Reviews

FAILED

A good attempt that failed miserably. If you havent seen this just stay away, otherwise youd be watching "The Sandee Show".

The good:
1. Good actors - Enzo and Darwin are good as Ken and Shake, Keijiee was also convincing as Heaven, even John as Romeo. I also love Yayo's subtle strong single mother acting (more on Yayo later);
2. There is a number 2?

The bad:
1. Sandee. BIG PERIOD;
2. The crying Yayo;
3. The deaths and that ghost-seeing character;
4. The second half of the story;
5. That horrible horrible Ken hospital makeup;
6. The title. How the hell did that title connect to this series? What was so extraordinary???

The moment it was implied that one character can see ghosts and then really saw one at the theater, i knew immediately that something was off with this show, and that things will turn sour. I was hoping i was wrong but damn, they had to go there and it immediately went downhill.

Tropes and my snide remarks aside, the truth is this series had so much potential in the beginning. The first few episodes can actually be considered good - the characters, the acting, the script, and specially the non-Covid plot ( Covid-related fictional stories from the Philippines is just so overused now). Remove the girl best friend and i would gladly give this show 9 gold stars out of 10. Why the heck then do i think the show failed?

It is because of the second half- when the two gay lead characters became extras and the two female characters became the leads. The first episode promised a well produced series with its two gay characters at the center of the story, not as villains, and not as a source of comedic and idiotic relief - something we havent seen in a normal Philippine primetime tv show. What they delivered instead was a confusing mess, and an attempt to give the veteran Yayo the heavy lifting in acting. The story shifted from a love story into a preachy information campaign - "End Homophobia Now" or your child or your friend could die.

The show would also like us to believe that the love between Ken and Shake is so EXTRAORDINARY, that heaven and earth will move just to bring them together even in the afterlife- something that wasnt even established enough before their demise . What little time they got in the first half is a beginning of a love story, at best, they're not even officially a couple yet. They could have spent a couple more episodes to make us believe that what they have is real love.

Also, this series became a semi-supernatural show with a cheap attempt to copy that "Sixth Sense" twist that you can see from miles away. Then they gave extended screentime for the wailing mother, and that best friend who is actually a selfish insecure b*tch. If i was the mother and after realizing what i did, i would have beaten that pretend angel into a pulp. That character lacked remorse and would forever be etched in my mind as one of the worst characters ever.

Overall im giving it a 5.5 just because of the good first half. Should you watch it? No you shouldnt. Will i rewatch? Hell no! Oh, did i mention i hate Sandee?

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A man and his personal story of greed - leading into the repulsive quagmire of a corrupt network

In 2017, "The King" is among the top ten movies in South Korea. The story is a prototypical example for a few extremely powerful men(!) manipulating crime, business & politics within South Korean society. In an idiosyncratic style, the movie conveys an insight into an repulsive quagmire of corrupt networks that run through all social classes. It is about the particular imbalance in the realms of public prosecutors and judiciary, which in the 1990s and 2000s was still massively determined by bribery.

The protagonist tells his personal story of greed (it is always people behind a system...) This is about his climbing to the top and the correspondingly deep fall. He accompanies the events from the off while the story unfolds before the eyes of the viewer in trenchant, impressive scenes. At first, you have to get used to this particular style, but the acting, pace, rhythm and camera nimbly catch the audience by the hand and won't let go until the end.

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Lee Sang-il's "Rage" (or Anger, Ikari, whatever you wanna call it) might seem like a murder mystery to you, but it isn't really. While the film's narrative does center around a mysterious bloody murder, the ultimate message is not about finding who the murderer is but rather stories on trust and connection among its characters.

With a talented and star-studded ensemble of some of Japan's most famous names, it's no surprise that Rage shines. Ken Watanabe needs no introductions, the male leads: Go Ayano, Matsuyama Kenichi, Tsumabuki Satoshi and Moriyama Mirai who all have already made names for themselves. Aoi Miyazaki, who's been in the industry since she was four. And the up and coming, Hirose Suzu. I also want to mention the relatively unknown Takara Sakumoto who makes his debut here as an actor to watch out for.

I'll tell you why Rage is a very raw film -- it depicts Japanese rigidity. I don't say that to provide a negative interpretation but there is a lot of suppressed emotions in the society. Hence, these suppressed emotions are bottled up, be it sadness, be it anger, be it loneliness—whichever. The need for catharsis is just too high and I think Rage perfectly depicted that need and gave these characters that chance.

As I watch this film, I too, want to scream, I too want to have a tantrum, I too, want to throw things—I want to release bottled-up feelings. Lee knows how to build-up these emotions that echoes the characters' as much as he builds up the narrative. He knows how to give you the "feels" combined with Ryuichi Sakamoto's score that's just filled with too much dramatic tension, you too, would want to explode.

There are two overlaying narratives in the film, all of which were very cleverly linked not only by the murder and that the three men emerge as potential suspects but are also connected through dialogue, through visuals and through sound. The sound is really the one, to me, pushes the plot. The sounds emit the emotions, emit the passion and emit everything. Lee connects visuals from Tokyo, from Chiba and from Okinawa together with the dialogues and the sound. I think it's a very refreshing way to do so and it makes the three narrative feel balanced.

These narratives, on their own are unique but still keeps the underlying theme of trust and connection. Go and Satoshi's narrative touches on their sexuality. It is very refreshing to see an aloof, almost-silent Go that contrasts with Satoshi's fearless and enthusiastic nature. Miyazaki, Watanabe and Kenichi's narrative touches on acceptance and of family. The lonely, almost weird Kenichi forms a connection with Miyazaki, who has just been rescued by Watanabe (her father) from an abusive sex work. Suzu, Mirai and Sakumoto brings us to Okinawa, of a simpler life, of youth and of curiosity but to me is really the one that resonated with me the most.

If you really want to know who the murderer is, I'd say look at the narrative that's filled with the most rage. Look at which narrative makes you feel the angriest, the one that filled you most with rage and you will have your answer. By the second hour of the film, where it's filled with tears and screaming and throwing, you'd know. The reveal isn't what matters, it's their stories that do. Lee knows how to juggle the three narratives that three of the suspects are all likely to be the killer.

The plot does, disintegrates into a cornucopia of crying, weeping, wailing and just a lot of those (all three narratives stitched together too) so it does overwhelm and to itself, an overexcess portrayal of the characters and their narratives. But nevertheless, very very very impressive performances from the cast.

All I have to critique is probably the lack of a backbone for the killer himself. There is an ongoing question of where the rage comes from. Is it simply from surpassed emotions? Is it simply from being laughed at his pitiful state? Or is it from being pitied? We are never given a straight answer so we can only interpret.

The visuals are stunning. The opening shot of a bird's eye view of Tokyo, to the clear waters of Okinawa to the colorful houses of Chiba—it's beautiful. The visuals are great transitions and there is never the lack of varying colors to depict the scene's mood.

Finally, I just want to say that I will never look at Hirose Suzu the same again. I'm only commenting on her the most because her films are the one I've seen the most. I used to say how Suzu knows how to act, she can cry but there is blankness in it (compared to the way Fumi Nikaido tries) but seeing her, in a very very very mature role, I'm taking back what I said—Suzu deserves all the spotlight she's getting. And with such roles, it's no doubt, she can do more.

Also, Takara Sakumoto making his debut here impresses.

Ultimately, the film is about trust and connection. No, it doesn't tell you who to trust and stuff but it does tell you how it feels when someone you trusts betrays you or someone you choose not to trust just decides to leave.

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I absolutely enjoyed this series. Though my reasoning may be a bit different than most. I was a huge fan of the original series and to see such a decent recreation was a treat.

I knew most of the original story lines that the episodes were adapted from and the changes they made gave me a very unique experience to be able to actually see the similarities and differences between cultures and time periods. I'm not kidding the original versions were stories set from the 60's to 80's. With this remake most were set in the early 90's, which was pointed out many times that the 90's were twenty years ago. I think I actually cringed and sympathized with my parents now knowing how they felt while watching the original series hahaha! Especially when they used music from that time and you knew you heard it on the radio.

I thought this group of actors portrayed each character wonderfully. In fact there were actual moments, looks and quips that were executed so well that I could even visualize the original actor in that moment.

I think anyone who was a fan of the original will definitely appreciate this remake.

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Li Hong Yi is Super Hot

This is another one of those isekai time travel stories. It’s tropey and I wasn’t very impressed with the beginning of episode 1 when a girl bumps into a boy and rips his suit at his important occasion. However, as the story progresses, I was absorbed into the story by the narcissist Jiao Yang (Li Hong Yi) character who is a wealthy spoilt brat and scared of responsibilities. Though the character of Jiao Yang is cliché, his look is hilarious and eccentric.

To return to her own universe, Lin Miao (Kira Shi) must help Jiao Yang become the CEO of his father’s company. Though trying to avoid responsibilities, Jiao Yang also tries to prove himself, especially to his father who is almost tired of scolding him (Jiao Yang) in front of his staff. In contrast with Jiao Yang’s immaturity, Lin Miao is mature and capable, and very soon Jiao Yang falls in love with her and is inseparable from her.

Jiao Yang’s journey to the CEO seat is arduous, having challenges thrown at him at all times from all directions. Each time he takes up the challenge and faces it head on with Lin Miao by his side. Their moments together are filled with sweetness and silliness, and it is this sweet romance that has made this drama the highlight of my days.

There is not much of a plot here. Whatever insignificant plot there maybe has not been developed well. Plot holes are everywhere and illogical. I stuck on with this drama because of the romance which I really like. Initially Li Hong Yi’s hair style baffles me, but then I grow to like it for its wuxia appeal. Li Hong Yi has the charisma and look of a guy who is always being misunderstood by others and yet he adopts a I-don’t-give-a-damn attitude. Having said that, he’s desperate in proving himself to his father and to Lin Miao. Li Hong Yi’s performance is very convincing here.

Kira Shi has a mature look. As Lin Miao (current self), she’s perfect but as Lin Wei Jun (younger self), she’s overstretched a bit. I can’t say I like her as Lin Wei Jun (really hard to watch when she tries to act cute). The co-existence of Lin Miao and Lin Wei Jun is mind boggling and is not properly reconciled at the end. Therefore, despite being a time travel story, there are 2 people of the same person. This is a glaring intentional plot hole that doesn’t make any logical sense, and is very quickly swept under the carpet. The ending is sloppy. It feels like lazy writing to me. They just want to pack up and go home. What a pity. This could have been a very nice drama.

Overall, this drama is unexpectedly quite a fun watch despite the shoddy ending. I love the dynamics of the female and male leads which are perhaps the only thing that have kept me going.

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This is one of those stories of strong and witty women who rise to power or accomplish great things despite their handicap of being women in a highly patriarchal society (like Dae Jang Geum in a way).

Atsu-hime's evolution is believable and beautiful to watch. The story is authentic and gives you a glimpse of a closed world and how it changed after the Meiji restoration.

I highly recommend this drama to anybody who wants to see a beautiful story that is both historically accurate and understandable for the modern viewer.

The acting was stellar, believable and stirring all kinds of emotions. The music was epic, as much as the story was personal and without much of those epic scenes with wars and surreal martial arts.

I don't think I can rewatch it as a whole, but there are certain scenes that I would happily rewatch!

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Justice is blind and not heartless.

I have never had a good impression of China's opaque legal system so I was both curious and skeptical about Draw the Line. This drama is a fascinating tour of the inner workings of China's grassroots level judicial system. It shines a surprisingly candid spotlight on gaps in the Chinese judicial system from rapid economic growth, modernisation, changing social values and the proliferation of the internet and social media.

Fang Yuan is the presiding judge at the Xingcheng District Court, a local people's court of first instance which handles both civil and criminal cases. Fang Yuan's division handles civil cases while criminal matters are adjudicated by his colleague Song Yufei, a deputy chief judge of the intermediate people's court. What surprises me most is how hands on the grassroots judges are in the Chinese legal system. They do a lot of field work themselves from directing the gathering of evidence to personally interviewing plaintiffs, defendants and witnesses. The role of lawyers is so passive and marginalized it is as if they are for decorative purposes only. For civil cases, the court first seeks to resolve conflicts through court sponsored mediation. If an agreement, is reached, it becomes legally binding once it is reviewed and documented by a judge. Mediation can be a draining process, especially when dealing with less educated, unreasonable and belligerent citizens. Thus beyond legal knowledge it takes a combination of investigative and persuasive skills and a healthy dose of patience to be effective as a grassroots judge in China.

The arrival of Ye Xin, a young researcher from the Supreme Court is met with speculation and trepidation by the close knit community at the Xingcheng District Court. She is an annoying character in the beginning because she has no practical experience, and adopts a rigid by the book approach to interpreting the law. Experienced grassroots judges like Fang Yuan and his mentee Zhou Yian are more pragmatic about bridging the inevitable gaps between static legal codes and the myriad complexities of real life cases. Still it is never easy to figure out where to draw the line between the letter of the law and the spirit of the law. Beyond the heavy case load, the courts also face the challenge of social media, where cases are tried in the court of public opinion on distorted facts. Although the judges do their best to weigh the the practical, moral and humane aspects of their decisions, they don't always get it right. They have their own flaws, biases and personal or familial pressures. These dynamics set Chinese Supreme Court down the path of judicial reform, where case law is increasingly implemented instead of just statutory law.

The impeccably curated cases create a fascinating mosaic of moral, familial, commercial and social issues great and small confronting the Chinese public today. They are based on thought provoking and relevant real life cases; some of which have sparked public debate and controversy. The drama is very even handed about presenting both the plaintiff and defendant's point of view. The writers very effectively showcase resembling cases to illustrate the range of different human emotions, motives and outcomes. There are cases where two sons are driven to kill because of their mother, sexual harassment cases with different power dynamics and common reasons for the breakdown of marriages and related child custody disputes. From the mundane and petty to the serious and complex, the cases strike a riveting, sometimes heart rending chord because we have all read about or heard about or experienced something similar. At the same time, these cases deftly illustrate the many challenges faced by grassroots judges. They are the everyday heroes who navigate the grey areas of the law and morality with compassion to deliver justice that is blind and not heartless.

The cast in this drama needs no introduction and does a stellar job in drawing out the complex human aspects of the cases. Jin Dong delivers a multi-faceted Fang Yuan who is everything to everyone at work - a stern and impartial judge, a tireless and persuasive mediator, a wise mentor and a playful colleague. This leaves him with much less to give at home as a father and husband. We see a very down to earth version Cheng Yi as the introspective Zhou Yian, the young judge who must surely cut his own hair! He convincingly navigates a crisis of conviction after making some mis-steps. Both Yian and Cai Wenjing's Ye Xin are the characters who show the most growth in this drama but the characters that move me most are either defendants or plaintiffs in some of the more heart rending cases.

The best, most thought provoking case to me is the one about the roommates that is analogous to tripping a friend to escape a bear attack. Even though all the cases are interesting, there are too many of the cases in the back half that personally entangle various court personnel. This requires repeated suspension of disbelief in terms of how impartial and self sacrificing the various protagonists managed to be. It also highlights in my opinion an area that still needs judicial reform, which is how conflicts of interest are handled. It seems there is no requirement for judges to recuse themselves when their colleagues end up as defendants. The ending case is just too personal with too many coincidences and conflicts and an outcome that I find the least equitable with some defendants getting off too lightly while others are very harshly indicted. It is not the right note to end on and as a result I rate this an 8.0 instead of an 8.5. Overall a highly recommended, eye opening, thought provoking and fascinating watch with heart felt performances from some of my favourite Chinese actors.

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Despite the absence of Miike, Oguri Shun, Yamada Takayuki and the rest of the amazing crew, I never actually held previous prejudices on Crows Explode. But after viewing it, I can clearly state that it falls behind compared to its prequels.

Being a fan of Miike’s filmmaking, it was unavoidable to miss the highlighted foolish characterization, extreme violence and hilarious black humour inserted everywhere. That being said, I never expected Toyoda to do the same. After all, two different directors have entirely dissimilar way of making their pictures. Crows Explode leaned to the realistic side way too much which was a bit wrong in my opinion; don’t get the wrong idea, immersing the characters and fighting scenes in realism didn’t sound like a bad treat but when it’s over-done with this type of film then things are bound to become bothersome.

To make things clear, this film had too many similarities with its famed prequels. The fight to become Suzuran’s top leader was still used as the main thread to drive the plot. However, the fighting sequences to reach that objective were surprisingly demure and repetitive in a worrisome way. Although Toyoda tried to focus on the human emotions between his characters, he didn’t exploit his main leads’ potential to the fullest. Thus, many feelings couldn’t get pass the screen barrier to reach the watcher’s heart.

Crows Explode narrative pattern was composed of several side stories that didn’t serve any meaning at times. At the matter of fact, few of them were just used to fill the running time instead of building characters’ back stories. To some extent, most of them were heavy to watch especially with the obvious lack of fighting scenes; they became utterly irrelevant to the film’s development. Let’s not forget the near-disappearance of black humour – which I clearly don’t blame Toyoda for it. The last fighting sequence wasn’t blowing but it delivered a nice punch after all.

The entirely different cast is worrisome, isn’t it? I know that many people can’t imagine the “Crows” without Oguri Shun and Yamada Takayuki on top of them. I am a big fan of those two actors myself but shockingly, their disappearance didn’t make me feel bad. I did want them to be in here but the new faces weren’t bad at all. Led by raising stars like Higashide and Yagira, the acting department did the trick for the lack of better words. Some actors didn’t convince me much but I can’t put all the blame on them, the way their characters’ were written didn’t allow them to show a wide range of emotions or action.

The cinematography was trying to be the same as the two Crows Zero but it didn’t come out that way, I believe the yellowish atmosphere is the film’s way of distinguishing itself from the others. The musical note was the same so there's nothing to complain about in that department. The directing style and the setting of fighting sequences are debatable but Toyoda made sure to leave his mark which is more than enough to respect a director.

Watch if:
-You like both Crows Zero but make sure to watch this with an open mind.
-You like school fighting.

Do not watch if:
-You’re looking for a “copy-paste” version of Takashi Miike’s prequels.

Crows Explode had its own touch of filmmaking but the serious realistic depiction that Toyoda decided to use didn’t come out entirely right, just like it wasn’t entirely wrong. Due to its entirely different pattern, this sequel should be viewed for its own merits, comparing it to Miike’s Crows will only make it harder to watch and judge.

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If you are into thriller drama movies with a plot twist, this movie is for you. This movie is more of a sci-fi mixed with thriller type. I really loved this movie and I would definitely recommend it for anybody to watch it. It deserves more attention. Before you watch though BEWARE OF THE BLOOD & GORE.

The plot starts off very slow and realistic but has plot twists within the middle of the movie. After that happens, the plot picks up and that's what makes you more interested in what will happen next.

As for the soundtrack/OST, not the most memorable. It just was okay. The acting on another note was beautiful. I love Choi Woo Shik, Kim Dami, and Go Min Si in this movie. I really think the cast was well picked and the actors did an amazing job with the acting and portraying each of their characters.

I would rewatch this movie if I wanted to, and I am really hoping and excited if there is a PART 2 to this movie.

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Everything stands or falls with the choice of an auspicious place. Insights into Korean geomanticsm

"FengShui" is a historical KMovie that addresses the political takeover by Heungseon Daewongun and his son, King Gojong. Even more, it deals with the Korean version of geomancy - Pungsu-jiri-seol = theory about the relation between wind, water and earth - which has accompanied the country across all dynasties since at least the late 9th century. The traditional theoretical concepts, studies and observations are about which constellations in the landscape bring luck or misfortune to people. In South (and North) Korea there is hardly any building, tomb, temple, or city that was not built from the point of view of Pungsu. To this day, Pungsu is still quite popular.

Against this background, one could understand the movie "FengShui" as a nice, sometimes exciting story that comes up with a pointedly, rather apolitical, and for some even esoteric explanation about the ending of the Joseon Dynasty: At last, it was the (wrongly?) chosen location of the tomb that decided the end of the empire...

In any case, the story dramatically illustrates the importance of Pungsu to the people of (Silla, Goryeo, and) Joseon. And by the way, it gives an insight into the political situation during the last decades of Joseon. Without reference to this, however, one may be a bit surprised about the scramble for graveyards and also the struggle for power at the palace would be an interchangeable one among the many stories available on screen... No matter which glasses you choose, the cast in any case guarantees top-class performance.

Eventually, if you are interested in Korean society and history, the KMovie "FengShui" opens up an understanding of the great importance regarding the harmony (or disharmony) of human life with natural events (such as weather and seasons) as well as in relation to geographic features of the landscape (such as mountains and lakes and landscape) - as they are having a direct impact on human health as well as the fortune or misfortune of personal, family or even national fate. Everything stands or falls with the choice of an auspicious place (Myeong-dang) for one's own house, grave, market square, administrative headquarter, temple, fortification, palace, etc.

The teaching goes back to the Buddhist monk Doseon (826-898). He was a Daoist master and Zen Buddhist student who adapted the Chinese principles of feng shui to the Korean landscape and cultural environment. What is special about it is the concept "grow with nature", which in this respect focuses on an analysis of the spiritual and matter-related energies of mountains and landscapes as well as their effects on human life. (Interior furniture etc. plays a minor role in Korean pungsu.)

The KMovie "FengShui" puts a Pungsu master at the center of the story. Due to the more or less favorable choice of location, he can predict and influence how the fortunes of the people affected will develop. In this case, by using this knowledge to choose the most favorable burial site, he becomes a veritable kingmaker.

By the way:
All 42 royal tombs of the Joseon Dynasty over a period of more than 500 years are largely undamaged to this day. This is worldwide unique. All are arranged in the landscape according to the teachings of Pungsu - at most close enough to the capital for the royal family to visit the tomb within one day. (The concrete design of the complex was based on Confucian specifications.)

By the way:
The historical starting point of the story is the fact that Heungseon Daewongun, a central political figure of the last Joseon decades, moved his father's tomb on the advice of a Pungsu master. The new setting somehow promised that 2 kings would come out of his family. That was actually the case. But after that, the Joseon Dynasty came to an end.






------------------------- SIDE NOTE: --- Myeong-dang and Korean Pungsu ---
Pungsu officially goes back to the monk Doseon. But there are also sources that indicate that there was already a spiritual tradition with human-nature harmony on the peninsula, the aim of which was to efficiently balance landscape and topography, natural forces and sanshin (mountain spirits) in order to determine the fate of the purposefully influencing people.
Doseon's works have not survived. But his yin-yang geomancy was handed down in the works of later Confucian scholars. In the 12th century book "Haedong-Pirok" about the secret history of the country Doseon's theories were mentioned and even expanded. 5 centuries later, Yi Jung-hwan (1690-1752) in "Tangni-chi" analyzed the topography and landscape of the entire peninsula according to these geomantic points of view.

Central to this is the concept of Gi (forces of matter) as opposed to Li (forces of Heaven and Spirit). Mountains, and in particular the central mountain range that stretches like a spine across the peninsula, are the source of Gi. The energy flows, so to speak, from the mountains into everything that the landscape produces, into the water and into the air - all that nourishes the humman being. Gi thus becomes concrete and figuratively the source for a strong, happy people.

Another central concept is "Hyeol": a place of perfectly balanced forces of heaven (cheon-gi) and earth (ji-gi) from which people benefit the most. Such Hyeol with high, positive energy potential include, for example, Jiri-san's Cheonghak-dong valley in the south of Samshin-bong peak or the location of Buseok-sa ​​temple on Sobaek-san. "Hyeol" actually means an ´opening´. Like the 9 openings of the human body, there are also openings in the landscape through which energies can enter and escape. If you like, Hyeol could be considered acupuncture points in the mountain landscape. Knowledge and control of Hyeol thus is highly related to power. A more ancient term for Hyeol comes from the shamanistic tradition: 'Myeong-dang', the (spiritually) lightful or auspicious place. The idea behind it: Bedding the ancestors at the auspicious place can bring prosperity, power and good fortune to future generations. Bedding the kings at auspicious places accordingly brings prosperity, power and good fortune to the nation.

...The KMovie is originally named "Myeong-dang"...
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Family Matters on the Farm

This has been on my reserve list since it was first announced and I was looking forward to this concept as a costume drama on a farm was new to me. Joseph always pulls off solid acting. I know the video game concept was put in due to censorship and I have no complaints regarding it. All of that said, the English title didn't fit it at all and it should have just been called Family Matters on the Farm.

Pros: The entire concept was interesting. Had everyone guessing how many of the characters were none NPC. The theories and ideas were great to discuss with other viewers. ML did the best and was my favorite character though everyone did a great job at playing whichever character even the ones we didn't like so much like the toxic family. Our FL was very business oriented but though she spoke her mind, she had a kind heart which I think sometimes was too kind. Everyone that harmed her or her NPC parents and brother did get their comeuppance in more ways than one. Everyone you wanted to hit, absolutely received theirs villains included. The last episode and the hard earned forgiveness of many was actually necessary before the FL could return to her real world.

I liked how they mixed the farming life and the martial arts of SN and 13. There was a nice balance. I know a lot of people weren't pleased with the ending but I think it was a happy ending in both worlds though very subtle. Not every show requires a wedding and babies. They loved each other and even though the extra episode was only like a minute long and didn't show SY aka SN's face, it was obvious from LMN's face and tears that those two would be together in the real world too. I actually got a bit emotional in that last episode with the forgiveness and LMN saying goodbye to everyone. What I'm not sure others noticed was that she somehow exited the VR world without actually putting that last tael of money into the box, it was left on the table and she was still in fact a bit short. So my reasoning is that ML went to meet her and also exited them both out of the game after sitting and chatting about being together forever, then he went to meet her irl to give her the woven horse and reinforce the promise he made in the game.

I love Joseph's OST the most; I don't know why they had someone else also sing it later. His voice was soothing and really brought the song to life. But I have no qualms on costumes, scenery, save for one of FL's hairstyles which was thankfully short lived. You didn't need a large budget here.

Cons: Not very many here; but I do wish that they returned ML to FL sooner at the end and before the last few moments before she exited the game. And I wish that 1 minute special episode had Joseph's face and was part of the last actual episode because as someone mentioned, it did seem like an afterthought. I also wish that FL sounded more mature and less whiny in her conversations; I think that the actress has more or less typecasted herself into these kinds of roles. Would be nice for her to try something where she doesn't always appear brainy and pouty. I'm really nitpicking here because this drama didn't have many cons. Also do wish since they chose to use it, explain more about the game aspect itself; like how long are actual time lapses as opposed to the real world and so forth as well as close out what happened to FL's stingy, uncaring parents irl. That part was left hanging.

Would I recommend it? Yes I would. Just forget the title as romance is nowhere near the primary theme though it does occur and there is great chemistry between the leads. If you're looking for a different costume drama, give it a whirl.

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Without a doubt one of the best Kdramas I have ever watched (I'm at over 300 now). The story was edge of the seat, heart pounding and addictive. Kim Kang Woo gave the performance of a lifetime in this. By anyone's standards he was stunningly good (or evil). Some Kdramas you get so sick of the over dramatization of the bad guy you want to fast forward through their scenes, but he was riveting. It was a painful agony to watch him. And, while he was the star of the show for me, the sight of Park Young Ha, every moment he was on the screen, was an utter heartbreak for me. Knowing that this dear sweet man would commit suicide barely 6 months later had me in tears throughout most of the show. Such a brilliant and well loved person, how could he not know how much he was loved and how much he is still missed to this day. His memory, his dramas, but most of all his beautiful voice and songs will forever be a testament to the tremendous talent of this young man who was lost too soon.

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I don't even know if I can say this is a review... but anyways.

Story:
It is a slow and sad drama but very powerful and haves a great story if you are willing to watch it.

We all know from other dramas and stories we read on the net about how hard is the education system in Korea and the contest between students to take higher places but this is not from the kids view here the point of view is from the parents perspective.

As the drama moves on you will notice that they main subjects are:

- The high expectation a family haves on their kids and their education and how it affects the family itself and even the neighborhood. Not your regular school drama this is just about the parents way of seen education and what they are capable to do to get what they want from it. (risks & consequences)

- The behavior, sacrifices and attitude society expect from you as a mother, wife, housewife and a woman in a family or neighborhood.

Many other themes are discussed on the drama too: infidelity runs along the WHOLE drama, money, greed, addiction to gambling, humiliation, depression, suicide, bullying, sexual harassment, power, in-laws, values, moral and secrets (LOTS OF THEM).

Acting/Cast:
The acting is spot on. The housewife is played by Kim Hee Ae and I couldn't believe she is the same person that play the extremely powerful Machiavellic leading lady on Midas.Here she is the opposite. She doubts and fears everything. She is an amazing actress got me believing her story it was the real thing the whole drama. Gyeol (housewife son ) was played by Im Je No and he was brilliant. A kid becoming forcefully an adult while keeping his innocence that is what I saw. The rest of the cast... all great actors... I ended having strong feelings for them. (don't want to give you spoilers)

Music:
The music it was mellow kind of indie music. I didn't pay too much attention cause I just wanted the drama to keep on and get resolved. I was really into the story and outcome. Got carried away.

Rewatch:
No. I don't think so. I ended all upset on some episodes... but it gets better. The bad. then good. Still once is enough. Just watch it at least once.

Overall:
I liked it and glad that I watched it. It helped me see/understand more the education issue in Korea and how it affects the values and believes of society. I saw infidelity different layers, acceptance and point of views or aspects in Korea. At some point the issues left me feeling confused to the point of been kind of disturbing. It help me appreciate the freedom I had when I was a student and the freedom I've as a woman.

The last episodes where so good that I didn't even noticed when I got to the last one. And was like OMG this is the end so fast? If you watch it you will understand. It might sound all sad but it haves it's really "funny" good parts. It is NOT a cheesy, action, kisses or tears drama. There is a love story but is not your typical romance. This drama is FULL of real life issues. It is a drama to think and study our humanity and meditate on how we value the people around us and life.

Hope this helps.

Leggi di Più

A mix of slice of life, romance, mystery and some political intrigue

I finished "Are You the One" more than two months ago, so it's still somewhat fresh in my mind. Thankfully, I wrote down my comments and episode recaps, so I have references to refresh my memory as I write this.

This drama tells how fate and circumstances brought two strong, determined and principled characters from opposing sides together, and how they worked through their problems and challenges, and emerged with a better understanding of each other.

The story has two major arcs. The first arc is when Liu Mian Tang had amnesia and there were many unknowns, and the second one is when she fully recovered her memory and the ensuing events that happened. What I like about the first part, among other things, are the mystery, the unknown details, and anticipating when the truth will be found out. The comedy also helps. I like Cui Xing Zhou and Liu Mian Tang's getting-to-know each other phase, the slice of life moments and how they are reviving their porcelain business. For me, this part is best watched without knowing major spoilers. I accidentally read one, which dampened some of my excitement, but at least, I was a few episodes away and was near to guessing it.

Episodes 20 to 23 contain some of the major turning points in the story. I think the transitions are well done. The second part's focus is on their growth and reconciliation, as well as the palace intrigue. It's more serious compared to the first arc, but still has sprinklings of humor. The politics is not heavy here, so don't expect heart-pounding scenes. One thing I wish they had shown (instead of just mentioning it) would be some scenes or flashbacks of CXZ and LMT as forces on opposing sides, fighting for their beliefs. Not sure in what part of the drama they could insert these, but just a thought anyway. The drama's ending wrapped things up nicely, although I have a question or two, but it's not a big deal.

Now on to the main cast. Zhang Wan Yi did a good job portraying Cui Xing Zhou. He was able to show the serious, in-love, torn, heart-broken, and funny sides of CXZ. And I like his voice!  Wang Chu Ran gave a convincing portrayal as Liu Mian Tang, especially in the first arc, where she showed innocence, savviness, trust and vulnerability. Plus, I find her pretty and elegant. In addition, Zhang Wan Yi and Wang Chu Ran have great chemistry. The interactions between CXZ and LMT come out naturally and are believable.

As for Chang Hua Sen, I first saw him as Li Tong Guang in "A Journey to Love", and his performance left a good impression on me. Here, his character, Zi Yu, is multi-layered, with mysteries that were eventually revealed. His portrayal is good, though I think Zi Yu's character could have been developed further. Shi Xue Ji, played by Yuan Yu Xuan, is a very likeable character. She's the dark horse in the family, someone you would root for and would want to succeed. Her growth is played out well.

Zhang Chi as Marquis Zhennan is the proverbial best friend, who's supportive and also comical at times. Liu Ling Zi as He Zhen is average for me. I've seen her play a similar character - strong, smart, but initially not appreciated by those around her.

The soundtrack is nice. The songs are well chosen and suit the drama.

Final Verdict: The romance and slice of life aspects are good, and despite some touching moments, politics, and fight scenes, it's generally a fun, entertaining and light watch. So if these are what you're looking for, then go watch this drama.

Leggi di Più

This show basically follows typical Western episodic standards, rather than having an overarching plot. Thus it differs quite a bit from the normal Asian drama. In a crime show I enjoy this since each murder investigation has it's own story. I found the investigative part of this drama among the most realistic of the Asian forensic/police dramas that I've seen, as well. Not surprising since the story comes from the memoirs of an actual Chinese forensic investigator. The main actor does a fine job portraying Dr. Qin. The other two main characters do an adequate job, nothing spectacular but not annoying either.
All in all, if you are a fan of CSI type crime shows, this one is likely to engage your interest. The various crimes solved actually occurred, which makes them more interesting than so many of the fictional, contrived murders littering the drama landscape.

Leggi di Più