Reviews

Hot but not that interesting

Fist of all I know a lot of people really love this movie , and while I do understand that there is a lot to love. I just could not fully get in to the story, I was neither touched nor did I love any of the characters in this movie enough to truly care about... Well anything in this movie.

that said the movie does indeed offer quite a few hot scens, explosive tension and chemistry that is out of this world. Hot, Shirtless, sweaty dance if the waltz is a courtship then the Salsa is hot n erotic (or something like that) and yes they truley delivered the dance and erotic courtship...

I may have missed something in the dance, maybe we were supposed to learn to know the characters thrugh the understanding of dance but since I lack that understanding it did not touch me enough to make it worth the hype.

P.s. I watched it before I realised there was hype...

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The ‘Flood’ isn’t “Flooding”

From my opinion, the “Flood” is not just about the rising tide. In this film, the water serves as a metaphor for a vast sea of memories and emotions. It’s a literal and figurative drowning in one’s past. Kim Da-mi nailed her role very well. Hats off!

Spoiler ⬇️
The story functions like a system failure—an endless loop that restarts every time the objective isn't met. It’s fascinating to see how the narrative explores the concept of emotional induction. The experiment’s core theme, ‘a mother searching for her lost child,’ is both heartbreaking and chilling. Once the emotional goal is achieved and "Jain" is found, a new "object" is launched, showing the cold, clinical nature of the experimenters behind the scenes. Anna’s intense emotional reaction suggests a deep, genuine bond, but in a world where memories are manipulated, it’s hard to tell where the truth ends and the simulation begins.

At the end, The Great Flood is a haunting sci-fi that forces us to question what makes us human. Is it our biological heart, or is it the inescapable flood of emotions we feel for those we love?

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He was the reason

It's been a day since I finished this movie, and I am not over it, so yeah, this review is a necessity. I still have this physical ache in my chest—that specific "book hangover" feeling, but for film. There are some movies you watch to pass the time, and then there are movies like *10DANCE* that you carry around in your head for days. You can’t just watch this and forget it. The way the cameras capture the sweat, the friction, and the sheer desperation between Suzuki and Sugiki… it just stays with you.

The part that hurts the most—the part I can't stop thinking about is everything that was left unsaid. My heart literally broke for Suzuki. I spent the whole movie wishing, just worshipping the idea that Suzuki could finally understand his own impact.

I wanted Suzuki to know that when Sugiki was at his lowest, when he was ready to give up dancing entirely after the breakup with his girlfriend, it was Suzuki who saved him. Suzuki thinks he’s just a messy Latin dancer trying to keep up, but he doesn't realise that his small, raw performance was the exact moment of enlightenment for Sugiki.

Suzuki is the only reason this man kept trying. He is the only reason Sugiki didn't walk away from the floor forever. Knowing that Sugiki carries that realisation alone while they leave separately at the end. It’s a beautiful, quiet tragedy.

The ending feels like a beginning and an ending all at once. "See you in the 10-Dance final" isn't just a promise of a competition; it’s a lifeline. But god, I need more. I need the closure of them standing on that same floor, not as rivals, but as two halves of one soul.

Please, Netflix, we need a sequel. We need Suzuki to finally see himself through Sugiki’s eyes. Until then, I’ll just be here, living with this ache.

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Not for Everyone’ Is Not an Argument

When a movie defends itself with “it’s not for everyone,” it’s already in trouble.

The issue here is not ambition or complexity, but a broken narrative contract. The film promises a visceral survival experience and then abandons it midway for a conceptual twist that rewrites the rules instead of deepening them.

Confusing abstraction with depth doesn’t make a story intelligent. True depth comes from consequences, not from invalidating what the audience has already lived through.

Understanding a movie does not obligate you to praise it. And in this case, understanding the twist doesn’t improve the experience—it weakens it.

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A Soft Zombie Thriller with Emotions

My Daughter Is a Zombie is a light thriller mixed with comedy, but what truly stands out is the beautiful father–daughter relationship at its core. Beyond the zombies and chaos, the film focuses more on family emotions, making it surprisingly touching.
The movie has emotional moments that work well without becoming overly dramatic. While it doesn’t reach the intensity or scale of classics like Train to Busan or All of Us Are Dead, it doesn’t try to compete with them either.
Instead, it offers a softer take on the zombie genre—blending thriller elements, humor, and heartfelt emotions. Because of this balance, the film feels more personal and family-oriented rather than purely horror-driven.
Overall, it’s an enjoyable watch—especially if you like zombie stories with emotional depth and light comedy. I genuinely enjoyed it.
⭐ Verdict: Not a genre-defining zombie film, but a warm and entertaining one.

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This Isn't The New Parasite

I’ve watched almost all films by Park Chan-wook—Thirsty, Oldboy, Sympathy for Mr. Vengeance, and more. Compared to those, No Other Choice turned out to be a poor choice for me personally.
Many people are comparing this movie with the Oscar-winning Parasite, but honestly, I don’t understand why. The themes, impact, and emotional grip feel very different.
I was genuinely excited because of the stellar cast—Lee Byung-hun, Cha Seung-won, Park Hee-soon, and Son Ye-jin. With such powerful actors, my expectations were naturally high.
That said, I wouldn’t say the movie is bad. It just wasn’t my type of genre. The storytelling and tone didn’t connect with me the way Park Chan-wook’s darker, more intense films usually do.
In short, No Other Choice might work for some viewers, but for someone who loves Park Chan-wook’s earlier, more disturbing and emotionally charged cinema, this one felt underwhelming.
⭐ Personal verdict: Not bad, just not for me.

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Based on a very cliched premise, "Individual Circumstances" nevertheless had the potential to be an entertaining way to spend a slow evening.
A conflict based on miscomminucation, the inability to face your own insecurities, or external influences that stop one of the two main characters to act and resolve the conflict on time: This all has been done before in many, many dramas and novels. So, in order to stand out, you need to be meticulous in the writing and in the execution. The crew for this production was not.

There was much potential in the imagery -- the sterile house vs. the perfectly manicured garden, which Ha Yeonwoo crashes into, vs. the wide spaces of nature. There was good potential in the non-linear story-telling, so that we only get to know of their back story bit by bit. There was some potential in the meta-narrative where the feelings of our protagonists are mirrored in the feelings of the fictional couple.

Unfortunately, none of it was used well. It starts with the writing itself: The meta-narrative and non-linear story-telling interfered with each other and reduced the potential significance of each. Parts of the flashbacks seem at odds with each other -- at first there was something about a sweater, and later about a kiss; and both times I had the impression that this was the last time they had seen each other. Some scenes in the later part added nothing to the story (like when they broke into the museum) -- and considering that the whole runtime is just under two hours, the screen writer should have asked themselves: What story do I want to tell?

And in my opinion, the screenplay is the base for everything else -- if it already doesn't work, then the rest will struggle.
The thing is that "the rest" also doesn't work well. The cinematographer had an eye for nature shots (those were great) -- but that was it. The house, the garden and the world outside had interesting lines and light to use. None of it had any significance on screen.
Scenes were edited to be too long or ended abruptly. Microphones were seen on screen. At times, there were some audio issues. And let's not talk about the "kiss" in the "rain" at the end. (Not that I don't mind closed-mouth kisses per se, but here the camera held and held, until it felt awakward for everybody.)

Most of the time, the actors tried to save the mess, and I do think that their abilities were the only thing that made me sit through this film. But even they dropped the ball near the end -- if you are that uncomfortable kissing your (male) colleague, then you should make sure to either not act in a production that requires kissing or at least make sure that it's not as obvious in the finished product.

Overall, I have the impression that most of the crew didn't want to be there and rushed through everything just to get it done. I wonder if they are able to take pride in the product?



Was it good?
No. There was potential but none of it was used.

Did I like it?
I liked two aspects; the rest was ... meh. It was short, though.

Would I recommend it?
No.

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Fantastic Dance Movie with BL flavor

This reviews contains major SPOILERS!

Before I begin, I should preface this by saying I love dance movies! Strictly Ballroom (1992) is one of my favorite movies ever, and I’ve watched it more times than I can count. After realizing the director of 10Dance made some references to it, I talked to someone about 10Dance and Strictly Ballroom. She reminded me of Shall We Dance? (1996), the iconic Japanese movie about falling in love with ballroom dance. So I bought it and rewatched it just now. Definite references to it as well, namely the dancing solo in the open square in the snow, as well as dancing on the train platform.

Two crucial messages from Strictly Ballroom and Shall We Dance are also present in 10Dance. From Strictly Ballroom, “dance is about love. If you cannot convey love and passion through the dance, it is inadequate.” From Shall We Dance?, “remember you are not dancing alone. Ballroom is about the connection between you and your partner.” (I am paraphrasing in both cases.) Both of these messages are crucial to understanding 10Dance and the relationship between Suzuki and Sugiki.

As such, I believe this is a dance movie more than a BL. If you do not enjoy watching dance, you will probably get bored. However, this is a superb dance movie. The actors did a phenomenal job training, and they truly look like professional ballroom dancers to me. (I’m not a trained ballroom dancer but I am a trained ballet dancer—or I once was. I can tell a really talented dancer when I see one.) It is not just that they are good dancers, though. They absolutely embody their characters through their different dance styles. Suzuki is passionate, wild, full to overflowing with love and desire for others and for life. Sugiki is controlled, disciplined, superbly trained and taught to act like an artistocrat. We see these character differences through how they move. We also see these differences in non-dance scenes as well, like when Sugiki takes Suzuki out to eat. (Quite a humorous scene yet also so insightful.) The restaurant is so button down and oozing wealth. On the flip side, when Suzuki takes Sugiki to see his home and “little Cuba” in Tokyo, we see the opposite side. Rundown surroundings, but joyful drinking, free-form dancing, wild behavior, and general abandonment. (The visit to “little Cuba” is also a direct reference to Strictly Ballroom, when the FL takes the ML to her poor neighborhood to meet her Spanish family and learn the true feel of Hispanic culture and ballroom dance.)

What’s important about the interaction between these characters is what they have to offer each other. They are both aware they are using each other, but also greatly admire each other, and may even be developing feelings of love for each other. Yes, the tension between them is palpable, but it isn’t only sexual. They are both searching the other for what they are missing in themselves. Sugiki is told by his mentor that there is no “love” when he dances. He later describes to Suzuki his compulsive need to keep dancing at when he was previously at Blackpool, even when his partner was falling apart. He calls himself “the grim reaper.” At first I didn’t understand this description, but I now believe he was thinking of how he killed any feelings—feelings he and his partner were experiencing in the past, in order to keep dancing. He sees himself as devoid of feeling. When Suzuki dismisses his story (the English subtitle was that’s “lame,” which I hate, but we get the gist.) Sugiki realizes in that moment that Suzuki is the key to unlocking feelings in himself, both through passion for each other and for the dance. (Again, back to Shall We Dance?, where the main characters are both the key to unlocking each other’s love for and devotion to dance.) After Sugiki’s realization, we get the iconic Japanese BL running scene, before a passionate kiss. This mislead me into thinking this would be more of a typical romance BL. Instead of becoming lovers, however, when we next see the two kissing and heading towards more, Sugiki says no. He is afraid if he gives in to passion he will lose his self-control. That self-control has brought him this far, and he relies on it. He is not ready to let it go. This was so disappointing as a romance viewer, but satisfying for the story because it shows Sugiki’s ultimate motivation and goal: to win above all else. Suzuki, ever emotional, however, cries.

When we are finally reunited with both Suzuki and Sugiki in Blackpool after 6 months, they compete in their respective categories as if nothing has changed between them. But then the demonstration or honor dance arrives, and shockingly (ok, maybe not that shocking), Sugiki picks Suzuki as his dance partner. They then dance like we have never seen them dance before, with restraint on Suzuki’s side, abandon on Sugiki’s, joy in their faces, and a new level of overall mastery. We see what they can achieve as a couple, as partners. Then we are left with the lovely kiss and that (heartbreaking) line “until 10Dance,” leaving us drooling and wishing for more as dance fans and as romantics. But I guess we can’t have it all. Yet, I hope.

Besides this wonderful story, we have a film with two truly phenomenal actors who convey this story almost exclusively through movement and facial expressions, while making us believe they are in fact Suzuki and Sugiki. We also have a director who knows how to film dance. He gives us full-body views to show off the choreography, facial close-ups to convey the emotions, and overhead shots to enhance the beauty of the movement. The cinematography in general is beautiful, with so many atmospheric shots of the different locations and their accompanying emotional beats. The music, while largely traditional ballroom music, was also perfect.

So while I am desperate for a sequel, I cannot really find much fault with this film. It delivered two of my favorite things, dance and romance, in an exquisite package. I really hope others can see what I see here. And I hope for a sequel, of course.

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"Don't ditch when I get serious"

Two hot guys sizzling as they Waltz and do the Cha Cha Cha while staring into each other’s eye? That’s pretty much the plot of 10 Dance and yet the actors made it next to impossible to look away.

Suzuki Shinya is the Japanese Latin dance champion while Sugiki Shinya is the Ballroom dancing champion. Both are competitive and seek to be the best. While Suzuki and his partner, Aki, are loose and have fun, Sugiki rigidly controls everything, never cracking a smile. Sugiki doesn’t hesitate to berate his partner, Fusako. “The Grim Reaper” puts forth a plan to Suzuki that they teach each other their different styles and compete in the 10 Dance that requires both Ballroom and Latin dance skills. Tentative at first, Suzuki agrees and the enemies become something a little more friendly.

I have not read the manga so I can only comment on what was shown on the screen. The plot was as thin as a sheet of music. I really wish we’d gotten to know more about the two characters than one was overtly rigid and the other enjoyed food, drink, and multiple women. Thankfully, the two actors were able to elevate their characters above the script. Takeuchi Ryoma gave a wonderful performance as the passionate Suzuki. He displayed a wide array of emotions, digging deep when he found himself falling for his cold rival. He also had a habit of taking his shirt off which I wasn’t mad about. Machida Keita as Sugiki had to work hard to convey his conflicted feelings in his character’s overtly disciplined body and mind. Just a shallow note, I miss his long hair from Glass Heart. Doi Shiori made the most of her screen time bringing the loyal Aki to life. Poor Ishii Anna’s character was mostly relegated to a pretty face.

I know nothing about ballroom dancing, but enjoyed the various dance styles and the rigorous training behind them. Most importantly, for a romantic dance film, Takeuchi and Machida’s chemistry was sensual and palpable. The ending seemed to leave room open for a sequel and I will certainly buy a ticket to watch these two dance again.

19 December 2025
Trigger warning: Nudity early in the film, nekkid buttocks and suggestive breast images

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Dry eyes from unblinking.

Wow, what a movie!
I am just gonna play some music and dance, waking up the whole neighbourhood at nearly 3 am.
I am a chemist and I should tell you all that we have the reaction but not enough reagents to satisfy us. Where is my 10 fk dance they worked so hard for? Where is the first champion title ? Where is the movie we waited so much for?
I felt like I am seeing a manga with audio. And we all know how manga can be Hella confusing.
It was a slow burn without the flame, it was an enemies to lovers without the ferocity.
I want to see some deeper connection after that making out scene like a different dynamic in thier dance, or even a smile, but they immediately introduced the ex.
The beginning was strong to the first half ( that scene when he switched the dance was so captivating), the shots, the scenario, the music, then it goes down, and then it keeps going down ( STAY forever) to the disappointment of an ending leaving so many things unresolved. I really wanted to know the lady's opinion in his dance with Suzuki, and there had to be some talking between the Ballroom couple. And of course the 10 dance competition.
The actors were good. that suzuki guy was amazing together with his girl.
Machida Keita was so tense.
But it was a 10. guys, you should definitely go see it.
Not very clean though, as it could have been.

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