a quasi-historical fictional series with strong imaginative storytelling

this series borrows certain elements from real history and historical figures, but is not about the reiterating of history and historical figures. it is very much more of creative story writing and imaginations and the re-imagining of. it is absolutely not about wuxia or martial arts and the pugilistic world. it is more about the variety of political intrigues, circumstantial developments in relation to politics, causes and effects, and romance, and human relations. occasionally the series can feel long-winded (beat-round-the-bush), nevertheless, story telling is one of the series's core strengths.

many of the supporting actors stand out in this series, probably because they are experienced, perform their best, and they are guided/mentored professionally. the actor who performs Li Changge has more dramatic role and performances in the earlier dozen of episodes, and progresses to become a character that matures and grows up (emotionally and psychologically). i feel the female actor's performances are more noteworthy during the earlier dozen of episodes. in comparison, the main male actor performs in a consistent manner, but there are segments where he performs stronger.

chemistry-wise, i feel that the chemistries between Changge and Leyan, and Hao Du and Leyan are more enjoyable. for some reasons, the chemistry between Li Changge and Asule Sun feels lacking.

i think the director and whoever is/are involved in guiding/mentoring help bring out the best in capturing the actor who performs the role of the princess Li Leyan. it makes the character more believable and endearing. the actor also performs her role excellently. i dare say she has what it takes to be a leading actor in CDrama and films, as she has a lot more to offer than just a pretty/cute face.

it is also worthwhile to note the involvement of several young actors in the series. i believe that the producer and/or director see strong potentials and/or future potentials with some of these young actors. it is really a treat to see talented young actors being groomed, and to see their acting potentials even though they are still rough around the edges.

the quality of the cameras used for shooting this series is definitely good. the shot techniques are also good. although there might be short segments that employ redundant/superfluous camera techniques, there are also numerous camera techniques that are big screen quality. there are many beautiful building architecture and interior designs and props. you can definitely observe many nice trinkets and props that accompany the beautiful costumes. the costumes have intricate designs, motifs, and sewing quality. it is a good thing that the ornaments/trinkets that accompany the costumes appear believable and in harmony. i cannot comment on the accuracy of the ornaments, buildings designs, costume designs, behavioral etiquette in this series in parallel to early Tang Dynasty era.

the implementation of the CGIs are also not excessive, and i think they compliment the series as a whole. this includes the decision, the arrangement and the editing of comic-like animations to enhance the story telling. the team in charge of the background music/sound arrangement/selection should be complimented, as i think they did an excellent job. it is unfortunate that the team in charge of the voice dubbing is not as good as the team in charge of the background sound/music.

i especially enjoy the weaving workshop scenes. this segment has a common backdrop involving common folks, but it enhances the story telling of the series. another notable mention is the tragedy/ordeals experienced by the princesses. it is simply amazing that the two princesses do not experience or suffer severe post traumatic depression or mental breakdown due the repeated pain, despair, disappointment, anger, hatred, and humiliations.

//after thought//
maybe because i just finished watching Word of Honor before this series, so when I found out there is the character Li Changqian (crown prince of Li Shimin), i was half-expecting to see whether there is a sub-plot development revealing/hinting Li Changqian as a homosexual. of course it doesn't, as the character is portrayed in his adolescent years.

//turnoffs//
- the most noticeable issue with this series is that the voice dubbing is not often synchronized well. it is possible that there are dialogues spoken by the actors that have been altered in the voice dubbing.
- there are scenes/segments that do not make much good sense, and there are some scenes/segments with small flaws that could have been avoided. for example, the little girl (Gongsun Heng's daughter) who got lost and blow the whistle so loudly, which doesn't make any good sense.
- the interior designs of the sets can often appear too symmetrical, too neatly arranged and too clean.
- another issue with this series that might not be too noticeable is that there are certain segments/plots that don't make much sense when taking considering the dangers and chaos of the surrounding environment during these early period of the Tang Dynasty.
- one of the major turnoffs in this series is the overapplication of whitening makeup. for example, there are segments where the application of thick whitening makeup on the main actor who plays Li Changge is excessive and unnatural. she is already beautiful and fair, and makeup should only be applied on her to enhance her natural beauty instead of drowning/masking her natural beauty. there are several instances of other actors whose face had been applied whitening makeup too excessively, too.
- i do understand that it is for that dramatic aspect in story-telling of a tragic character, but the decision to make the Princess Yicheng character as the main antagonist in the latter half of the series is a major turnoff for me.
- the usage, placement and acting of the extras are good, but there are instances where the rationale of the spectators placement/directing can be inconsistent/unbelievable. though not frequent, there are extras that do not act as instructed.
- the quantity and positions of the lanterns/lamps can sometimes be unbelievable, considering the efforts to lower/raise the lanterns/lamps, to light the fire, and how realistic is it to light/place certain lanterns in certain locations, etc.
- there are a few sets that don't fit the logic, for example, an outdoor battle camp that comes with lavish set decorations which made it unrealistic/unbelievable.
- sometimes, the rationale to light up so many candles during daytime and at certain segments can be questionable and become more of a distraction.

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this series is based off Japanese Manga Hikaru No Go

i enjoy this C-Drama. i think this is one C-Drama series that is worth watching. from the production standpoint, i can sense a lot of thoughts, efforts, and creativity are involved within the budget allocated. this series is definitely suitable for young/er audiences, and young adults.

there are plenty of positive values/elements that are evoked throughout the 36 episodes. some of the supporting characters are memorable. the dialogues and plots are generally enjoyable. the story is rich and relatively endearing.

the human aspects and ordeals of some of the characters are endearing and believable. another good thing i like about this series is that there is all the characters are enjoyable to watch. the visual effects are average at the best, but that is not the strong point of this series.

it's a good thing that the series does not dwell too deep into the technical aspects of Weiqi/Go, the game and the industry, as I am just a layman. however, through this series, i became interested to research on the Divine Move in Weiqi/Go, and the research led me to learn about AlphaGo.

the only thing i actually dislike with this series is the lack of at least 1 prominently strong female character. though so, i still find that the female characters in this series are believable and realistic.

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a wuxia mixed with political intrigue series that often feels draggy

this is a wuxia series on the pugilistic world interweave with court/political intrigues. the court/political intrigues serve more as a secondary to enhance the story telling. there are several key characters in this series, but i feel that maybe in the novel these key characters have better dialogues, story telling and character developments.

this series is not for all audiences. some audiences might like this series more than others.

for me, this series is something i regretted watching. it's simply not for me. it's one of those numerous CDramas i have watched that i have to skip and fast forward a lot. as a whole, this series is a huge drag, and the strengths observable in this series ultimately cannot salvage it. there is a semi-erotic scene in the series, but it doesn't make the series more enjoyable/endearing for me.

with the current form, i feel that this series has the potential to be more enjoyable with better preparations, stronger screen writing, focus on quality story design and character developments, better quality editing, better editing direction and management. the shortening and editing of the series down to may be 25 episodes could have helped, too. there is simply nothing spectacular/unique about the story telling, plot, performances, and dialogues.

//strengths//
incorporation of natural environments
building architecture
string-fu, martial arts choreography, and props
background music/sound arrangement
interior design and props
costumes, trinkets
dubbing
lighting quality
non-exaggerated make-ups
extras

//average//
dialogues
story telling
casting and performances
plots
special effects, CGI
romantic chemistry

//major turnoffs//
inconsistent editing
translation
oft time dragging
lots of redundant or superfluous shots/segments/dialogues/screen time
occasional logical flaws
occasionally too many candles

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beautiful and imaginative storytelling, augmented by the performances, et al

this is an imaginative and beautiful drama with comedy that is sentimentally warm and touching. the story is based on the director's relationship with her mother, and is about a personal reconciliation with regret/grief, love, redemption, and filial piety. the director also plays the role of the daughter in this film. the humor tends to be light, silly humor through the play of words, and sometimes infused with exaggerated/corny dialogues and nonverbals.

the mother and daughter share a very close relationship. as the daughter grows up to young adult, the mother has certain expectation for her daughter as she does not want her daughter to be looked down by their relatives.. however, before the daughter could realize the expectation, an accident occurs that somehow transports the daughter back in time. in this new reality, the daughter gets to acquaint herself with the younger version of her mother. the daughter decides to reconciles with her regret/grief, and to redeem herself by trying to make her mother's more pleasant. but, the whole experience has a surprising twist.

overall, i feel that there are several aspects about this film that feel mature/ripe, well planned, controlled and executed. it's a 2-hour long show, and some audience might find a few segments that feel a bit draggy in this film, other than that i find the overall experience watching this film to be enjoyable. it's by far one the better film i've watched since the start of 2021.


//spoilers//
for me, there are several highlights to the film,
i) the actors are mostly unknown outside of China, yet their performances are enjoyable. i recognize only the actor who plays "Guangyin". there are the obvious observable exaggerations in certain performances. what is noteworthy is that this exemplifies that decent actors and decent performances have no direct correlation with popularity, having beautiful/handsome faces, and sexy/muscular bodies.

ii) the efforts and details to replicate early 80s China, even down to the hairstyles and army-like caps. also, if you missed it, right at the beginning, there is actually a green army cap present worn by a kid, and then later in the show there is another version of an army-like cap that common folks wear which is popular during that period.

iii) if there is dubbing (voice over), it's synchronized very well and feel natural. and, if you are familiar with the regional accents, the beginning part of the film is automatically obvious.

iv) i can actually sense/feel an undercurrent of emotion stirring under the surface, as i watch from beginning to end.

v) there are moments in the film that i am actually reminded of my Mom when i was younger. for example a) picking up different skills; b) often come to my elementary school to deal with the teachers and/or principal; c) my Mother used to play volleyball on a regular basis between late 70s and early 80s.

vi) it starts to get more humorous right from the 'failed movie dating' scene

vii) the entire final quarter is the climax

viii) the film is released in 2021. the setting of the 'present' in the film is 2001, which is observable from the report card early in the film. the majority of film takes place in 1981, just a few years after Deng Xiaoping announced China's open door policy.

ix) mid way through the film, there is an self-introspective moment. there is that moment of realization, if you change the past, the present will be affected. this is more of a modern concept. and if you consider the traditional Chinese belief that if something is fated/destined (aka meant to be), no matter what you do, the outcome will still be the same. compare and contrast that with Marvel film's concept, whereby changing your past doesn't actually change your present, it merely creates a new future based on that changed past. your present thus becomes your past, and there might be no you or a different you in the new future. however that self-introspection segment midway through the film has a continuity twist at the final quarter of the film.

ps. not related with this film, i just found out there is another older film with the same title, "Hi, Mom," a 1970 film starring Robert de Niro.

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a bowlful of energetic, multi-cultural, comedic and investigative entertainment

after experiencing 1+ year pandemic situation, this film is a huge refreshing welcome!

a highly energetic and entertaining, multi-cultural investigative film. it is paced contextually, vibrant, colorful, and packed with consistently satisfying performances. this film has many manga-esque and/or comic book elements. there are also number of unpredictable moments, actions, and wacky dialogues, especially in the first half of the film. the film is also rich with slapstick humor. there are several jokes that might be more familiar amongst Asians in Asia. i don't think this film is suitable for all age group, some/many parents might deem this film not suitable for children because of the death scene with blood splattering in the air.

i like the way this film incorporates Japanese setting, language, culture, custom, and actors. i also like the involvement of Tony Jaa, but unfortunately most of the time he is speaking in English instead of Thai. the storyline and the plot are not complicated

it is amazing how well the extras blend in this film blend. i also enjoy the good to very good performances by many actors. Nagasawa Masami's performance at the court scene when she reveals her motive is enjoyable. this is also enhanced by the English music selection and the short flashbacks.

the cameras used for filming are of excellent quality. the lighting and lighting techniques are nicely done. there is a blend of outdoor and indoor background sets. the selections and arrangement of background sounds and music enhanced the film. there are unpredictable interjections with background music from old and popular Chinese, Cantonese and English songs in this film.

i feel that right after the main plot is revealed, the storyline digresses in much of the middle part of the film. part of the digression makes sense when audiences arrive at the ending scene which opens up for or gives a hint of a fourth sequel.

i am impressed with the first several minutes of this film for the super wacky airport scene, followed by the short chase scene, and the the Japanese bath house scene. just imagine the preparations, number of shots, casts prep, story board designs, directing, editing works, etc. that are involved. the best highlight of the show for me was the Sumo mini-scene (copycat Hulk bash Thor scene) and the Kendo mini-scene. it was pure laughing with tears moment for me.

the final scene with Michael Jackson's Heal The World is fitting, but an irony. this film is made before Covid-19 pandemic, aired during Covid-19 pandemic, has the word "Chinatown" in the title, while in USA there is an ongoing increase of cases of verbal/physical/ violence against Asians Americans in USA, some incidents occurring right in "Chinatown"

//additional//
- wished Tony Jaa had more Thai dialogues instead of English
- the director and/or screenwriter/s try to (mis)lead the audience into the line of thought that Qin Feng somehow pushed Akira down to his death. however, in a split second when that segment shifts, it is automatically obvious that there is a flawed logic of thinking or being led to think somehow Qin Feng might have actually pushed Akira.
- how did Qin Feng communicate with Akira Murata as he doesn't have that instant real-time translator earpiece? the only way this is possible is if we assume that, like Anne Kobayashi, Akira Murata also has a certain degree of comprehension of the spoken chinese.
- how did Akira bring AnneKobayashi's body down? how did Akira chain Kobayashi to the pipe? How did he get out after chaining Kobayashi to the pipe?
- is the universal earpiece translator worn by Tang Ren water proof? the CCTV footage early in the film shows the year as 2019. i would have to assume there is already a water proof universal earpiece translator available in the market in the film's reality.
- the logic presented by Hiroshi Noda to prove Qin Feng's innocence is redundant. a simple forensic investigation on the timer would reveal if Qin Feng's palm leaves a marking on the surface.
- logical flaw in Qin Feng's argument that Su Chaiwit grabs a broken glass to lightly stab himself and then use the broken glass to cut Watanabe's palm. why didn't the police run a forensic analysis on the broken piece of glass? it's obvious Su Chaiwit wasn't wearing a glove, neither was the piece of broken glass envelops by any material. Su Chaiwit's fingerprint/s would likely be on that piece of broken glass.
- logical flaw in Qin Feng's argument that Kobayashi hid the piece of broken arrow into Su Chaiwit's trouser pocket. the piece of broke glass is probaly longer than a palm's length and more than 5cm in width. if Kobayashi stealthily slide the broken glass, Su Chaiwit would have noticed it immediately. Su Chaiwit would also be able to feel the broke glass when he is moved from the crime scene and into the car. Su Chaiwit would also be able to feel the broken glass being removed out of his pocket trouser when he and Kobayashi are in the car.
- the court scene is big joke
- i might have missed something along the line, but what triggered Watanabe to suspect Kobayashi Anne is his daughter?

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charmingly corny and manga-ishly sexy entertainment

this is likely my shortest review. i don't remember much about the series, all i remember is i enjoyed this short JDrama series. i think it's a mix bag of corny, funky/wacky, funny, sexy, charming, unique, and entertaining as a whole. it's a pleasant welcome watching this series, and for some reasons or another the series actually stir the creative/imaginative inner part in me. some of the characters are memorable, like that dancing/singing umbrella man, and the grandmother with the unique facial feature (and haircut).

the show is definitely enjoyable if you enjoy characters and stories from manga and comic coming out alive. you just let the overly analytical part of you switch off each episode, and let each episode takes you for a reasonably enjoyable ride. the casts are relatively consistent and in harmony with one another. the show has a sort of wackiness intermingled with partial realism that are all too human. the show also evokes that feeling of corniness, with a mildly alluring danger in-the-corner (predictable) suspense.

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silly is the name, entertainment is the game, (young) children skipping this is not lame

this is a live action adaptation of a manga and/or anime, set in a Japan reality that has been taken over by aliens that obsoleted the samurai class. the story is about a team of unusual characters investigating a serial murder which leads to a more sinister plot. depending on the parents and the society you live in, this film might be deemed unsuitable for younger children because there are crude jokes, violent actions, gun shooting, killing, cigarette smoking, etc. if you are or you are occasionally into silly, exaggerations (the bombastic), corny stuffs, and you are also a fan of anime and manga, do check this film out for its antics. it's a, you like it, or you don't.

humor sometimes pops out in moments least expected. the humor is plain silly. sometimes crude, often (over-)exaggerated. it is sometimes accompanied with corny dialogues and parody that reference a variety of other works. although this is an action comedy, there is an element of fantasy in it, and also a mild serious mood that weaves in and out throughout the film.

i am not sure if there is dubbing (voice over) in this film, but the spoken dialogues match with the lips' movements. i really appreciate that. part of what makes the film enjoyable is the actors' performances. the actors are deep into role-playing their characters, so much so that i imagine they are all hardcore manga/anime fans.

i come into this film feeling handicapped as i am ignorant of the Gintama universe, characters, stories and plots. but, the film is persuasive enough to make me want to check out other Gintama live action film and animated film. it is enjoyable, and would have been even more so if i am younger and/or familiar with the Gintama universe. there are definite aspects in the film that could have been made better, and hopefully the subsequent sequels do not disappoint.

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five unique short stories about ordinary folks and their hometowns

this is an enjoyable film that is comprised of five unique stories about common folks' hopes/dreams/aspirations and their affinities with their hometowns (or place where they were born/grown up in). each story is unique and independent of each other and presented by a distinct set of team of directors/screenwriters/cinematographer/editors/actors/sets/etc.

there are the occasional mild, exaggerated twists in each story, and there are elements of realism that audience can relate to. although each story is unique and independent from the other, there are shared links that bridge them together.

i don't think this film is a comedy. there are certain segments in certain story that has more comic acts and the occasional funny dialogues. not everyone is going to find all five stories equally enjoyable. some might like a certain story more than the other, etc.

a couple of keywords that come to mind regarding this show include: diaspora; collage.

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a show that is guaranteed not to stir pleasant dreams nor terrible nightmares

i am rating 5 as overall mainly for efforts, money pumped into paying all the teams involved in this film, and for lessons i observe analyzing this film.

highlights of the film, i) immortal fart; ii) the caption typo, "i sot it!"; and, iii) a few of the concepts/imaginations are creative and interesting.

this is a shallow, CGI heavy, action fantasy show. just grab a popcorn or your favorite snack, or binge watch this. don't mind me though, this films is still relatively enjoyable. i guarantee you won't have pleasant dreams or terrible nightmares after watching this show. it's good that they attempt to make this film, but unfortunately, i feel that this is an (overly) ambitious project lacking in preparation maturity and depth. it has over-the-top costumes and trinkets/wearables that are intricately designed, and often act as a distraction/annoyance. some of the makeups and costumes can at times be a distraction/annoyance, too. it has has too many characters, but lacking in character depth and development, and lacking strong story/plot.

it could have been broken up into 2 or 3 parts to enhance the quality of the show.

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a talent wasted on a characterless show

this is a fantasy mystery show with a bit of actions that is not of the wuxia genre. it just looks wuxia, but it's not. imagine watching a 70s-80s Chinese zombie shows but with better cameras, background sound arrangements, sets, and costumes. and in the middle of it all, throw a decently promising/talented actor. to make it worse, imagine the director and/or the screenwriter are kind of clueless on the kind of show they want to create.

the only redeemable part of this film is Zhao Yuanyuan performing the role as Ye Celeng. this is the 2nd time i've watched her acting. i find her portrayal of Ye Celeng is mesmerizing, especially with the makeup, her facial expressions, postures, non-verbal gestures, the gazes shot from her eyes, and the wuxia costumes she wore. if she was born earlier, and acted alongside the likes of Jet Li in a film similar to the Swordsman (Xiao Ao Jiang Hu / Smiling Proud Wanderer), probably it would have captivated a lot of audience's heart and imagination. i kind of feel bad she has to be involved in this film. but maybe her contract prohibits her from rejecting the offer/role.

plus, i tend to dislike films/series with zombies (jiangshi), living dead (huoshiren), puppets (kuilei), and ridiculous CGIs.

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yet another (multiverse) Mulan bites the dust

this is a wuxia-style action adventure that re-imagines the life of Mulan of folklore as a military general instead of a soldier. it takes a setting in the year 424 A.D. during the third emperor of Northern Wei's reign, and the story is about the mission to rescue a princess. the show is suitable for late teens to above. the show incorporates elements of traditional wuxia storytelling. there are also elements of tragedy, brutality, and violence in this show which some may enjoy more than others. another strength of this show is the generous use of natural environments as background sceneries, both indoor and outdoor.

this show feels more like a pay-per-view or a cable tv production instead of a big screen film. it starts off at a relatively fast pace in the first quarter. then it slows down in the second quarter that can feel draggy. the pace picks up in the third and fourth quarter. it is yet another one of those bandwagon production that tries to capitalize on the Mulan folklore. the show doesn't actually need to be based off the Mulan folktale character into the storyline at all. the main female character can be any name and any background and she doesn't have to be based off Mulan folktale to be relatable, presentable, and endearing.

others may might feel find this show rough around the edges. the overall presentations of these elements, the story flow, and the editing can at times be insubstantial.

you name it. idk. bandwagon. domino effect. the blind leading the blind. yet another (multiverse) Mulan bites the dust.

//enjoyable//
+ outdoor and indoor natural environments as background sceneries or setting
+ background sounds/music arrangements and selections
+ traditional wuxia storytelling elements

//can be improved further//
o casting
o presentable performances but contextually inconsistent. there are multiple detectable issues. part of it might be casting, part of it the guidance/mentoring/directing, part of it editing, part of it the actors'.
o camera shooting techniques like closeups and slow motions, but sometimes inconsistent. occasionally it feels like big screen camera techniques, often it feels like tv drama camera techniques.
o martial arts choreography and string-fu with some flaws;
o detailed and colorful costumes, but there are a few ridiculous and unconvincing costumes
o storyline flow and the length proportion of certain segments
o interior props
o mediocre CGIs
o with inconsistent editing
o the You Ming territory segment starting from the second quarter of the film. better directing and editing, better planning and preparations, better plot writing, and stronger performances would improve this segment.
o the rescue-the-princess segment in the third quarter of the film
o brief incorporation of comic illustrations
o the director and/or screenwriter/s attempt to present the main antagonist more as a human being so that the audience can empathize with the main antagonist. but i feel the attempt is futile
o generous amount of blood splattering effects which can sometimes feel superfluous
o interior design, setups and props are not a distraction, some are more detailed than others
o dialogues are enjoyable but not always consistently enjoyable

//turnoffs//
- inconsistent translations and dubbing (voice over)
- error in the first opening translation. 公元 (gōngyuán) is A.D. not B.C.
- inconsistent directing, editing and editing control/management
- some logical flaws with the raiding scene at the beginning. for examples: i) how can pushing a person cause the vomitting of blood? the only explanation in a wuxia series is injury from being hit by an inner force; ii) how can a strengthened rattan shield be so easily leaved in half like styrofoam from a top-down forceful slash? again, the only explanation is if inner force is used; iii) how can someone die or fall flat on their back immediately after a mere push? same thing, only through inner force; iv) how can 2 arrows (one on top of another) hit 2 men who are about a meter away from one another? the arrows must have target guidance technology; etc.
- why is the princess riding a camel instead of a carriage?
- did the Northern Wei dynasty ever form any sort of alliance with the Northern Lian dynasty?
- the compass is way too intricately designed for 424 A.D.
- there are dialogues/segments for dramatic effect that can feel goosebump-corny
- starting from the second quarter of the film, Mulan looks like someone with sleep deprivation or a drug addict. i don't understand why they put that darkened makeup under her eyes.
- there are several draggy segments
- what is the purpose of giving a couple of seconds of screen time to a walking mouse to the storyline/plot?
- the fake princess stabbing Mulan scene. there is no way the dagger/knife could penetrate Mulan's armor and body if you observe the physical space of the fake princess, the distance between the fake princess's left arm with the actor standing besides her, and the physical movement of the fake princess's left arm in stabbing Mulan. the only convincing way to explain it is that the fake princess uses inner energy on the stab, which is also impossible as she fell down so easily to the ground
- the scene where the fake princess is killed with an axe is unconvincing
- editing issue of CGI or special effect at the scene when the guards congregate around the princess and a soldier is struck by an arrow on his back. you can see blood splatter when the arrow struck the soldier's back, but a few frames later you can see there is no blood marking on the soldier's armor
- etc.

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another multiverse Mulan bites the dust

this is an action adventure film adaptation of a female heroine from ancient traditional folklore. this film re-imagines the character, re-imagines her ordeals, and re-imagines the universe/arc she lives in (like amultiverse of sort). this film is suitable from teenagers segment and above. it has decent quality filmatography, lighting effects, and film quality shooting techniques accompanied with generally enjoyable background sound/music arrangements and selections.

there is nothing fresh/original and outstanding about the storyline and the plot. this film offers a generous employment of natural environment, but there are a few goofs (for example, the same scene from 2 different angles show the moon differently, one with a full moon while another with 3/4 of a moon). some of the actors' performances are decent, but not enough to make them endearing. martial arts choreographies are accompanied with string-fu and they are arguably enjoyable. the casting, actors, and performances are decent, but nothing outstanding. there are minor inconsistencies with the dubbing (voice over) but overall it's passable.

from the ending, it looks like the producer and/or the director planned for a sequel.

the film starts to go downhill fast for me starting from the battle scene midway through the film. the chronological order of the decelerating enjoyment goes like this = observable issues with the battle scene -> dancing-singing Mulan -> drunken Mulan revealing she is a woman -> the shaman/witch segment -> etc.

//turnoffs//
- translation is mediocre. for example, come on, (Thai) baht? we are talking about Northern Wei dynasty in the 4th century AD here.
- the realism aspect of the fighting scenes can at times be lacking and inconsistent. it's the same issue with the battle scenes, the design/setup and choreography are nice, but the realism aspect is inhibited. i am not fully certain if this is entirely the director's fault, the editing's fault, or both. a few examples, i) the killing of captured prisoners segment. there is no way anybody will get hurt by the way the sword is moved to cut the throats; ii) the battle scene midway through the film. there is a segment of 2 soldiers thrusting their spears towards an enemy. thing is, the enemy vomits out blood when the tips of the spears barely touched the surface of his armor; iii) at the battle scene midway through the film, when the two opposing armies rushed towards each other, you can actually observe a few of the extras halting and waiting (for something). it's battle, doing that will get you hacked and killed instantly; iv) the actor playing Mulan fumbles with the sword grip; iv) sometimes the actor playing Mulan's sword swing looks low-energy and slow, and there are a few instances that the way she holds the sword could easily injure her wrist; etc.
- sometimes there are editing effects that can get distracting and annoying, like the flashes of light, blurring effect, etc.

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still a charmingly corny and manga-ishly sexy entertainment with a tinge of more serious tone

foremost, if you haven't watched the 11 episodes in season 1, i would recommend you watch that first before watching the 9 episodes in season 2. that way you would have a better understanding of the story development. note though, this series, whether season 1 or season 2 might not be for all kinds of audiences. it's either you like it, or you don't, or it grows on you. it's a light-hearted action comedy that deals with relationships, aspirations, (unconditional) love, ideal, fear, and growing/maturity. this series does not deal with difficult subjects too deeply, but it does leave rooms for the audience to empathize/reflect/introspect/analyze.

season 2 episode 1 continues where season 1 ends. season 2 comes with new plots and introduces two new regular characters. the first new regular character is Houjo Mikumo, a young talented investigative detective coming from 2-3 generations of detective family investigating the death of her grandfather and the secret of the L family. the second new regular character is Mikumo Anne, the daughter of the two main leads, Mikumo Hana and Sakuraba Kazuma.

season 2 is 2 episodes shorter than season 1, it has a slightly more serious tone compared to season 1. Hana is still trying to reconcile her desire not to be a thief in the earlier episodes of season 2. and later, she doesn't want her daughter to know that their family has been thieves for generations. Hana would sort of come to a reconciliation in the latter episodes of season 2.

season 1 covers more on the romance and the relationship struggles between the two main lead characters. it also covers the identity/ideal/desire of the main female lead. season 2 covers on unconditional love, and acceptance/support/maturing-relationship between the two main leads. season 2 reveals more of the hope of the previous generation that something intrinsic within the family line could be passed down to the next generation/s. the latter part of season 2 also reveals more of Enjoji Akira and his thoughts/feelings/aspiration towards the main female character.

from the ending of season 2, there is possibility of a season 3. and this series is also supposed to have a theatrical release slated on October 15, 2021. i am not sure if the film and season 3 will be released in the near future, nor do i know if Kyoko Fukada will still be cast as the main lead actor. this is because, "On 27th May 2021, she revealed about her adjustment disorder, caused due to stress related disorder. She decided to take a break from her career to focus full time on her medical treatment. (source: Wikipedia)"

one aspect that i didn't mention in my review of season 1 is on the grey in-between of what's good and what's not. this series repeatedly/consistently bring up stealing as bad and thieves as criminals. it then juxtaposed two families, one with generations of thieves and the other with generations of cops. it raises questions like, is stealing from bad/crooked people essentially something good or bad? does stealing from bad/crooked people and then using the stolen goods for personal use (for example, stealing wine or caviar and consuming them) something good or bad? if you know someone close or know someone in your family who engages in a series of criminal activity, specifically stealing from bad/crooked people, do you condone the person, the act of stealing, and the continuation of the act of stealing? would it be something good or bad if you choose to ignore that the person you know has committed a series of criminal activities? etc.

another grey in-between or blur line is this ...
in Hana's context, she doesn't want to steal, doesn't want to continue the family's trade as a thief, and doesn't condone stealing. if you observe from series 1 to series, Hana doesn't actually perform the act of stealing. but Hana often acts as an accomplice. she is also in full awareness that someone or a number of people in her family plot for a plan to steal, and engage in stealing. from the eyes of the common law in modern democratic countries, Hana is just as guilty as the rest of her family members who steal, even though Hana doesn't steal. in retrospect, Sakuraba is a police officer, an enforcer of the law. Sakuraba's parents are also in the law enforcement field. inadvertently, Sakuraba and his parents become accessory before/after the fact. so, basically from the eyes of the law, things are more or less black and white. but from social norms, moral etiquette, humane consideration and so on, things become more of a blur.

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kudos to the stunts in this Hong Kong style action comedy

an action comedy film laced with a bit of romance, and humorous dialogues and non-verbal actions. the story tells of a cop who experiences a challenging period in his life and career. this film is suitable for late teen age group to above as there are drugs, violence and murder scenes. this film feels through and through like a Hong Kong production. there are a few parody of older movies present in this film, but because the screen time on these segments are very short, some audience might miss them.

for me, there are five highlights to the film, i) the stunt choreographies; ii) the quality of stunt works perform by the stunt folks; iii) Donnie Yen performing a mix bag of comedy, drama/romance, and action; iv) Teresa Mo's performance; and, v) the stark evidence of Hong Kong style production.

it is a delight for me to watch Yen performs a comedy role, and it is even more of a delight to see Teresa Mo. the last time i watch Mo in a film/series was 15+ years ago. i didn't realize she is still active in the entertainment industry until this film and until i checked Wikipedia.

although, i feel that the quality of entertainment in different segments of the film vary, overall, it is still an entertaining piece.

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watch this if you really have nothing better to do and you are super curious

this is a humor-laced, action-adventure, fantasy. it feels a bit like xianxia genre, but it is not. it is bicultural, as it attempts to feature a mix aspects of Japanese with that of Chinese. this show and the story feel more like a loose adaptation from an online novel, and/or from an online game.

it's a low production show that, if it were released theatrically, i would cry out laughing. it is CGI-dependent, but the CGI quality leans on the mediocre. most, if not all of the casts are relatively new and/or unknown actors (or non-mainstream actors).

there are comic elements throughout the show, but tend to be lame-o-moe or corny/dumb. there are not a lot of martial arts choreography. the actions depend more on CGIs, background sound effects, wire-fu, and editing. actually, i do feel there are occasional moments when the actors' performances are enjoyable.

i feel it's kind of messed-up because the producer/director/screenwriter tries to blend folktale with pop culture, Japanese and Chinese cultures, human actors with animated characters, xianxia with wuxia with JPRG/MMORPG elements, etc.

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