Reviews

Only if you can separate the problematic man from the problematic role

Doll House is one of those films that I wish I’d checked the cast list more thoroughly before watching. Baron Geisler gave a strong performance as a drug addict and alcoholic. Unfortunately, his real life is even more problematic than a burnt-out singer looking to connect with a child he’d never met.

Singer Rustin burns through each day performing with his band, hanging out at the beach with his buddies, and snorting cocaine. When a friend dies, he wanders around ending up in Rotterdam, the place where he’d left the love of his life. Turns out his ex-wife has died and his eight-year-old daughter is being raised by people who care deeply for her. He ingratiates himself and talks Uncle Bok into letting him babysit.

The film asks the viewer to take a lot of leaps over illogical ravines. Let’s see, I meet a guy dressed in leather stinking of soured booze and old cigarette smoke and since he’s from my homeland, I trust him with a child I adore. Not a chance in hell. Aside from that egregious plot setup, at least the film didn’t shy away from Rustin’s drinking and drug addiction. Yumi’s guardians were right to protect her from him once they realized who he was. Though director Mancheta laid on the father-daughter connection thick with numerous scenes of laughing in the park and rain. Which were ruined by a scene of Rustin putting Yumi in a barrel of cold water to teach her to sing.

Doll House attempted to walk the line between reality and familial fantasy, with a rough landing in reality dusted by a smidgen of hope. I wish I could separate an actor’s personal life from their role, but now the only thing I can think is that they should never have let Geisler near a child actor, much less a female one. I tried to rate it as fairly as possible, but I’m not sure I succeeded.

11 August 2026

Problematic behavior: Geisler’s had at least 4 sexual harassment/assault cases. Groping women’s breasts and performing lude acts in front of them. Two children on the television show Noah were said to have been traumatized by his behavior. That’s not including the car accidents and brawls. But by all means, give men lots of chances that women will never have. :/

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A Disappointed Manga Reader

I wasn't looking for a one to one adaption since I know sometimes that can be hard to achieve due to multiple reasons when it's a manga. As much as I really wanted to enjoy the live movie adaption and I really did try, it did not deliver. They told us they were aiming to make it "as real as possible" but still fell short. Like so, Shishitoren known for it's "bright orange and white jackets" became yellow...what happened there??? I don't mind that there was changes to the story to fit a movie's time frame limit but sadly, because of that, you're given no time to get to know the characters. Thus, I had zero attachment to any of them from start to finish.

Adding on to that, I'm just going to say it first to get it out of the way. If you're an only anime watcher, you will get spoiled. As at the time of this film, they added in something from a different story arc that only manga readers knew which hasn't even been animated yet at the time of this review. It was not needed but it was thrown in there I guess to show a connection between Bofurin's leader Umemiya to our main character Sakura which didn't translate well. That's how I knew this movie was just simply being made to ride on the popularity that Wind Breaker has garnered. The stage play musical adaption, despite it's flaws and on a strict stage limited time frame, did a better portrayal and convincing performance.

Wind Breaker, in it's manga, anime and stage play adaptions, have done a great job at portraying it's fighting scenes and has made waves in it's communities for that. Meanwhile, the live adaption failed in comparison and it was noticeable. The fighting scenes were very lack luster due to the camera angles. The zooming in and zooming out on certain fights almost gave me motion sickness due to the camera being "busy" and panning in a way to off show the actions looking "cool". By comparison, the Tokyo Revengers live action did a better job of it's fighting scenes and that's coming from me who is not a fan nor has ever read the manga but only checked out the live adaption out of curiosity.

It saddens me because I do love all of the Bofurin kids and I, too, do love all the Shishitoren members. I was hoping the live movie adaption would be able to bring out the very first story arc to life that captured manga readers and anime watchers but you get none of it here. I truly do think that instead of a movie, it would've worked as a series instead.

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Do not watch unless you want to be confuse, and waste your time.

This movie I went in with high exception, the acting part of the movie was good. 1 hour into the movie then it start to pick up. The first hour of the movie was just slop. Then the main character the dad made the dumbest decision that made no sense. After that 1 hour it pick up, then it never explain anything and it full of loophole as it never answer anything, in the show, also you would not understand anything unless you have watch other k-horror show, or have a understand of shaman. Also has random twists that does not make sense. The acting was top notch by the little girl.
A complete waste of time.

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Watch if you want a diabetic love story (the first half)

I mean... the last events on the story were kind of random ngl 😭😭. But if you want a lovely and almost diabetic love story, you can find it on the first half of the movie :').

SPOILERS BELOW!!

I just wish we could've seen more about the three main character's backstory, I was especially interested in Yohan's background. What was up with his family? What made him commit literal suicide?

Mijeon's past was also never talked about... how did she become that gloomy "cast out"?? Why did she leave the relationship in the middle of the movie?? What did she mean when she said that "she was scared of only thinking about him day and night", she "wished Gu ryeok was the type of person who couldn't do anything without her"; did she not want to create dependency on him? She didn't want to become possessive and toxic??

I also wanted to know more about Gu Ryeok's mother's suicide and WISHED for the dad's retribution; he really abandoned a family and lived a happily ever after just like that? The dad should've d*ed instead of Guryeok

Even though I think that the death of Gu Ryeok was random, I think it was a good decision to leave him dead, instead of him magically reviving and taking the traditional route of a romance movie.

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Cinema is something else

So this is certainly one of the movies of all time. I say that because the movie is unique but strange. This is a visual film that depicts several episodes in the life of a cinema, and which should be watched in a cinema, preferably while falling asleep in a comfortable armchair. And I literally fell asleep during the viewing twice, even though I was watching it over the internet on a monitor. The film has no specific plot with a setup and resolution, but only video associations on the theme of watching films.
It consists of 3 segments, or short films.

Chimpanzee (침판지) is about 3 chimpanzees and three friends who watch movies together in the cinema.
Naturally (자연스럽게) is about children whose play becomes a film.
Time of the Movie (영화의 시간) is about… I don’t really know, maybe exactly about how to fall asleep in the cinema.

This is an art film and it’s not really for the general audience, but for those who watch a lot of movies, often go to the cinema, and value film as art, it will certainly be interesting.

PS. In my 40 years of life, I’ve been to the cinema about 700 times. I most often go alone, and about 20 times I was the only viewer in the cinema hall. That’s the feeling I want to share here. Some people like watching movies in a packed cinema full of people, but for me it’s a special feeling when I have the cinema and the film all to myself.

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A movie that underlines the reality of being human

I truly enjoyed watching this film. There were laughs and tears shed. The film itself has three different stories that all intersect with each other around the concept of the loneliest creature in the world. One of my favorite parts of the film was depicting what it’s like to be a transgender person in our world. Something I noticed is how hard it was for Ango to verbally express his feelings to Kinako. The fear of being a female at birth and liking a female while presenting as a male comes with complications. In Angos suicide note it mentioned how he cannot physically and emotionally support Kinako. That part struck a cord. It’s a fear that lingers in many trans individuals minds. Very well done.

Another note, I love Hana Sugisaki. Every time I’ve seen her in a film or series I get so excited. I love her facial expressions and the way she talks.

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For once, a Korean take on school bullying that makes sense.

Second Sister is not a great artistic achievement by any means, but it gets extra points from me for its thoughtful and humane exploration of a theme Korean entertainment is perennially fixated on but so rarely gets right: school bullying.

For the first half of the movie, I thought it would hit all the obligatory story beats of a typical Korean revenge drama; a bullying victim's bereaved family member investigates her past, figures out how her evil classmates tormented her, and torments them back from the shadows, thus restoring a sense of justice and order to other powerless bullying victims who might be watching. The problem with this kind of story is that it doesn't denounce bullying, much less analyse or critique its societal causes, but merely marshals its violence against more deserving victims. The underlying message of so many recent classics of Korean TV and cinema on this topic is that it's okay for good people to do bad things to bad people (who are bad because they do bad things—and if that's too confusing for you, you should stop overthinking and just enjoy the show).

Well, Second Sister doesn't go there. It makes you think it's going to go there, but nope. Just as the protagonist, Soeun, is about to carry out her revenge, she has a moment of moral clarity and realizes that her younger sister's bully was a victim too; that her younger sister, Jieun, was a bit of a bully herself; that she should have paid more attention to Jieun's emotional needs while the latter was alive and her thirst for revenge now is a belated attempt to make up for her own shortcomings as her sister's guardian; and that Jieun was immersed in a voyeuristic culture of surveillance and judgment in which teenagers bond and gain status through participation in cyber lynchings, which makes it almost impossible to remain innocent without becoming a victim yourself. As these truth nukes hit Soeun one after another, the movie is no longer just about Jieun; it paints a picture of Korean adolescence in the 21st century, and perhaps of Korean society itself. Most impressively, it calls out the cultural preoccupation with revenge explicitly through the tech-savvy private investigator Jungyeong, who points out to Soeun that she never asked him to help her find out what actually happened to her sister because she was too busy looking for someone to blame.

Again, I love and appreciate this perspective because it is almost entirely absent from the school bullying genre. I believe it's a necessary corrective on the reactionary, even fascistic premises of mindless power fantasies like Teach You a Lesson, Weak Hero, Brave Citizen, etc. (although I enjoyed Weak Hero and Brave Citizen).

BUT... it's just too explicit, man. The movie's position, however smart and correct it may be, is spelled out so directly that the final 30 minutes feel like a lecture from one character (Jungyeong) to another (Soeun). The didactic purpose of the movie ends up taking over the world of the story, which was already feeling bland and unreal to begin with. The tight plotting and editing others have praised leave no room for scene-setting or characterization, so when Jungyeong starts explaining Soeun's own feelings to her in the climactic scene of the movie, it completely destroys any lingering impression I might have had of them as people embedded in a story I'm following and turns them into, like, podcast co-hosts or something.

Jungyeong's character is especially untethered from reality as an all-powerful and all-knowing judge-therapist-hacker moonlighting as a shady thrill-seeking private investigator who is also a rich tech company CEO. This kind of absurd character might work as the protagonist of a 400-episode webtoon about underground MMA fights (or House MD?), but not in a fast-paced 90-minute thriller that doesn't spare even a second to justify his existence. (That said, Kim Mingue and Kang Seoha do as much as they can with what they're given and I would say they even elevate the script a little, which is the mark of an above-average acting performance in my book.)

Overall, this is a mediocre movie in terms of emotional impact and artistry, but it does exactly what it sets out to do and I commend it for its strong and mature moral message.

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A sheep in a box by another name is a sheep in a cage, the box just hides it better

I actually saw this in theaters with my fiance, and we both agreed that although it was probably better than the American alternatives we could've watched, it wasn't amazing.

The story, set somewhere in the fairly near future, is focused on the Komoto family's daily lives and interactions after they adopt an AI-powered humanoid robot modeled after their son who died 2 years previously, Kakeru. They are people living normal, peaceful lives, and the story was paced very slowly to match. And that's fine, we weren't expecting action, but it practically felt that any conflicts were resolved or glossed over very quickly just to keep the peaceful vibe. But the peace and tranquility are shallow, with something very dark beneath the surface that we're not even supposed to acknowledge.

The movie was desperately missing a single scene of a time where Kakeru was alive to be able to compare how similar the robot is to the real boy. This is the kind of avoidance of uncomfortable things that plagues the entire movie, and just the fact that such a scene is missing says a lot about how the robot situation is presented. With nothing to compare it to, we end up accepting it as normal too.

We start out as the couple, who never truly moved past the death or their son, decide to adopt the AI robot. He is free, while they are usually very expensive. Suspicious. Suspicious that it seemed only people in a similar specific situation got the same deal, but it was barely mentioned at all. The father isn't as open to the idea as the mother, but he seems to have no real say in the matter and gives it a try. His reactions to the presence of the robot are entertaining and much more normal, but very quickly he too mostly adapts to his new home life. Overall, everyone in the movie is unnaturally accepting of the robot situation. There's only a tiny bit of rejection, which also fades unnaturally fast. Normally, wouldn't this situation be outrageous?

The very concept of having an AI robot copying your dead child and living with you is pretty creepy if you think about it, but in the world of the movie it's normal. (It's also, strangely, it's just about the only futuristic thing shown in the movie aside from the initial scene of drone and robot delivery systems.)
The child robot, set to 7 years old, is obviously more intelligent and efficient than the parents. The robots can identify each other, implying they can communicate somewhat remotely, and they understand they're better than humans. We can only thank their programming and the movie's commitment to peacefulness and harmony that things don't go in a much worse direction, but this rose-colored depiction of such a future seems unrealistic. Even living harmoniously, it's pretty obvious that humanity will become pointless compared to the robots. They even say themselves that they don't see much a human can do better. Sadly the situation seems almost familiar as AI is already replacing human connections and thought, while humans ignore that because it's convenient to rely on for our own ease of mind.

As far as watching a movie without thinking too far into it goes, it was entertaining to watch once, but the characters and story lacked any appeal to watch it again. Most characters except the father had very little personality, and many parts of the story were illogical. If there was any music, I didn't even notice it. (But that's not saying much since I often don't notice music) If I wanted to watch something with this sort of situation/theme I'd much sooner watch the K-drama Yonder again, or that one episode of Black Mirror.

You can tell I hate AI, so my view is probably very skewed.. But someone had to be the first review.

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they held jun jihyun hostage to make this i think

there are three important events in this movie and two of them occur through such stupidity you just gape in awe for the entirety of the movie. first off, we have this guy call the police saying he's going to launch a bioterrorist attack and he's the only one with the vaccine. fine. what do the cops do? do they send biologists to contain it? soldiers? no. they send cops. city cops, not like the korean fbi or biologically trained operatives or anything, but city cops. five cops, to be exact. sorry, what were they supposed to do? say he released anthrax or something. what is the benefit of these five being there? mind, they all die right as they enter the building, except the most insufferable one, and it actually would have been more helpful if they sent nobody. and then the second event. the scientist in the group says the zombies collectively interact and evolve, and basically what one of them sees, they all see. okay. living cop knows that the terrorist called himself the vaccine. okay. what do we know about vaccines? they contain the dead/inactive form of the virus. conclusion -> the terrorist is also infected and can communicate with the zombies. except no, let's discuss our entire plan in front of him. don't blindfold him, don't cover his ears, don't text so he doesn't hear, just yap on away. are we serious??? if anyone in this movie was smart, it would have lasted thirty minutes.

also all the characters except sejeong and jcw/ksr are so aggravating, it's a joy when they're killed. like blah blah blah the true nature of humanity comes out in a crisis and we're all secretly evil, but can you be evil in an interesting way at least. the point of a movie is even if i don't like you, i should find your story interesting/watchable and it very much was not. and the fact that everyone at some point almost died trying to save red jacket's ass, is she truly that important? if she died, would the world stop spinning? if we're being evil and selfish and leaving people for dead, maybe we should have went for her ass first.

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90% of this movie had 0 voice yet it made sense.

This is by far one of the sweetest movies I have seen in my entire life. If you like an adorable story with just 2 big green flags, I really suggest this movie. I have to admit that I did not yet watch the original story but after watching this movie I will definitely do so. I am extremely surprised by how much I liked it and actually didn't expect much. This was stunning, the shots were amazing and it didn't feel slow. I am a huge fan of Hong Kyung and I did not expect less, but I also wasn't prepared for this much. This show gave me extreme comfort. People mention it not being anything different than the other version, I cannot speak about that since I have not seen the Taiwan version like I mentioned before.

I love seeing Hong Kyung play as Yong Jun, his acting in both Weak hero and D.P was amazing (I didn't like O Beom Seok but that's about the character and not the actors himself). I think his innocent face, which he actually won a reward for, made it 10000 times beter. Also, I am not much of a kpop Stan anymore but I was extremely surprised that Kim Min Ju played in this!! I used to really like IZ*ONE so that was a surprise to me. Both Min Ju and Yoon Seo really look like siblings and I love it when they do that in dramas. I don't even look alike my brother but still. Yeo Reum seems like a really nice and sweet girl and I totally get why Yong Jun would fall for her.

I might get cancelled for this but I am extremely happy that this movie was made especially in a country where having a disability is seen as something weird. What I loved even more was their actual showcase of that. There's just a big acceptance problem and a lot of shows ignore that. This show got me thinking to learn sign language. I think it's a very useful language to be able to at least understand the basics of. What I also loved about this movie is that some actors are actually fluent in sign language and most learned it, like O Ji Yeong being fluent in it and I just can't help but feels so glad that Hong Kyung actually learned sign language for this role. Roh Yoon Seo also learned it and mentioned practising in front of a mirror. Kim Min Ju actually practised swimming lessons and sign language aswell. I am just extremely surprised about the time and effort they took in making it look as realistic as possible. I've never seen any other drama that Cho Sun Ho directed but this was amazing and I hope he gets the opportunity to make something amazing again.

Actually I guessed a scene in the movie from very early beginning. I just had this weird feeling that Yeo Reum wasn't actually deaf. The miscommunication and the random plot twist was kind of expected but I still thought it was adorable. Anyways, I really enjoyed this movie and it is currently one of my favourite movies. Definitely a big recommend and I can't believe how underrated this is.

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"Thank you for the meal"

A Dangerous Woman was a bizarre break-up film by Lee Ok Seop. Clocking in at under 30 minutes, the film hit a lot of notes, both comedic and dramatic.

Bo Kyung has been in a relationship with her boyfriend Deok Woo for four years. Sexually attracted to another senior she decides to break up with Deok Woo. Not however, until he’s carried a couch to her apartment and later a standing fan across town for her. He’s wanting to get married and she’s wanting to have sex with Soo Jang. A last sexual encounter with Deok Woo goes unexpectedly and sets Bo Kyung into a tailspin.

Girl had every right to break up with her boyfriend and he had every right to ask why. I have to say, Bo Kyung is not someone I’d ever want to have to count on in an emergency. I’m guessing the choking scene was played for laughs, but I didn’t find it particularly funny and her selfish actions were beyond the pale. Deok Woo was obviously crazy about her and his final reaction was funny. Hurt and angry he managed to get his feelings across without actually being violent. I suspect Bo Kyung will discover that Soo Jang will not be so accommodating and to quote Spock from Star Trek, “Having is not so pleasing a thing after all as wanting. It is not logical, but it is often true.”

There were funny, frustrating, and heartbreaking moments in this short film, but I'm probably the wrong generation for A Dangerous Woman. As much as I support women choosing who they want to be with, I found Bo Kyung's actions annoying and cold. Deok Woo may come to the conclusion that he dodged a bullet. Sometimes a fan can’t be fixed.

9 August 2026

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