Reviews

"You never miss the water 'til the well runs dry"

Dead Pigs directed by Cathy Yan connected several stories under the backdrop of a mass die off of pigs similar to the real-life deaths and dumping of 16,000 pigs in the Huangpo river near Shanghai. This film was not nearly as dire as that, instead it was focused on capitalist expansion at the expense of traditional neighborhoods with side stories of romance and comedy. Who knew Shanghai was a place where people could break into song as the bulldozers raged?

Old Wang is a pig farmer who loses his life savings to a scam artist. To add insult to injury his pigs die. Loan sharks do not care about his predicament, they just want their money. He goes to his sister, Candy/Zhao Di, for a loan, but she refuses him. She’s fighting a development company who wants to build a large Spanish inspired apartment complex complete with a cathedral. Candy and her pigeons are the last holdouts. Wang Zhen has led his father to believe that he has been successful in business, but instead he is a waiter at a restaurant barely making ends meet. He falls for a bored, wealthy young woman who is surrounded by arrogant, social climbers. And finally, Sean Landry is the architect of the ostentatious apartment complex and charged with changing the Wangs’ minds.

The film was filled with people who believed they were not good enough. Old Wang’s life was a struggle which he managed to make worse. He envied the pigs’ life of leisure not taking into account the price they paid for it. Zhen hurt because he wasn’t able to help his father more. Xia Xia dealt with disconnection from family and friends. When she was hospitalized only a stranger visited her. Sean failed at architecture in the U.S. but had a second chance in China. Another ex-patriate gave him a side gig of playing various westerners for companies. In some ways he felt like the random white guy thrown into this film. And finally, Candy was supremely confident in herself but could not bear to leave her family’s home and neighborhood. Even though the neighbors had all been bought out she clung to her memories of what had been.

The porcine pollution highlighted how it was cheaper and more expedient to dump the pigs in the river than go through the proper government channels. Some farmers did not want to invite official attention into their businesses. It looked like they showed actual news footage of the clean up and real or fake pigs in the water. If you are sensitive to these types of images-beware.

The wealthy made life harder on the middle class and poor, able to buy whatever they wanted including their way of out trouble. Old Wang ended up with crushing debt in the desire to get rich quick. Sean tried to pitch that the new apartment complex was progress, making homes available to the people who needed them…the needy wealthy. The displaced could never hope to live in the luxury apartments. The cinematography and music along with solid acting made for an enticing film to watch. Vivian Wu gave an especially entertaining performance. My biggest complaint was that it was too long, numerous scenes were repetitive. “Important” themes don’t have to be repeated and film length doesn’t equate with quality.

I looked at this film through western eyes and likely missed much. Though gentrification and corporations buying homes are problems for all but the upper class here. Small family farms are a dying breed as multi-conglomerates gobble them up. Dead Pig’s stories were ultimately woven together, showing that greed can’t completely break the human spirit and that family and friendship mean something greater than things or property. And when you’re lucky a moment of spiritual triumph can be accompanied by song. (7.75 rounded up to an 8.0)

20 August 2026

Trigger warnings: Dead animals

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Sneaky Little Bastard, This Actually Matters

(WARNING: Potential Spoilers — I’m Not Saving You from Any Emotional Damage)

The Red Rain is definitely a little different from the main High&Low storyline, because instead of continuing directly with the S.W.O.R.D. factions and their ongoing war, it pulls us away and puts the Amamiya Brothers front and center. And honestly, I think that's a good thing. After spending so much time following all five factions, the Mighty Warriors, the Kuryu Group, and everybody else who keeps throwing themselves into the chaos, getting a story that focuses more closely on one family gives the franchise a chance to breathe a little.

The main story here is Masaki and Hiroto searching for their older brother Takeru, who disappeared a year earlier. And obviously, because this is High&Low, Takeru hasn't just been sitting somewhere drinking tea and waiting for his brothers to find him. He's been working behind the scenes, taking on one of the families connected to the Kuryu Group, which is where this seemingly separate story starts tying itself back into the larger franchise.

And that's probably the biggest thing I appreciated about this movie.

At first, it feels like we're stepping away from the main storyline, but the further the story develops, the more you realize that this actually matters. What happens here, and what Takeru has been doing behind the scenes, connects back to the larger conflict and gives us more information that will become important in taking down the Kuryu Group.

So while I rated the story itself a 9/10, that's not because I disliked it. It's more that, compared to the main High&Low storyline, this one naturally feels a little more contained. We're following the Amamiya family rather than watching all the factions collide, and that changes the overall feel of it.

But as a piece of the franchise?

I still absolutely love it.

The Amamiya Brothers have always had this larger-than-life presence hanging over the story, especially after everything we've already learned about them, Mugen, and their history, so finally getting to spend more time with them and understand more of their family story was worth the detour.

And then there are the connections back to the main storyline, which I really appreciated because it means this isn't just some completely disconnected side quest that we're expected to watch and then forget about. There are details here that matter.

Which, considering how much information High&Low throws at you, is probably a good thing because Lord knows I'm already keeping track of enough gangs.

The movie also doesn't completely abandon the rest of the franchise, which I loved. We get familiar faces popping up throughout the story, and even when they're not the focus, their appearances remind you that we're still firmly inside the same universe.

And yes, that includes the RUDE BOYS.

You already know I'm going to be happy when Smoky shows up.

The music is also once again fantastic. At this point, I don't even know why I bother mentioning it because High&Low has repeatedly proven that they know exactly what they're doing with their soundtrack. 10/10. The music is practically another character in this franchise.

And the cast?

Also a 10/10.

There is something about this franchise's casting that just works. Whether they're playing the main characters or popping up for a smaller appearance, everybody fits into this ridiculous, beautifully chaotic world.

What I especially liked about The Red Rain, though, is that underneath all the gang wars and larger franchise machinery, this is ultimately a story about three brothers who lost their parents young and built their lives around each other.

That family connection gives the movie a different emotional weight than the main storyline, and it makes the search for Takeru more personal. Masaki and Hiroto aren't just trying to track down some missing guy because they need another piece of information for the next gang war.

That's their brother.

And they want to know why he left.

So while I wouldn't rank this above the main storyline when it comes to pure High&Low chaos, I still think it was a worthwhile addition to the franchise, especially because of how much it eventually feeds back into the larger story.

Basically, The Red Rain showed up looking like a side quest and then quietly handed me plot information I actually needed.

Sneaky little bastard.

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The Madhouse Just Moved to the Big Screen

(WARNING: Potential Spoilers — I’m Not Saving You from Any Emotional Damage)

Alright, so I finished the Story of S.W.O.R.D. and now I'm onto the movies, and one thing that surprised me was how little of a detour this actually feels like.

It doesn't.

It just continues everything right along.

And honestly, I really like that.

The movie doesn't feel like I'm watching something separate from the series. It's part of the same ongoing story, with the same factions, the same characters, the same grudges, and the same general level of insanity.

The factions all have their own reasons for getting involved in the fight, but more or less, each one is threatened by the Kuryu Group in one way or another. And that threat basically forces these factions, who normally spend their time fighting each other, toward forming a temporary alliance.

Which is kind of hilarious when you think about it.

These people have spent all this time fighting over territory, pride, revenge, and whatever else has them throwing punches at each other, and now they're basically like, “Okay, but THAT guy is a problem.”

Fine.

We'll work together.

For now.

And of course, things continue exactly as hectic and chaotic as you'd expect from High&Low. There are fights everywhere, people are getting pulled into conflicts they probably didn't ask for, alliances are forming and shifting, and somehow there are still more people waiting in the wings to make everything even more complicated.

At this point, I've accepted that this is simply how this universe functions.

And I'm good with it.

The soundtrack is once again killer.

Seriously, this franchise has not missed when it comes to the music. The soundtrack helps drive the energy of the movie, especially during the action sequences, and I've reached the point where I hear certain songs and immediately know we're about to get something good.

And, obviously, I always love when the RUDE BOYS show up.

They remain my favorite faction, and I'm still here for every single second of their parkour. Give me those guys flying through the streets and I'm happy.

Then there's Oya High.

And specifically Murayama.

That man is just crazy.

But you just love him for it.

There's something about watching him throw himself into the chaos with absolutely no hesitation that makes him ridiculously entertaining. Oya High already had a strong presence in the series, but Murayama continues to be one of those characters where I'm watching and thinking, What the hell are you doing?

And then five seconds later:

Okay, that was awesome.

The biggest thing I appreciate about the movie is that it doesn't make me feel like I have to reset my brain and learn an entirely new story. I just finished Season 2, hit play, and went, “Okay, what kind of chaos are we getting today?”

Apparently, the answer was:

ALL OF IT.

And that's exactly how I wanted this movie to feel.

It feels like the natural next step after the two seasons rather than some side story that happens to use the same characters. Everything I've already watched actually matters. The factions have history. The characters have grudges. The relationships and rivalries carry forward. And now all of those pieces are being pushed into an even bigger conflict.

Which means I'm sitting here recognizing people as they walk onto the screen, remembering where they've come from, and getting increasingly excited every time another faction gets pulled into the mess.

I may have officially reached the point where I know these idiots.

And apparently that's dangerous.

This is what happens when you click on one random recommendation after finishing Weak Hero.

I've got factions memorized, I know who's fighting who, I'm recognizing characters from earlier appearances, and I'm somehow sitting here excited every time another group walks onto the screen.

At this point, I'm officially committed to this franchise.

Would I rewatch it?

Absolutely.

In the end, I finished feeling like the High&Low madhouse had simply moved from television onto the big screen.

The soundtrack is still killer, the fights are still fantastic, the RUDE BOYS are still my favorites, and Murayama continues to be completely unhinged in the most entertaining way possible.

And somehow…

it worked.

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Ain't no way that's how they write it

Gosh, what a terrible story execution. The story was so lackluster, there are no likable character, and the death was so dumb it pisses you off

They bring out such an amazing cast, they have great production value, the idea and concept is great, i don't know what makes the storyline feel so lackluster, but it just is. There are a couple of complain i have, first of all there are too many character that there are no depth whatsover to them, you could cut a couple of them, the main character se jong, she was written as this anti social person that didn't mixed well with other people, she is the main character, but like there is literally no stake for the character, her ex husband is dead by like the first 30 minutes of the movie, this movie was from the creator of train to busan so i expected something more emotionally touching, but you cannot do that if your main character is so detached, the people that she could have some kind of affection at least is dead by like the first minute of the main story and there is no way they could bond with the other survivor, everything happening around is just sort of written so that she could reach the conclusion of the story, but like it doesn't work because she doesn't feel connected to the other character, which they have a lot of them. Like she could bond with the bullied girls since they both were sort of outsider, she could bond with the sister's character, she could bond with jcw character somehow whatever, but noo, they were just become this people standing around her, waiting for the plot to happen to kill them. They were trying to give JCW character some kind of plot, but that too felt somewhat flat, i did felt bad when the sister's died, but then they makes his character go on a rampant (?), like what?, that so out of the blue.

And the at the end it feels like they were trying to force a sort of commentary about how society being so herd-minded is awful, i mean i get that but like, that's just feels so spiteful and cynical after they killed the good natured people in like the dumbest way and without even letting anything marinate so we could feel sad for them. Good and bad people could just die without so much of me even batting an eye, the main character didn't have any kind of character development and at the end it just revert back to the conclusion that she doesn't need development. It just feels like they were trying too hard to be edgy for me.

Well, they have great action sequence because they obviously have the budget, the sound design is pretty good. The movie itself is a spectacle if you didn't consider about how awful the story is, it could be a good horror movie to watch mindlessly, but other than that, it's definitely not for me

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incredible atmosphere and acting

this is truly one of those movies you want to come back to just so your eyes can enjoy the beautiful cinematography and incredible acting (i adore apo, he constantly makes me cry), it’s absolutely amazing

I also learned something new about thai culture and history thanks to this movie, which was such a lovely bonus. I really love when a movie doesn’t just tell you a story but also gives you a chance to discover and understand a little more about the culture behind it

the plot might not be perfect, and there were definitely moments I wish had been explored more deeply, but that didn’t take away from my overall experience at all. It’s such a beautiful, atmospheric, and emotional movie that leaves you wanting to come back to it again if only to admire the cinematography and the actors all over again.

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Blissful experience

I wish this film had never ended. I long to stay there forever-it's so comforting, peaceful, and blissful. I just want to cry. It is so simple. Surrounded by nature, with just a right amount of solitude and kind-hearted people, the gentle passage of seasons, and delicious, healthy food. I've lost count of how many times I've watched this beautiful piece of cinematography, and I will cherish it forever. I hope to see more films like this in the future! I know there is quite a lot of art-house and slice of life Japanese films like this (I appreciate them greatly)...but this Korean remake really hit the spot! I love both, Japanese and Korean culture but sometimes I am more keen to experience Korean way of doing things and acting so ...I wish for more films like this from them.

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It's a movie in which silence speaks louder than words. I'm especially close to the fact that they don't try to sell the idea of "time heals" here. On the contrary: the film honestly shows that the pain does not go anywhere - you just get used to carrying it like that stone on your back.

There are no convenient excuses and easy junctions in this story. There is only a confession: not all actions can be canceled. And the redemption here is not that the past disappears, but that, knowing your guilt, still try to be a little more human and, if possible, protect the other.

The final with the boy beats with this simplicity: the circle has closed, but now it has a chance for a little more compassion. It's not about "it's easier". It's about how to live on when there's a heaviness inside that you can't release.

For me, this is the real psychological truth - the one I appreciate in movies: when the motives of the characters are not chewed, but shown through actions, pauses and repeated rituals. Very honest, quiet and deep movie. Masterpiece

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Up High, Down Low...

In the age of action-fantasy-mystery-thriller-romance-comedy mash-up hysteria, it's nice to know you can still rely on some good ol, simple (minimal genre) works like High-Five. Both written and directed by Kang Hyoung-Chul (whose name romanization has so many dang versions), this high-flying greeting sure packs a punch...AND a 540-degree kick! 😂 If you're not expecting a complicated plot, this works as a fun underdog watch.

I love the story originality. Granted, computer generated superhuman fight scenes aren't new. But the fact that Writer/Director Kang threw in the need for teamwork and solidarity as the anchoring power for a band of misfit organ-transplant survivor heros to defeat the power-hungry chaebol cult leader villain seems a lot fresher than some of the garbage out there these days. I mean most people look at those with medical challenges as weak and dependent; whereas, this movie turned that perspective on its heel and showed us the strength and power everyday folks can display when not only given a superhuman organ but also working (mostly) harmoniously together.

Some things the storyline did lack was deeper connection and backstories of the original superhuman from which the main characters got their powers from and the main characters themselves. Where exactly did this power come from (an other worldly stone, an angel or demon, etc.)? Why did the guy off himself? And how did his body not disintegrate from the moment he died, rather than after the organ donation? Also, HOW was he able to off himself since he was pretty much invincible?? What was that demon thing trapping the villain when he gained more powers? None of that made sense.

Also, them portraying Park Wan-Seo as a middler schooler vs. a high schooler was a bit of a stretch; the character was too mature and confident and lacked the juvenile tendencies of a typical middle schooler. She'd also have normally been in school, right? Unless, the villains creeped only on the weekends. 😂 😂 😂 Not sure why the character was set up that way. Also, how in the world was Park Wan-Seo able to have an all-out epic brawl with villain Seo Yeong-Chun all over the warehouse and her dad not get severely injured in one of those earthquake landings??? 🤦🏻‍♀️ I guess that's just minor unimportant details to filmmakers. Lol.

Bonus thought: the reference to Exo ex(?)-member Doh Kyung-Soo in the meeting at the pub seemed counterproductive after reading other reviews about the villain who's actually a real-life member of another band (GOT7), I'm confused as to why they didn't use that (Park Jin-young's "real" identity) as a pun instead. (I also looked up to see if Lee Jae-In and Doh Kyung-Soo were together but that produced no results; plus, they're significantly different ages. So why in the heck would they include that useless info in the dialog? 🤦🏻‍♀️😂 Unless it's a secret message? Now the wheels are turning...)

Ads: At first, I was surprised to find that this production didn't seem to advertise but realized it was just super quick. During multiple replays, I caught the brands: Brionvega, Dyson, Ceragem, Blue Microphones, Canon, 13 De Marzo clothing? (department store); Supreme clothing (street catwalk with Yoo Ah-In looking so cool!); Oakley or Ray-Ban (?), Ferragamo, BVLGARI, Gucci, Ray-Ban (second catwalk). Later in the movie, there was Ediya Coffee (car chase) and Sparkle water (power plant meltdown). There's probably more but that's gotta be a record for most ads in a matter of 60 seconds! 😵‍💫😵‍💫😵‍💫 I guess that's also a superpower. 😂

Soundtrack: They showcased some awesome throwbacks to 70s, 80s, and 90s hits like Snap! "The Power" at the department store, the Corey Hart "Sunglasses at Night" at the pub restaurant, and the Rick Astley "Never Gonna Give You Up" background during the car chase scene. Loved the Sister Sledge "We Are Family" outro.

Another thing I also appreciated was that the Prime ads weren't overwhelming, just one at the beginning and two spaced out in the middle.

Overall, I really enjoyed this action-fantasy-comedy (actfancom?) that gave a simple storyline and really cool visuals. You don't have to do much thinking with this and it's an easy re-watch, if you need a something to space out on.

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Minus color, plus menace

Godzilla Minus One/Minus Color was the same film as Godzilla Minus One yet different with the lack of color. Harkening back to the original in 1954, Gojira's appearance felt even more menacing. Watching him wreak havoc on Tokyo in B & W was reminiscent of OG Godzilla and more of a documentary feel for as everyone knows, people in the 1940s lived in black and white . For this film they not only removed the color but used a masking technique to make each frame have the quality of an artistic still photograph. It took my brain a while to process it. I'm used to watching old black and white films and the look of GMO/MC was different, clearer, with more depth. At first it was jarring as even the shadows were more defined and darker. So while it didn't have the same soft black and white appearance as the original it was an interesting new take on Minus One. If you enjoyed Minus One and the 1954 original, this version is definitely one to try.

Below is my review for Godzilla Minus One from 2024:


When I saw the Toho logo my heart jumped with joy knowing Godzilla was back home where he belonged. In Godzilla Minus One he was no longer a comic character playing catch with a giant lobster or the King of the Kaiju restoring balance to the Earth. He was a destroyer and an indictment on humankind’s hubris and a reminder of the horrors of war. If Japan was at level zero after WWII, Gojira put them at minus one when he surfaced from the depths of the ocean with a terrible judgement.

Near the end of WWII, Shikishima Koichi is a kamikaze pilot who lands his plane on a small island held by the Japanese ostensibly for engine trouble. It’s not long before the mechanics realize he has run away from the fight. They don’t have long to berate him when they are attacked by a monster the locals call Gojira. When Shikishima freezes once again, he is labeled a coward by the only other survivor. Back home he is reviled by a sister for returning alive, as she blames the country’s problems on his failure. Koichi takes in a woman with an orphaned baby, unable to throw them out when Noriko makes herself at home. The war isn’t over for Koichi as he is paralyzed with regret, guilt and PTSD and unable to move on with his life. When Gojira heads for Japan, the pilot will have a second chance to redeem himself and his honor.

Godzilla Minus One succeeded in two areas. Firstly, they went back to Gojira’s mythology and his evolution from nuclear testing. Gojira was personification of the fear and memory of atomic weapons, something the people of Japan had suffered horrifically from. He was also a punishment for Japan’s militaristic era and the damage done to others and their own people. This monster claimed his territory with a fearsome rage. Capable of regenerating, modern weapons were all but useless against him. Secondly, for one of the first times since the original, there were compelling human characters with interesting stories seamlessly woven into Gojira’s appearance and threat. Too often, the humans were dead weight in Toho’s Gojira films saddled with mediocre actors and dialogue. Koichi was a complicated character and his boat buddies were developed enough to remember them. Noriko as a character was thinly but heroically drawn. Even the characters who reviled Koichi came around to being more well developed.

If there was one flaw, the horrors of the war were laid solely at the government’s feet, which categorically absolved the rank and file from atrocities committed during the war. And yes, the government had the “best ability of spinning and hiding information from the masses”. The government also, “...treated our lives too cheaply...Tanks with insufficient armor, poor supply chains-leading to starvation and disease…and fighter planes without ejection seats…as well as kamikaze and suicide attacks.” The characters emphasized living for their country and its future instead of dying for it even as they bravely faced a seemingly indestructible foe.

For a film made for 15 million dollars (USD), it looked far richer. The special effects were excellent whether it was Gojira’s atomic breath, miniatures, ships, or buildings crumbling like houses made of cards. Gojira himself, was frighteningly majestic and terrifying. Able to regenerate, he did come across as a vengeful god. This film deservedly earned an Oscar for Visual Effects. One last little production note--Sato Naoki is credited as the composer but some of the score was a reworking of Ifukube Akira's iconic Godzilla theme.

Not since the original Godzilla (1954) have I enjoyed a Big G film this much. Gojira was a merciless, destructive force, created by unnaturally splitting atoms. The people of Japan united not to fight to the death against this formidable opponent but to use all of their abilities in a battle that would ensure that they could live for their future. In the face of this harbinger of death, there were those who found redemption, love, and healing. Good job Toho! You made a film worthy of the original and a wonderful way to celebrate Gojira’s 70th anniversary.

2 June 2024

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Poignant, sad, and yet hopeful....with some really stellar storytelling and acting

A beautiful slice-of-life tale with flawed, mostly insecure, incessantly evasive and predictably coward queer men, running away from taking a chance at happiness and love ...and yet, our protagonist finds a way to get a foothold on life....finds the courage to be authentic, to breathe, to express and to be unafraid.....keeping hope alive, even when wading through all the bleakness of life's uncertainties and cruelties

The script, camerawork, colouring and editing...all of them are bang on, with not an ounce of flab anywhere...and the acting is absolutely stellar

Cho You Hyun is stunning in his act as Cheol Jun, a young, vulnerable, gay man who has deflected from North to South Korea, looking to find a foothold, a life and finding himself...as he cautiously explores the gay scene in Seoul as a quiet, introverted and sensitive misfit in the scene, he meets Yeong Jeon, superbly portrayed by Kim Hyun Mok....as they start getting to know each other as part of a gay group, they start off with misfires...the situation gets further compounded by insecurities, jealousy and self-doubts.....and when they are finally able to face the truth, the usual cowardice shows up and Yeong Jeon chooses to run instead of finding the courage to accept their truth and take a chance on their love...

Its both angering and heartbreaking, particularly because you are reminded of all the times you did the same - running away instead of taking a chance, even though you knew there was a real possibility.... simply because you never want to lose and face your own insecurities of not being enough, letting love slip through for the fear of losing it in future ....damn the cowardice!!!

Cho You Hyun, however, finds the courage to confess, to not flinch and then offer that spark of courage to others like him.....he finds a way to get admitted to a college, go back to the gay community space and gets past his inhibition to sing his heart's song...

The rawness and vulnerability of the storytelling makes it beautifully poignant... I also loved that so much of what goes on in this movie is via expressions, backdrops, and silences...which aptly underlines the unspoken, hidden and repression of a queer life at the margins

This is really stunning and one of the best for me in the recent times.....and that beautiful end-song gave me goosebumps....if there is hope, we go on.....

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