Reviews

beautiful sad love story

What a beautiful love story. I have been watching tons of C dramas and can only remember a few of them. This story is definitely one that I will remember. I just wish the end wasn't so very, very sad but beautiful nevertheless. I try only to watch stories with happy endings and forgot to check this one before I started to watch. Won't be rewatching it again as there is already enough sadness in this world, but this story will stay with me for sure. Loved the actors, great job. Music/songs are also beautiful and memorable.
Thank you for this beautiful, albeit sad drama.

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Trauma over peace!

I have chosen trauma over peace. A beautiful cinematic movie it is. Music and each moment of this movie is so beautiful and hurtful also.
I saw many spoilers and I was aware it will hurt me but still chose to watch it.

I rewatch value is one beacause I can't re watch it. I already re watch in my mind again and again and the ending of this movie printed on my mind I just can't remove it. This must so many real life story due lack of recognition of same sex marriage. It hurt so much

The acting by each actor played very well that you feel it! I just wanna appreciate all the team members of the movie including the makers and staff.

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A Sublime Emotional Journey

I was incredibly excited to be able to see Tan Jianci in a movie theatre on the big screen and was not disappointed. I went with my partner who is not someone who interacts with Chinese entertainment (except through me) and he was also very impressed with the story and acting. I'm thrilled to have gotten the experience and to be able to write this review.

TJC plays Li Qi, a lawyer who just wanted to rise above his circumstances. But it's not a kind world for a hearing child with deaf parents (known as CODA) who grew up bullied and in poverty. TJC did a stunning job getting across his struggles between trying to be a good human, who remembers and honors his roots, and his exhaustion with a world that has always pushed him down and never had open doors for him. I'm especially blown away by how adept he seemed at sign language. He looked natural and gave so much emotion through his nonverbal speech.

The main role of Zhang Xiaorui (portrayed by Lan Xiya) was also immensely impressive and moving. Xiaorui is a young deaf woman with the cards stacked against her, but a strong will and an unwillingness to give up or compromise her values. Her scenes with Li Qi were heartfelt and poignant. The juxtaposition of two people from similar backgrounds who clash on their values and approach really helped move the story along in character growth and motivations. Again, the comfort in which the actress used sign language spoke volumes (even when the sound was often muted for effect!) as to the quality of the production, direction, and acting.

An incredibly important shout out also needs to be given to the deep supporting cast of deaf actors. Their stories were equally moving and believable. It is a thoughtful look into the lives of a community that is close knit, but very much disadvantaged and oppressed. I felt that the movie really did a great job highlighting the plight of a marginalized community that falls through the cracks of societal support and is easy prey for those with bad intentions.

I think my only complaint (and why I give this movie a 9.5 instead of a perfect 10) is that the villain, in trying to tell a complex story in 2 hours runtime, lacked depth compared to the rest of the story. I thought his motivations and actions were believable, but the portrayal was almost comical in the lack of nuance. The metaphorical moustache twirling from the antagonist felt contrived when the acting and story were generally so full of thoughtfulness.

The cinematography and sound design deserve a special shout out. The beautifully filmed scenes of a community mired in adversity conveyed much grit but also grim determination. In contrast, the scenes of glitz and glamour gave a sense of the fleetingness and shallowness of eschewing one's morals. The use of music, but especially the use of silence, was phenomenal. It all helped land the beats of this thoughtful story.

If it's at a theatre near you, I highly recommend you take the opportunity to see it. I will say, however, that the subtitles are not as polished as I would have liked. An important note is that the use of the word "dumb" refers to the fairly outdated use of the word to refer to people who are mute. And there was definitely at least one typo. But otherwise, I'm just overcome with joy that I was able to see it in a theatre.

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We had no other choice

Electrifying dark humor and classy satirical reflection of society's cruelest reality, the cutthroat job and career struggle, also the only means of survival in this modern humanity, all masterfully crafted into pin point accuracy of irony that is deep down at our heart. Director Park Chan Wook's signature touches at the panning and transitions are still as significant as ever, he is literally the acclaimed king of cinematography in Korean cinema. The plot is really exhilarating to follow and with character design that properly resembles the dread in this reality, the acting performances definitely injected the soul needed for this movie, it's a complete package of audio visual feast loaded in clever ridicule of how fragmented this world we are in.

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Laughing through political chaos

Isn't it fascinating when a movie ends up becoming one of your most favourites, despite having zero expectations prior watching it? That's Good News to me, for it has become one of the best movies I've watched this year.

Good News is about a hijacking story from 1970. Members of the the Red Army Faction hijacked a commercial aircraft and demanded that the flight be rerouted to Pyongyang. Japan, South Korea, and the US deploy several strategies in order to hijack a radio signal from the airplane. The main characters, "Nobody", a mysterious man and the South Korean Seo Go Myung, work for South Korea and they're trying to bring the airplane to their country.


Before I watched Good News, I didn't have a lot of expectations. I was interested to watch it after learning that Hong Kyung and Sul Kyung Gu were in it and the story seemed interesting enough. But apart from that, I went blindly into it. I didn't even watch the trailer and I overall had a very vague impression of the story. Looking back at it, I think I made the right decision.

On the surface, Good News might appear to be a typical Korean thriller based on real events. I was aware of the fact that the movie was based on a real hijacking event, therefore I expected it to be a sort of Hijack: 1981 film. But the film quickly proved me wrong in the best way possible.

I didn't foresee that instead of a serious, historical thriller I would watch a satirical political movie, with plenty of humor. The jokes were spot on and the dialogues and interactions between the characters added more layers to the absurd events. The comedy never felt forced and the jokes flew by smoothly. I genuinely did not expect to have as much fun as I did, I laughed so hard during some scenes to the point I could feel my abs burning!

What I really liked with this film is that it poked fun at everyone. No one was excluded from its sharp humor and satire, be it South or North Korea, Japan, US, communists, marxists etc. Instead of taking sides and making fun of a specific country or political ideology, Good News portrays each side in the most bizarre and laughable way. It was a very bold and daring approach but the writers pulled it off magnificently.

Comedy and history were blended together, resulting in an overall light-hearted movie. But the message never got lost in translation (figuratively and metaphorically). Through its excessive and witty humour, Good News' ultimate goal is to show the hypocrisy of politicians and make fun of their thirst for power. While the story is centered around a hijacking event, it's not the hijackers who get framed as the villains. Throughout the whole movie, we observe how agencies in South and North Korea and Japan move their pawns in order to benefit from the hijack. Politicians from both sides claim that the ultimate goal is to save the lives of the passengers. But underneath the surface, it becomes clear that their intentions are not as humanitarian as they seem.

Corruption, greed, lies, manipulation...These are only a few of the defying traits of people in power. We see how men in powerful positions try to infiltrate people's minds for their own benefit. In order to do so, they utilize three aspects, as stated by "Nobody": real events that happened, a little bit of creativity and the willingness to suspend disbelief. Once you give people something to be afraid of, things are bound to escalate rapidly. Fear, anger and mistrust are sufficient tools at the hands of politicians, especially if they want to ensure their power and influence.

Apart from the well-written script, the film had excellent cinematography and editing. There were many great transitions and the way some scenes were filled enhanced the comedic elements. I especially liked the scenes that took place in Go Myeong's imagination, they were so hilarious and I loved how they were made.

Of course a good story needs a good cast to elevate it. Good News is one of this type of movies where every actor nailed their roles. There wasn't a single moment where I thought that an actor had been a miscast, everyone did their part so well. The interactions between the characters never felt forced and all performances managed to leave a lingering impression on me, with one way or another.

I'll start with Sul Kyung Gu, whom I already knew from The Merciless, Kill Bok Soon, Mantis and Memoir of a murderer. Good News is the fourth project with the director Byun Sung Hyun and once again, Kyung Gu didn't disappoint. He was so good as the mysterious and quirky "Nobody". He carried himself with the required type of arrogance and cleverness. "Nobody" followed orders but he also set up his own rules. Despite his comedic parts, Kyung Gu's performance added more depths to his character through his body language and tone, especially after "Nobody" 's backstory became known. It was one of my most favourite Kyung Gu's roles and I always looked forward to see him.

Ryu Seung Bum was amazing as Park Sang Hyeon, the head of KCIA. He was charming, confident and meticulous. A politician who was after power and who didn't hesitate to manipulate other people, like Go Myung, in order to establish his dominance. Even though the character was unlikeable for the most part, both the writing and Seung Bum's performance made it impossible to look away when Sang Hyeon appeared on screen. It was fascinating watching him speak and act all so full of himself, as if he knew that he would eventually have his way around.

Another actor who caught my attention was Show Kasamaru as the leader of the Red Army Faction. He played the comedic parts very naturally and he was very charismatic. Despite his funny scenes, he was equally good in the more dramatic parts too, making the viewers sympathise a little with him or at least try to understand his goal.

Other remarkable performances were Kim Sung Oh's, who has started becoming one of my most favourite actors and Takayuki Yamada's. Both of them nailed their parts and they were very fun to look at. A very unexpected yet welcome surprise was Jeon Do Yeon's cameo, she ate the 10 minutes of screen time she had like a queen.

But the gem of this movie was undoubtedly Hong Kyung. I doubt that I can do justice to his performance by describing it in mere words. He was so versatile in this role. He didn't just portray Go Myung, he transformed into him. He was absolutely captivating in the funny parts but he was also excellent in the more dramatic scenes, especially during the final act. I could feel Go Myung's emotions pour out of Hong Kyung. His confusion andannoyance at "Nobody's" antics, his fear towards his superiors, his empathy towards the passengers and his desperation to save them, his ambition to be recognised. He was a very complex character who underwent a big development and to whom I became attached until the end of the film. All thanks to Hong Kyung's spectacular performance.

Good News is not just a movie that covers a hijacking event. It's a political comedy that reminds us of the hypocrisy of politicians. It's about following orders and taking matters into your own hands. Ambition over ethics. And above all, it's a reminder of all the untold heroes out there who will never get recognised for their contributions. By the end of the movie, I found myself in deep thoughts, thinking about all the "Nobodies" out there who offer their service to powerful people, only to see their names being ignored by history and letting others take the credit. How far are people willing to go in the name of duty and power? And at the end of the day, does it matter if you get recognised for your actions as long as you're helping others unconditionally? These are only some of the questions the film attempts to answer.

The only reason the film doesn't get a 10 is that during the middle part, there were some scenes that felt like fillers or that didn't kept me interested. Additionally, while the combination of humor and political commentary was done masterfully, I think that the film would have benefited even more from some more "serious" scenes, without any comedic interruptions. Nevertheless, the movie never lost its spark and until the last second, it had my undivided attention.

Good News is by far one of the best movies I've watched this year. I did not expect to enjoy it as much as I did and I certainly did not expect it to handle so many important topics regarding politics. I couldn't recommend it enough, even if you're not a fan of this genre allow yourselves to give it a try. You will not forget it.

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Pyongyang Yes or No

The description puts this movie into the genres of Action, Thriller, Mystery, and Crime, but it is actually an artistic comedy in the style of Wes Anderson. So it is quite unique for Korean cinema.

In the plot, the hijackers want to go to Pyongyang, but it seems like no one really knows what to do. Director Byun Sung-hyun took a strange historical story and turned it into an absurd and satirical comedy where all the ridiculous things you could think of find their place. This is good news if you enjoy this kind of comedy, but bad news if you expect something serious and realistic (like the “news” in the movie’s title). For me, the jokes were interesting, especially the intellectual ones, though a few gags felt cringy. Still, once or twice I did laugh out loud.

I appreciate the movie’s artistic style and the detailed production — even the insert shots or flashback scenes that last only a few seconds clearly took effort. (Were some of them maybe made by AI?)

As a religious person, I didn’t like how the movie portrayed prayer, but I admit that it fits the tone of this kind of satirical cinema, which offers viewers a bit of light-hearted escape from a boring reality. Overall, this movie is a good choice for when you have some spare time or want something different.

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You Don’t Own Me (Anymore)

Devastated by the sudden death of her husband, the wealthy Mitsuko (Noriko Tatsumu, sensual icon of the Pinku Eiga genre) discovers that her late partner has left her with a mountain of debts. Among her creditors is the powerful businessman Kito, who literally loses his head over the widow and, after raping her, reduces Mitsuko to his sexual object as a form of “compensation” ... Kito has a son, Kazuhiko, who, despite his impending marriage to the daughter of a wealthy industrialist, also falls madly in love with Mitsuko.

Among the more than 200 movies shot by director Mamoru Watanabe, a specialist in the erotic Pinku eiga genre, “Slave Widow” is one of the most popular, thanks to wider distribution that took the film beyond Japan's borders and opened it up to Western audiences.

It must be said that, although the film has not aged particularly well, it still manages to be appreciated after all these years, thanks in part to its relatively short running time of 74 minutes. In some ways, it can be considered a representative summary of this particular film genre.

The devastating social descent into the hell of the worst human aberrations spares nothing for the derelict main character, who sees her world (of middle class extraction) shatter when her status, conveyed by the work of her husband, collides with harsh reality.

Rape, sexual coercion, physical and psychological violence, with money used as a tool of psychological domination; As if she were an exaggerated version of a Puccini heroine, the unfortunate Mitsuko finds herself reduced to the role of sex slave, dominated by the will of old Kito, who, from his position as creditor to the woman's husband, has no qualms about subjugating her for his own personal pleasure in what is a compendium of perversions that would delight any fan of the most explicit sadomasochism...

The woman's suffering passivity is accentuated by the painful condition of her maid, which implicitly also induces a sapphic subtext, though one that is never really revealed. Hers is the most humanised figure among the film's characters, thanks to her naivety and purity in the face of explicit (as well as suffered) depravity. The young girl is a silent (and suffering) witness to the growing sexual desire of Mitsuko, a sex slave and object of desire (even for Kito's son), who is unconsciously unable to escape her own carnal pulsions.

In various reviews of “Slave Widow”, the film's style is rightly described as hieratic, in that, especially in the more explicit scenes, the use of static shots, slow camera movements and overly emphatic acting seem to create an almost solemn atmosphere, foreshadowing the impending tragedy, which is repeatedly “announced” by explicit omens.

However, there is too much mechanicality in the erotic moments, which are not particularly captivating, partly due to the limitations imposed by Japanese censorship at the time, with few nude scenes, which are well limited by framing and appropriate veils. On the other hand, the use of music and ambient sounds (birds chirping, etc.) is interesting, and the great sensuality of the beautiful heroine, who is perfect in her portrayal of a tragic figure, a submissive victim of her own desire, still leaves its mark.

7

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SUPERB CAST, STORY, AND HONG KYUNG'S STANDOUT PERFORMANCE

This story mixes suspense, tension, and bits of dark humor so well that keeps you engage all throughout. It was honestly so good. The setting captured the time period perfectly, the cast nailed their roles, and the comedic timing was just perfect. The operation scenes are tense but often undercut by absurd political bickering and clever dialogue that made me laugh a few times.

The cast delivered great performances across the board. The real highlight was Hong Kyung. He plays a young air force officer caught between duty and conscience, and he absolutely nails it. It's definitely his strongest performance since Innocence (2020). You can really see how much he's grown as an actor and I have always thought he had something special, and this movie confirms it.

I love how this movie combines serious political tension humor in such a natural way. It's not just funny for the sake of being funny. Even during the more intense part, it never loses its wit and humanity.

The climax is handled so well, unpredictable, fast paced. The direction, the performances, the humor, the visuals, and especially Hong Kyung's acting make it one of the stand out Korean films of the year. Overall, it's an absolutely a very good quality type of film. A must watch!

Plot 9/10
Acting and Characters 10/10
Cinematography 9.5/10
Writing 9.5/10
Pacing 9/10
OST/Score 9/10

Overall 9.5/10

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Watched it yesterday, am definitely rewatching it today.

one thing i absolutely loved about good news was they were shitting on EVERY THING. like, zero pulling back their punches. communism? you'll be made fun of. capitalism? democracy? you'll be made fun of. america? you'll be made fun of. japan? you'll be made fun of. north korea? you'll be made fun of. south korea? GUESS WHAT? you'll be made fun of. leaders? you'll be made fun of. you're religious? you'll be made fun of. you're ambitious? you'll be made fun of. you exist? yes. you'll be made fun of.

also, not to be a fan but this is such a great performance before enlistment because i’m so sure directors would remember this. man spoke three different languages, went through the entire emotional spectrum, had breakdowns, and a whole lotta sass. WHAT MORE DO YOU WANT?!

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Good News: Hijacked by Humor

I did not have any previous knowledge of the real-life 1970s hijacking, so when I learned that Good News is inspired by true events, I was expecting a heavy drama. I was pleasantly surprised to discover this was not only an action film but also a black comedy that leaned heavily on the satire.

The film definitely embraced the comedic genre, often following intense scenes with witty dialogue, physical humor and absurd scenarios when least expected. The back and forth between the two tones felt like a rollercoaster ride, providing enough laughs to break the previously built tension, but always maintaining an underlying sense of urgency, never allowing the viewers to fully let their guards down.

This film's bold use of unconventional music and sometimes "over-the-top" visual effects works perfectly with the narrative and makes Good News stand out among many others in this genre. Although the balance of dramatic and comedic scenes was masterfully calculated, the film's length was a significant drawback. Around the halfway point, the narrative began to drag, and a quicker pace would have improved the viewing experience.

Despite a runtime that could have been shorter, don't let the serious premise discourage you. It's a surprisingly entertaining watch, thanks to its masterful use of music and visual effects, and its clever way of blurring the line between suspense and comedy.

Overall: 4/5
Quality: 4/5
Enjoyability: 3.5/5

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Omniscient Reader: The Apocalypse Turned Into a Videogame

I didn’t read the webtoon, and I don’t plan to. Because cinema should be judged by coherence, not by faithfulness.

The movie starts with a strong premise: a reader trapped in his favorite novel, forced to survive in a world ruled by the story’s own logic. Sounds great, until the script turns into a nonstop video game — coins, upgrades, items, levels, power rankings. What could’ve been a philosophical apocalypse becomes a Battle Royale with a PlayStation menu.

The first test —“kill a living organism”— sums it all up: a moral dilemma turned into a survival circus. Within seconds, people go from outrage to fighting over an ant, exposing the core message: the end of the world doesn’t destroy us; it reveals who we are. Too bad the film loses that sharpness under forced moral speeches, where even as the subway collapses, there’s still time for life lessons. The script confuses urgency with sermon.

Visually, the chaos of the first act works. The subway sequence has tension and direction. But as the “scenarios” progress, Omniscient Reader turns into a blend of Jumanji and Godzilla, with monsters, portals, and anime-like sword fights straight out of Sword Art Online. What began as social commentary ends up as a cosmic arcade.

Ahn Hyo-seop struggles to carry the film. His Dokja shifts from introspective reader to generic hero without emotional bridge. Surprisingly, Jisoo is not that bad. I used to say she wasn’t an actress at all… but I was wrong. Jisoo should play cynical, morally ambiguous, or emotionally distant roles —modern femme fatales— and forget about angelic or “good girl in the apocalypse” types. That’s her real strength. I actually liked her character this time.

Critics tore her apart, mostly out of prejudice, not real analysis. They attacked her since the casting, as if being an idol automatically disqualified her from acting, without even asking if the role suited her. Ironically, many less-prepared idol actresses get praised just because of their name or fandom. With Jisoo, the scrutiny was triple: if she smiled, “she overacted”; if she stayed still, “she lacked emotion.” But here, her restraint makes sense —this character doesn’t need sweetness, it needs presence. In fact, Genie, Make a Wish might have fit Jisoo better than Suzy. Jisoo’s emotional distance feels natural; Suzy’s looks forced.

And yes, Omniscient Reader: The Prophecy ends up exactly that: a Frankenstein of Ready Player One, Sword Art Online, and every trendy shonen, but with none of their coherence or charm. Visually striking, emotionally hollow —a digital wasteland mistaking spectacle for substance.

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"Heed my warning or we're all doomed!"

South Korea brought back their 1967 kaiju in Yonggary 1998. This time Yonggary is a fossil discovered by an unscrupulous professor. His mentor tries to warn him and the government that a global disaster is at hand. Per usual, the dire warnings go unheeded until an alien spaceship arrives and reanimates Yonggary!

Professor Campbell discovers a fossilized dinosaur fifty times bigger than a T-Rex. As it is excavated crew members beginning dying horrific deaths. His assistant, Helen, quits over the cover-ups. She is approached my Professor Hughes, Campbell’s ex-mentor. Hughes tells Helen that with Yongarry being disturbed, aliens will soon arrive and bring Yonggary back to life. She is skeptical, but almost immediately his prophecies come true. The government calls them in to help find a way to defeat not only the massive kaiju but the aliens in orbit controlling him.

The first thing that has to be said is that this may have been a Korean production, but there weren’t any Korean actors in it. The cast was predominantly white. I had to stop the film and make sure I was watching the correct movie.

This film was made for 7 million USD/10 billion won and I have no idea where the money went. The CGI was laughably bad. It truly would have been better if they had guys in rubber suits stomping through town. The acting wasn’t much better and the dialogue was awful. There were lines lifted from other films such as Independence Day. I laughed all the way through it, especially every time Capt. Cue Card had trouble reading his lines! I took off a ½ point for one guy calling Godzilla a p*ssy. Seriously, we do not denigrate Big G. The military war room was hysterically funny. There were tall living room lamps for lighting and posters on the wall, even a stuffed animal displayed. One general smoked a cigar through all the hand-wringing and planning causing everyone else to have to hotbox his stinky smoke. Definitely, not a designated smoking area.

Despite the extremely low quality, Yonggary aka Reptilian had one thing going for it—there was a lot of kaiju action. It might not have been good CGI but planes, helicopters, and people in jet packs battled Yonggary and later another kaiju, Cycor, appeared to throw down as well. I laughed in all the wrong places which was its own kind of entertainment. Even for fans of kaiju flicks, this one might be a giant footprint too far. Best to watch the original from 1967 rather than this terrible effort.

17 October 2025

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