can be. I felt moved, saddened, and outraged by turns; I actually wanted to go through the screen and help this poor family out myself. Needless to say the last 30 minutes had me in tears.
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In true melodrama fashion, the plot kept conflict coming and left little room for boredom. The issue is that the conflicts were often over the top and low stakes. Characters exhibited selfish, unreasonable behaviors for little reason. Coupled with infuriating love line twists and other common drama irritants (overbearing family, lack of communication, etc.), Feast of the Gods felt like eating something spicy. It can be compelling to have a second bite after initial painful heat, but some people are more acclimated to spice than others. I’m not sure this is a very re-watchable show, that being said.
The acting is a mixed bag. For instance, Sung Yu Ri did fine as a hardworking “candy.” Around the halfway point though, the script has her Jun Young all over the place in terms of characterization. It may be the fault of the writers but her performance sometimes felt schizophrenic. On the other hand, Seo Hyun Jin played woman I positively hated – and did a great job of being villainous. She never found my sympathy though…which is unfortunate, because it was clear you were supposed to feel sorry for her. The men fared somewhat better, though neither got the story line attention they needed and deserved. I have to thank Feast of the Gods for introducing me to handsome Joo Sang Wook though. He was a pleasure and this experience gave me the push to see some of his other, higher-rated performances. Many viewers will find Lee Sang Woo lovable and I see the appeal. His character is mysterious and the actor himself feels like Hyun Bin and Park Shi Hoo all wrapped into one guy.
While I liked the OST well enough, I think they utilized it badly. There were occasions a song would play during the most inappropriate scene. Vocal pieces were all fine in practice, but aside from “Did You Forget” by Lee Seung Chul, I can hardly remember them.
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The primary strengths of this drama rest in fabulous action sequences and beautiful location shooting. Scenes filmed in Italy are truly remarkable; the episodes spent there are some of the best. However, after the events that brought us to Europe conclude, writing mistakes and muddy character motivations start to bog down key elements of the story line. Thanks to a fast pace and simple plot, some of this can be forgiven and there's no chance of the viewer getting lost.
Performances in Athena were a mixed bag. Strong actors worked with the weak and certain characters drowned in script issues. Villains were more compelling than the heroes for instance. Cha Seung Won is particularly wonderful, playing intense and sympathetic though his purposes are dark. I also found myself very invested in the fate of his strangely lovable minion/companion Andy, as portrayed by the adorable Sean Richard. As for the heroes, you have a talented Jung Woo Sung working with clipped wings. He tries to make something out of Lee Jung Woo, but the script affords him little more than saving the day and being struck silly with attraction for his female lead. Speaking of her, my first encounter with Soo Ae found her wanting. She felt limited in ability despite having a role with written potential; most of her scenes were spent gaping or wide-eyed. The love line between the two was poor as well; Woo Sung had more chemistry with a certain SM Entertainment megastar in her two episode cameo.
Athena: Goddess of War is for those viewers hankering for a modern action series. It's light and fast, though not worth subsequent viewings. Those that love SM artists might enjoy it too, since many are highly promoted both in the cast and in the soundtrack. I'd recommend it without taking the plot too seriously; this show has its fun moments.
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The story line is very unique, both in subject matter and tone. We follow a group of normal people following the dream of orchestral performance together, under the direction of a conductor who is as rude and arrogant as he is famous and talented. The experience and accompanying tribulations change their lives, as you might expect, but the difference can be genuinely felt. There may be unbelievable circumstances that bring these people together, but the way they progress and transform is realistic and subtle. Some may complain the final episodes are bittersweet and somewhat open-ended, but I feel they composed the perfect ending for a story such as this. Any other result would have felt too saccharine, especially with the heavy emotions this drama evoked. We pursued a dream with these characters, but it's really not the result that matters...it's the path we took and what we choose to do after.
This is also the first drama where I've felt I would actually miss the characters after completion--in particular, abrasive conductor Kang Mae as played by Kim Myung Min. His acting really is as outstanding as everyone says it is. It's a rare gift to see a character spring to life as vibrantly as this; he felt like a real person separate from the actor, no doubt thanks to his extensive preparation. I mean, Myung Min was actually even able to conduct an actual orchestra at a press conference for this drama...something he'd learned how to do in five months. Another favorable mention must go to Jang Geun Suk, who was still in the early stages of rising fame (and looked nothing like he does now). I'm not sure he's played a part like this since, but I'm hoping he will soon. His Gun Woo was an earnest, hardworking, genuinely good kid...but with very human failings and no sob story to excuse them. Geun Suk was a joy to watch too, and stood competently alongside the great Myung Min as his foil.
As to music, as one might expect, there's a ton of classical used in Beethoven Virus. The performance sequences utilize elegant and meaningful pieces, looking as good as they sound. Other works serve to fit scenes as background tracks, and add a delicious feeling of high drama without also becoming cheesy. Fans of instrumental music and classic in general will love it, while others might find a spark of interest growing in them after watching! Vocal tracks are also great, with Insooni's inspirational number "A Goose's Dream" basically summing up everything Beethoven Virus stands for.
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What's better than having Won Bin star in a film? Having him perform alongside Shin Ha Kyun. The two are chameleon actors with a lot of chemistry (no doubt from previously working together on Guns and Talks); they really seemed like brothers despite looking nothing alike. Many viewers will relate to Won Bin's Jong Hyun, especially if they've ever felt their parent has played favorites. He's the more human of the two brothers, delinquent, rude, and jealous...but also loving and inwardly kind. It's a complex part that I lost Won Bin in; I totally forgot it was him for the longest time despite his unique look.
Shin Ha Kyun's Sung Hyun is something of a saint in comparison; he's sweet, smart, perpetually patient, the beloved son. Despite the fact this is also how Jong Hyun jealously sees him, Sung Hyun suffers a lot too. He was born with a harelip and never has an easy time of anything, even establishing a good relationship with his younger brother. Shin is fresh-faced and subtle here, a perfect foil to Won Bin's dynamic performance.
Unfortunately, My Brother will not be to everyone's tastes. The music was nothing special and, as mentioned before, the story is slow. So this is not a re-watch friendly movie; once you've seen it, there's nothing to go back for unless the interaction between the leads impressed you. The one time you do see it is definitely worth it though.
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Much of the appeal can be attributed to Shin Ha Kyun himself; his "Killer" is a mute who only communicates physically with other characters and through internal monologue with the audience. It's amazing how much he's able to convey with just body language and facial expressions! In particular, there's a scene with the female lead where you could tell exactly what he was thinking...just by a few subtle physical cues. His narration is also incredibly charming and often hilarious. Another interesting character is played by Kim Min Joon: an ex-ballet dancer with a philosophical heart...and wicked knife skills. "Ballet" had the best action sequences in the film as well, since he incorporated his dancing into his battle style. It's too bad there weren't more of them; while Shin Ha Kyun did a great job on his own fight sequences, they weren't nearly as compelling.
On the story front, all is generally solid. It's unremarkable aside from the characters, quirks, and instances of strangeness... but these are enough to keep it all afloat. The comedy even works well and generates genuine laughs. A specific grace this film has is its ending, however; it is a satisfying, though bittersweet, conclusion that works great with the rest of the story.
Honestly if you can find it, give it a try. No Mercy For The Rude should keep you entertained for a few hours at least. Just be careful if you're weak with blood, because there's a decent amount!
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In particular, the cinematography is rock solid. The shots inside the Kurosawa house are some of the most gorgeous and use interesting angles to bring out the dark veil hanging over the place. Beyond those deliberately called attention to by the story, decorations and objects often appear in the same frame as characters--acting as mute symbolism for the person or their situation. This aspect is easy to miss the first time around and is a good reason for a re-watch. Some viewers might find them unsettling or even irritating, but occasionally disturbing clips and images appear between stops in the action. I find them instrumental to the feel of the story.
Music is also masterfully utilized, with the orchestrations displaying delicious moodiness. Vocal tracks will be easily recognized by most everyone, as the bulk of them are classics. The lyrics of these songs (like Paint it Black by The Rolling Stones or Nirvana's Smells Like Teen Spirit) could not have suited the situations they were used in better. Honestly, the first time Paint It Black played over a scene, goosebumps came. I also need to give a special mention to the sound effects team, because sometimes a noise would halt the music. For instance, when Isao is talking to Mitsuru at the bar, the sound of his glass settling on the table signals an eerie silence.
All of the brothers were played well, each actor filling their role believably. If I had to pick a favorite though, Ichihara Hayato would win the contest by miles. His portrayal reminds me of a tragic hero from a Gothic romance, tortured and barely keeping it together; but on the outside he's everything you'd want your son to be, handsome, elegant, and successful in his career. Ichihara-san is especially good at acting with his eyes and often made incredible blocking choices in his scenes. It'll be a blessing if he can get more meaty roles like this; he's a magnetic presence on the screen. On the other side of the spectrum is the cartoon-ish detective, who unfortunately was present during all of the scenes inside the interrogation room. His voice drove me crazy, because he kept speaking in this strange purr that sounded more suitable for a villain in a child's anime.
I'll end by saying that while this is a story of pain, abuse, and ultimately murder, it's an easy watch...if you can handle that. The episodes are short and hook you in, especially if this genre is your bag. If you're anything like me, you'll end up eager to get to the end and watch most of it in one go; once you're there, you might just not see the end coming.
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Probably the strongest point of the movie is the cinematography. Battle scenes are tasteful but tremendous; the scenes done on the infamous hill were especially eye-catching and must have been difficult to film. Some of the scenery ended up being quite beautiful as well, which is sad considering so much fighting went on in those areas.
Go Soo and Shin Ha Kyun definitely carried the performance aspect of Gojijeon between them. Shin is always a pleasure to watch and brings any character to life with ease, but Go Soo was shockingly compelling. He played Soo Hyuk with intense complexity, often making me question how I felt about his character: was he right or wrong? Also, the interaction between the two felt natural...which is great since a good chunk of the story rides on their characters and their involvement with one another. I have to say the rest of the cast was somewhat forgettable just because their characters weren't as necessary or developed. There were several familiar faces if you often watch Korean drama, though.
My only real gripe with this film is that occasionally it would feel preachy. This is definitely an anti-war film, and you can really feel the atmosphere of futility the conflict had. Usually the subject was handled with grace, but on the instances it was not, I felt as though I'd been pulled out of the story briefly. Other than that, though it's been done before in other films, it's always nice to see a non-American focus on the Korean war during this time period.
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The plot veered off tracks slightly past the halfway point. There's a decided shift in direction so noticeable that I'd thought the writers had changed hands. In truth, apparently internal politics at SETTV coupled with need to meet public demand caused this; either way it seems the writers clearly bit off a little more than they could chew. Character motivations became muddy; one promoted character totally vanished. Plot lines disappeared partway, then reappeared only to be wrapped up unsatisfactorily. Those that were necessary were often shuffled along in favor of trying to fix the problem of choosing the OTP, but even this was somewhat rushed.
What makes this unfortunate is that the main cast is so lovable. Nikki Hsieh has fine chemistry with everyone else in the drama, believably interacting with any character according to their intended relationship. She also does a great job in her dual role, because there are even speech differences between Da Hua and Liang Yan. James Wen is a personal favorite, but he was calling in all of his talent to keep his character from imploding. His Lin Guan Jun was handled poorly by the writers and his actions often made little sense in the final episodes. Wen has a natural charm about him though, so the eye is always drawn to him regardless.
Chris Wu is the favorite for most viewers, because he's such a talent; Terry could have reasonably been as interesting as cardboard. Instead, he's gorgeous, magnetic, compelling, and sympathetic; it's easy to see why he won the hearts of viewers so easily...and he's likely the primary reason many kept tuning in. I can't blame them.
My personal favorite part of Substitute Princess is the music. This is one of the OSTs I will be importing once it's available. Both the intro and outro suit the show unbelievably well, from the tone to lyrics. Each insert song is memorable and used effectively also. A special mention has to go to James Wen, who sang Guan Jun's love theme "Why Bother." Once when it played it got me teary-eyed due to its effective usage; it's such a beautiful song and his voice is quite pleasant.
Sadly, I can't think of any reason to re-watch this drama once you've completed it--unless you want to relive the experience that is Terry. I probably won't be coming back to it any time soon.
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Perhaps the daunting prospect of wrestling political debate is keeping potential fans away. There's no need to worry on that front. This drama's title can also double as the plot descriptor. Everything is about the lead couple's relationship; the political ideologies were simplified and, like the government positions held by most characters, were largely used to flavor conflicts and create an interesting atmosphere for love to blossom and persevere. Unfortunately this device over-saturated the first four episodes, which served as a foundation for the later events of the story. It's like the necessary bit of salt in your cookie dough recipe accidentally got doubled and overcame the sweetness. By the fifth episode though, a burst of romantic chemistry blows the bitter taste away, leaving the rest of All About My Romance charming and delicious.
The acting was generally good to passable, with Shin Ha Kyun blowing everyone else out of the water only to carry it to the end. Some people have said he's not handsome or young enough to play a romantic lead, but they must not have seen him smile. His whole face lights up and, if you're anything like me, you'll find yourself grinning right along with him. The personality Shin Ha Kyun infuses into his Soo Young will probably win him some attraction anyway, because it fuses the zany and romantic in a completely lovable way. Unfortunately, this great performance also means that he destroyed any possibility for Park Hee Soon (forgettable) to form a compelling second lead and badly overshadowed co-star Lee Min Jung (passable). It's lucky then that Shin and Lee look very well together and have believable chemistry, right?
Musically, the only special mention would be the excellent vocal inserts. Akdong Musician's "I Love You," and Shin Yong Jae's "Simple Love" have found themselves into my iPod. The instrumental tracks were either largely not present or too forgettable. However, watch out for the wacky Benny Hill-esque tracks which play during the fun or comedic scenes. They sound a little silly, but somehow remain completely suitable.
The low level of angst and satisfying wrap to most conflicts in All About My Romance take down its rewatchability, but in a good way. I feel like the sweet and comedic scenes are definitely worth a revisit though, and there are several I'd love to see again.
If you want something light and easy to watch, this drama is for you. Especially if you've just gone through a particularly traumatic melodrama or just want a mood booster.
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This review may contain spoilers
During the holiday weekend, I finally threw off my initial apprehensions and sat down with this drama. If I'm honest I expected to drop it after a few episodes. Despite the countless positive comments about Nine, I'm a long-term science fiction fan who has developed an unhappy wariness of the time travel plot device. How many times has it been used, especially in the west? And then even the best examples have glaring mistakes, including plot holes, missed details, bad science or ignored in-universe rules, etc. So imagine my elation when Nine skyrocketed beyond expectations and glued me to my seat for a two-night marathon.What makes Nine special is that it is careful with detail while maintaining a thrilling and unpredictable atmosphere. Apart from two instances, the first easily forgotten and the second clearly meant to be ambiguous, the drama unravels its mysteries with beautiful pace. With so much to explain, I almost expected loose ends; but every time I found myself questioning, I got a satisfying answer soon after. It's hard to go into much detail for fear of spoilers, but overall the writing is refreshingly strong and the usual mistakes of the genre are not present here. My only real issue in this department is that the first few episodes are somewhat slow to hook, despite being filmed in beautiful locations in Nepal and being integral to plot set up.
The best performance in Nine is hands down lead Lee Jin Wook. Without his natural charisma, Sun Woo might have collapsed into the arena of the two-dimensional. His performance hits every note and reaches ranges that include the sympathetic to the strong and sexy. He had me believing--which is everything you could want from an actor. I also spent a great deal of time marveling at how well everyone was cast in general though, especially when characters from the present started appearing in the sequences of the past. They'll have you swearing the casting department had a time machine of their own and just used younger versions of the leads!
Unfortunately, the weakest part of this drama is most definitely the music. Sometimes it's completely melodramatic and might remind older viewers of something straight out of the Twilight Zone. Most of the time, especially with the case of the insert vocal tracks, the songs are just not memorable. It's a shame, but I think with so much good going on elsewhere the OST can be forgiven.
Nine comes highly recommended, especially if you're looking for time travel done right. This is a drama which has a fast pace and mature, dark tone...so it's also perfect as high class palate cleanser after a long romantic comedy stint.
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