Reviews

Start good but ends MEH. Preferred WE GIRLS from the same year.

This film was pat of my Lancia as a deaf girl in 2025 Double Feature. This actress shined in SHE AND HER GIRLS and WAR OF FAITH, and I decided to watch her in this film and WE GIRLS, where she plays a deaf girl in both films... but isn't deaf in real life.

This film is rated higher than WE GIRLS on MDL, but I prefer WE GIRLS.

This film started okay but the last act of the story fell into cliched ideas. I rolled my eyes when someone started the famed 'slow clap', where everyone else joins in. It was strange because a lot of the people applauding were all deaf. (Do deaf people make applause they cannot even hear? Whaaaa?) There was also a resolution to Lancia's story that wasn't properly set up, so when an event occurred to her, it felt tacked on and irrelevent.

Not a bad movie. I just wouldn't see it again. Try WE GIRLS from the same year and see Lancia have more to do.

Read More

Idk how to feel about this really

I started the movie with little to no expectations so I wasn't really disappointed with anything.

I didn't like any of the characters besides the captain (I always end up liking his characters so it wasn't really surprising). The fl was driving me crazy for like 70% of the movie BUT the ml was way worse I actually hated him I just couldn't bring myself to like him idk why. Like he wasn't a bad person I just couldn't like him.

It's been a while since I watched anything from han hyo joo, but it's safe to say that this one was one her most natural performances. She just fitted the character I didn't really feel like she was acting.

The movie started to get better at the second half but still disappointed me with their relationship. He was still thinking about his dead wife and we didn't really get to see him move on and accept his feelings (both his dead wife and Mi-soo). I just felt like their relationship appeared out of nowhere although we were waiting for it the whole movie.

I liked the part about her whole job situation and quitting it. I still feel like they are so different that they will end up breaking up. The ending was cute tho so I'm not really mad.

Oh and I HATED the jokes in the movie they were so not funny. I hated that every single joke was about men being perverts. Literally ruined like half of the experience of watching it for me.

The movie was a blessing to my eyes tho, everything was absolutely beautiful.

Read More

I want to re watch it!

I love this film! I really like sad ending stories, like I said before, but this got me so much. I didn’t expect that at all and, from the beginning maybe a bit that was the idea of a sad ending, but I didn’t believe much in it. The actors were fire! I don’t know them very well, but I know for sure they will have a bright future.
Also this time I was alone at home, so when my parents returned home, they were worried because they saw me crying on the sofa again!
I explained a bit the story to my mom but she didn’t understand it very well, so I want to watch it with her because I think she would like it. ( I also showed her Khemjira, she has taste, believe me)

Read More

Rule the fallen world

After a devastating earthquake the likes of which the world had never seen, we first got Concrete Utopia (2023), a film about a world in the midst of catastrophe with interesting moral questions. Then we set out to explore the collapsed world in Badland Hunters (2024) with a bit more action, and now we have Concrete Market (2025), which takes a step back and returns us to the building that provides an oasis in the middle of the apocalypse, where a plan to take over the top position is taking place.

The only problem is that the film doesn’t really consider the fact that supplies are dwindling and that a market in this form has no long-term sustainability. While watching it, I kept being bothered by the question: what is the point of seizing power over the building when the entire society has no hope or future? We saw too little of the outside world for the setting to feel convincing.

I also missed a bit more action in the film, though at least we got some tension in the mind games between the protagonists, who form fake deals with hidden motives. Still, that wasn’t enough for me because the characters’ motivations aren’t sufficiently developed (perhaps the series version offers better character portrayals), so the film felt occasionally boring.

Nevertheless, I hope for more sequels in this cinematic universe so we can see whether humanity will disappear because of the earthquake or find some kind of new beginning.

Read More

A must watch

NOTE: This review is full of spoilers, because it's me rambling about this movie since I have no one to talk about it.

I kept Forgotten on hold for a long time and I kind of regret that now. This masterpiece perfectly hits my taste. A psychological thriller which will occupy your brain and leave you questioning.

As the movie began, I was pleased by the adoration JinSeok had for his brother. From the synopsis, it was clear or can be guessed that elder brother was kidnapped and replaced by an evil lookalike. But the series of revelation had me questioning my choices back-to-back. There were lies, deception, a mental trauma coping mechanism and not to forget— A manipulative timeline. I had not saw that 20 years of leap coming.

After the revelation of truth, when JinSeok said with full confidence that he didn't kill the mother and daughter. I really believed him and doubted that SeongUk might have got the wrong person. And I was wrong. AGAIN. They showed his POV, all that misery and sufferings and still I didn't get disgusted by him. Because it wasn't his fault. All the murders that happened wasn't his fault, it happened by accident and all of that was because he wanted to save his brother, his only family left. But in all that, he created another orphan like him. No matter what, I couldn't ever bring myself to hate JinSeok. He wasn't a monster, situation made him.

Another major twist was fake YoonSeok (SeongUk) being the victim's family. An orphan. How hard it must've been for that poor soul to live in this cruel world all by himself. My heart ached for both of them equally. Both of them were victims of disturbing fate and both decided the worst possible, yet most relieving decision to end all the misery— suicide.

About HaNeul and MuYeol's acting, it was good and admirable. All their emotions of pain, betrayal, fear were on point. Especially, HaNeul's acting when he was scared or being tortured or was sitting isolated in his room. I could feel his anxiety out of the screen.

Initially I was going to rate this drama a 7.5 overall. But directors pull out that scene in end where they both met each other 20 years ago before all of this happened, which made me cry for them more and gaining a point more. So, I'll give it 8.5.

Read More

Park Chan-wook is a master

This was immaculate.

The things capitalism will put you through. Love how this film turns a mirror to its audience to decide what’s moral. Who to root for? At what act do we decide to become horrified and who gets chastised? No one wins. There is no right or wrong under this system. Just eat or get eaten. It’s a tragic reality.

The approach to these topics reminds me so much of Memories of a Murder. The tone will go from outrageously silly to petrifying within a blink.

Amazing sound design, beautiful cinematography, impeccable editing. The best stuff is coming out of Korea and has been for quite a while.

Read More

ABSOLUTE GEM OF A MOVIE

We were on a plane to Europe when my husband, who never ever watches K or C dramas, recommended this to me so of course I had to watch it immediately. Side story: He said he watched it vicariously through other people's tv screens when he flew to Asia some months ago and even without sound he thought it was funny and right up my alley. He was right. This movie is an absolute delight!

Yoona KILLED IT with her "evil" character!!! I think she deserves an acting award just for all the yelling she did in this movie lolz! It's definitely a sign that she needs to play more spicy characters in the future. Everyone who's criticized her acting chops for years should ask for forgiveness because THE GIRL HAS RANGE y'all! I'm not even like a huge fan of hers but I've always thought she gets too much criticism.

Ahn Bo Hyun is marvelous as always. He's an amazing actor whatever role he plays but this is my favorite type of role for him. The cute, puppy dog in love, innocent type in the vein of his characters in Her Private Life & Yumi's Cells.

If you haven't seen this movie, go and watch now because it's a laugh trip!

Read More

Filipino Superstition Turns Deadly in Rosario

I have to start by admitting that Rosario was never supposed to be my kind of movie. Horror is not a genre I normally seek out, especially when it involves the devil, Catholic rituals, religious imagery or anything that starts with Latin chanting. So when I was invited to the premiere night, I was honestly hesitant. I still went because I like the cast, I wanted to support them, and I wasn't about to miss the opportunity to watch a movie with friends. What I didn't expect was to spend most of the film genuinely scared.

Rosario takes a familiar supernatural-horror story and makes it feel distinctly Filipino by centering the narrative on a funeral superstition involving a rosary. The belief is that when a rosary is placed in the hands of the dead, it must be cut before burial. If it remains whole, something bad can happen to the family. After Magda, James, Beth and Ave's mother dies, that ritual isn't properly completed, and the family soon finds themselves dealing with a terrifying series of supernatural events.

What I enjoyed most about the concept is how recognisable the beliefs are. There were several moments when I found myself thinking, "Ah, so that's why," or "We have that belief in our family too." These are the kinds of superstitions many Filipinos grow up hearing from their parents and grandparents, so seeing them incorporated into the horror made the story more relatable. I also liked that the film eventually explains where the belief stands in relation to Catholic teaching and makes it clear that the superstition itself isn't actually a Roman Catholic doctrine.

The horror is surprisingly effective. The opening immediately had me uncomfortable because of the Latin chanting, which was basically the film announcing that it knew exactly which buttons to push. From there, the movie builds tension through atmosphere, sound design and dark settings, while throwing in jump scares at just the right moments. Some of them genuinely caught me off guard.

Aubrey Caraan is one of my favourite parts of the film. Beth is loving, protective and willing to do almost anything for her family, and Aubrey gives her enough warmth and determination to make her easy to root for. Her scenes with Lance Carr are also a welcome change of pace. Their chemistry brings some lighter and sweeter moments into an otherwise frightening story and gave me a much-needed chance to breathe.

Jairus Aquino was my standout performer. He brings confidence and emotional weight to James and, for me, gives the strongest performance among the cast. He has a natural screen presence that makes his character believable even when everything around him becomes increasingly chaotic.

The cast isn't entirely consistent, though. Yumi Garcia's Ave has plenty of importance to the story, but I didn't think the emotional material was handled as strongly as it could have been. Her relationships, especially with the woman who raised her, needed more depth and stronger emotional exchanges. Meg Imperial's character also feels underwritten and doesn't get enough material to make a stronger impression.

Suzette Ranillo, however, has fun with her role as the sharp-tongued and easily offended aunt whose actions unintentionally help trigger the curse. Rose Van Ginkel also leaves an impression despite having limited screen time. I just wish the film had explored Rosario's backstory further because there was clearly more story there.

Where the movie loses some momentum is in the climax. Without spoiling the ending, some of the deaths feel more like consequences of characters making questionable decisions than the curse itself. That makes the final stretch a little frustrating because the film had built up such a strong sense of dread earlier.

Still, Rosario succeeds at what it sets out to do. It may not reinvent horror, but it creates an effective supernatural thriller by combining Filipino superstition, family drama and Catholic imagery. Roni S. Benaid clearly knows how to build horror around Filipino beliefs, and Rosario feels like one of his more polished efforts.

And here's the funny part: I kept saying that I hate horror movies, yet I have already watched Rosario three times. I saw it during the premiere and later attended a block screening, so apparently being scared hasn't stopped me from going back.

Would I call Rosario perfect? No. Would I recommend it to Filipino horror fans? Absolutely. Just don't expect me to volunteer for another movie with Latin chanting anytime soon.

Read More

My Aug Recommendation movie

Watch this because recommendation challenge from 𝑨𝒓𝒄𝒍𝒆𝒊. Let’s discuss movie…

The story follows Mikio, a meticulous, hardworking corporate employee, and his wife Haruko, an easygoing but struggling manga artist.

Their ordinary routine is upended when Mikio, overwhelmed by the day-to-day pressure of his job, suffers a sudden breakdown marked by severe fatigue, insomnia, and an inability to cope with his daily work. Sensing something is deeply wrong, Haruko encourages him to seek medical help, which ultimately leads to an official diagnosis of clinical depression.

His doctor advises him to step away from work to recover. However, Mikio feels immense pressure to maintain his career and hesitates to leave, burdened by financial worries and societal expectations. Seeing that forcing himself to keep working is pushing him toward a complete collapse, Haruko steps in with a bold ultimatum: if he does not resign from his job, she will divorce him.

Haruko initially blames herself for failing to notice what Mikio was going through. As she learns more about depression, however, she begins to understand that Mikio's condition isn't simply a matter of being weak or having a bad attitude.

As Mikio's recovery proves slow and uncertain, the dynamics of their marriage quietly reverse. Driven by her decision to support her ailing husband, Haruko steps up as the primary breadwinner, shouldering financial responsibility while learning to adapt to the daily fluctuations in his mental state.

And as Haruko and Mikio have to adjust to a new life where neither of them can simply continue doing things the way they used to. Through their struggles, they become more honest with each other and discover that supporting someone doesn't mean fixing everything for them.

Rather than relying on melodrama, the movie finds its emotional strength in the small, everyday moments of caregiving and recovery. It delivers an uplifting message about the importance of rest, patience, and spousal support without ever becoming overly sentimental.

That's pretty much the story without giving anymore spoilers.

This is truly a movie that highlights the taboo topic of depression without feeling like a stereotypical "depression movie"—it manages to be honest about the struggle without being overly gloomy or heavy. Sakai Masato and Miyazaki Aoi both portray Mikio and Haruko perfectly, bringing a genuine warmth and authenticity to their roles, which really helps the story land.

That said, it was a little bit of a shame this is not really my cup of tea; the pacing is a little bit slow, and I found myself getting bored at times. And this exact reason I can't give this movie much higher score it actually deserve... Eventually it's all back to my own taste...

So, thanx to Arclei that suggest this movie, I really glad I can watch this movie in the end.

Read More

The Point Men directed by Im Soon Rye was a mixed bag. Starring Hwang Jung Min and Hyun Bin, the acting was exceptional. The film was based on the real-life story of 23 South Koreans taken hostage in Afghanistan by the Taliban in 2007. Most of the film revolved around the negotiations between the South Korean representatives and the Afghan government, the Taliban, brokers, the Americans, and even their own government. Suffice to say there were a lot of tense conversations.

Jung Jae Ho and a team of negotiators are sent to Afghanistan to secure the release of 23 kidnapped South Korean missionaries. The missionaries ignored the travel ban, took the same road where Germans had recently been abducted, and unsurprisingly were abducted as well. Jung thinks he can walk into the president’s office and demand the release of the hostages and be home by dinner. The sticking point for the government is the demand for the release of 23 Taliban prisoners. A single release caused an uproar recently and 23 would be disastrous. Jung’s superiors are often more concerned about their reputations than the hostages’ lives. NIS operative Park Dae Sik is better informed about local customs and politics but largely ignored by the white collars from Seoul. Jung finally turns to him when his own efforts fail spectacularly.

This was not an action-packed film, but rather a cerebral thriller. There was one action scene in the film and I strongly suspect it was fictional, added because Hyun Bin looked like a badass on a motorcycle and fighting mano a mano. While I could appreciate the delicate and frustrating negotiations, the struggles within the Korean delegation did become tedious after a while. The final blood and tears negotiation was worthy of the grand finale.

The script did try to be well rounded. There was not outright Islamophobia. And the South Koreans were shown in the wrong when they arrogantly dismissed local customs and hierarchy. Most characters were portrayed as real flesh and blood men regardless of their side in the conflict. (Aside from the female hostages there were no women in the film.) I did have reservations about Kang Ki Young’s interpreter in brown face. And as so many directors do, Im Soon Rye used the dreaded sepia or yellow filter to indicate a third world country. It’s really time to retire that technique. There were sections where the music was so loud I couldn’t hear the conversations, a problem when they were speaking English with no subtitles.

Watching Hwang Jung Min and Hyun Bin in anything is usually worthwhile and the strongest recommendation for this film. If you enjoy the back and forth of complicated hostage negotiations involving different countries and groups this is a film worth trying. If you are hoping for something more action packed, this is not that film.

12 August 2026

Trigger warning: Smoking

Read More

Kendi Hayatının Seyircisi: Desert of Namibia

Bu filmde Kana’yı izlerken sürekli “Bu kız ne yapıyor?” diye düşündüm ama garip bir şekilde onu tamamen yargılayamadım. 21 yaşında, epilasyon salonunda çalışan, hayatıyla ilgili hiçbir hedefi yokmuş gibi yaşayan ve ne istediğini kendisi de bilmeyen biri. Honda’yla birlikte yaşıyor ama bir yandan Hayashi’yle görüşmeye başlıyor ve sonunda Honda’yı bırakıp Hayashi’ye yöneliyor. Yani daha baştan ilişkiler konusunda ortalık karışık. Kana’nın asıl problemi bence hangi erkeği sevdiğinden çok kendisinden bile ne istediğini bilmemesi. Honda ona iyi davransa da bundan sıkılıyor; Hayashi başlangıçta daha heyecan verici geliyor ama onunla yaşamaya başladığında bu ilişki de kısa sürede kavga, öfke ve fiziksel şiddete dönüşüyor. Kana’nın bir anda parlayıp sonra hiçbir şey olmamış gibi davranması özellikle rahatsız edici. Ama film de zaten onu “haklı” göstermeye çalışmıyor.En ilginç tarafı Kana’nın bazen gerçekten dayanılmaz biri olması. Aldatıyor, karşısındakileri kırıyor, arkadaşlarının derdini doğru düzgün dinlemiyor, öfkesini kontrol edemiyor… Ama sonra yalnız kaldığı anlarda o umursamaz tavrın altında aslında ne kadar boşlukta olduğunu görüyorsun. Film bana “Kana kötü biri mi?” sorusundan çok “Kana neden hiçbir şeye bağlanamıyor?” sorusunu sordurdu. Hayashi ile kavgalarının giderek neredeyse rutinleşmesi de çok çarpıcıydı. Başta korkunç ve ciddi görünen çatışmalar zamanla o kadar tekrar ediyor ki ikisi de aynı döngünün içinde sıkışmış gibi oluyor. Yönetmen Yoko Yamanaka da bu şiddeti Kana’nın kendisini ifade edemediği yerde kullandığı bir çeşit “dil” olarak ele alıyor. Bir de filmin ortalarında ve özellikle sonlara doğru gerçekçilik iyice kırılıyor. Kana’nın koşu bandında koşarken kendi hayatını telefondan izlediği sahne mesela… Bana göre filmin bütün meselesini özetliyor: Kana kendi hayatının içinde ama aynı zamanda kendi hayatına dışarıdan bakan biri gibi. Yaşıyor ama gerçekten katılmıyor; sevgili değiştiriyor, çalışıyor, içiyor, kavga ediyor ama hiçbir şey içindeki boşluğu doldurmuyor. Filmin sonunda da klasik anlamda “Kana düzeldi, artık her şey yolunda” gibi rahatlatıcı bir dönüşüm yok. Bence zaten filmin güzelliği burada. Kana’nın hayatını çözüme ulaştırmak yerine onu hâlâ arayışta bırakıyor. Namibya çölü de benim için tam olarak Kana’nın iç dünyası: dışarıdan uçsuz bucaksız bir özgürlük gibi görünen ama içinde yönünü bulmanın inanılmaz zor olduğu bir alan. Yuumi Kawai ise filmi resmen sırtlıyor. Kana’yı sevmek zor ama izlememek de zor. Bir sahnede sinir oluyorsun, diğerinde üzülüyorsun, sonra tekrar “kızım sen ne yapıyorsun?” noktasına geliyorsun. 😭 Film bana göre romantik ilişkilerden çok 21 yaşında olup önünde bütün hayat varmış gibi görünmesine rağmen hiçbir yere ait hissedemeyen bir kadının boşluğunu anlatıyor. O yüzden de biraz yorucu, biraz sinir bozucu ama bittikten sonra insanın kafasında kalan filmlerden.

Read More