Reviews

Subtle parody of 'Samurai' films

Sanjuro is considered a sequel to 'Yojimbo', but their storylines are independent. The titular character Sanjuro, we presume, is the same in both. This is a great film, but it is strongly recommended to watch Yojimbo first. The experience of watching Sanjuro is also enhanced if one has watched many of the more 'serious' classic samurai films including ones by Akira Kurosawa. Sanjuro, both the character and film, take us on a comedic journey of the world of lord, lady, gentleman warrior, and an outcast savant warrior.

Compared to Yojimbo, Sanjuro's plot is less developed and achieved more quickly in pace and runtime. The main feast of the film is in the characters, mainly Sanjuro and the contrasting group of 9 men he, by serendipity, 'mentors' from the path of foolish death. To win in a socially ordered world of the samurai, one must think obliquely, act unruly even, to accomplish one's aims. The chamberlain, Mutsuta, the one with a long horse face, is another one of these people on the fringe of social acceptance, but is very clever in achieving aims through subtle strategy, and not the chivalrous wave a sword around methods. It seems Kurosawa is poking fun at socially ordered rules and brotherhoods.

Many of the role characters are terrific. The prisoner 'spy' adds much to the comedic presence of the main ensemble. The chamberlain's wife is full of witty dialogue and regard for this 'interesting' Sanjuro. The henchmen play their roles quite well. The plot exists, it seems, for Kurosawa to display the nuances and parodies of these familiar character types.

The music in the film is strong and includes some of the familiar music of Yojimbo. There is a heroic fanfare that is clearly a theme of parody/comedy. It's easily recognized.

This film is a treat for the veteran Kurosawa and/or classic Japanese cinema viewers.

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Series fans should watch for the ending

For those that enjoyed the original series, this is going to bring back memories but the movie also serves something brand new.

The Downsides:
1. The movie expects that you understand the relationship between the characters from watching the series and some of the scenes will only make sense if you have already watched the series.
2. Everything is condensed and a bit complex. The series gave you enough time to understand what was happening in a very detailed way. This is where the movie lacks. But when you do understand, it's enjoyable!
3. Mo Jun Jie doesn't have much of a role.

The Upsides:
1. Because it's explores new timelines, it won't feel like a summation of the series but builds upon the original concepts and is exciting.
2. The movie ending is what most fans needed to see with the original series. And it genuinely made me smile. It makes up for what the series lacked.

Although on it's own, it will feel incomplete and disconnected but after the series, it will be a trip down memory lane.

Some new songs were added to the original tracks but tbh, nothing beats the original.

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"Unrequited Love Takes Center Stage in Heartbreaking Romance 'My Love'"

"My Love" is a poignant and moving film that tells the story of a 15-year love affair between two individuals, Zhou Xiao Qi and You Yong Ci. The movie explores the themes of unrequited love, long-distance relationships, and the painful realities of growing apart. The plot is deeply relatable, as it reflects the experiences of many who have had to grapple with the complexities of love and heartbreak.

One of the most impressive aspects of the film is the stellar performances of the two lead actors. Zhang Rounan is particularly noteworthy in her portrayal of You Yong Ci, as she captures the character's delicate vulnerability and deep emotional complexity. The male lead, though less familiar, delivers a strong and authentic performance that perfectly complements Rounan's acting.

The film's soundtrack is another standout feature. Li Rong Hao's "No Regrets" is a beautifully composed piece that captures the bittersweet essence of the film's narrative. The other songs featured in the movie are equally impressive and add a layer of emotional depth to the story.

As someone who doesn't often rewatch films, "My Love" is a rare exception. The film's nuanced portrayal of love and heartache resonated deeply with me, and I would gladly watch it again. Overall, "My Love" is a well-crafted movie that is both heartbreaking and deeply rewarding.

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Marry your daughter quickly, time may run out!

An Autumn Afternoon (1962) was Ozu's final film. It can be watched as a stand-alone or first Ozu film, but it will be more enjoyable to have seen many of Ozu's predecessor films.

Ozu made so many films with seasonal themes he had to subdivide films not only by season but by time of day. Had he lived longer, we may have had an Autumn evening, an Autumn morning, etc. (I'm being playful). Yet again, we have variations on a theme by Ozu. If you've seen Ozu films and are turned off by the covering of similar plots, characters, character names, please reconsider. Amidst the similarities, there is still more ground for us to cover. Even the topic of arranged marriage, despite being presented in at least ten Ozu films, has something new for us to consider each film. We might feel rather certain that we're completely against such an antiquated practice only to wonder if it might end up being okay, for some folks, or in general. Perhaps it wouldn't suit us, we think, but then we live in a world where many marriages by choice don't work out.

There is nothing particularly new or novel with this film's plot. The increasing westernization of Japan is apparent in this film. Global products like Canada Dry can be seen. Japanese customers appear to have difficulty focusing on their meals at restaurants while taking in the local baseball game by television. Golf clubs are no longer a niche item; they now have a mature used-sale market. Refrigerators are upgraded so often that neighbors warn fellow neighbors 'Don't be in such a rush to buy a fridge; a better one will soon be on its way'.

The characters are familiar for those having experienced other Ozu films. Yet, the characters are quite enjoyable here. Chishu Ryu plays what I consider to be one of his more complex characters. He's yet again a father, widowed, and trying to set his daughter up with a marriage, but the variation here as well as subtle differences in his character are fully distinct enough to generate both new reflection and enjoyment. It's as if we've had chocolate chip cookies, then Ozu splashes in a hint of mango with the new variation. They're still chocolate cookies, but we consider what we're eating with newfound perception. Chishu is still SO familiar to his other roles that we feel his character is rather an extension or an accumulation of all prior 'fatherly' roles, but again, there's something new here in the character and acting to digest. He certainly enjoyed drinking in this film!

Okada Mariko and Sada Keiji play their roles in their 2nd consecutive Ozu film (the prior one being End of Summer) rather well. The support characters in An Autumn Afternoon are not as well-developed or convincing compared to End of Summer, but there are a few standouts. Shima Iwashita plays a background role in Late Autumn, but her entry into a starring role in an ozu film gifts us with a srong performance. She carries on the Ozu 'Noriko' spirit quite well as the daughter who won't say what they want and tirelessly take care of their father and family. The character, the "Gourd", wasn't particularly convincing, but a way to comment on what the 'father' figure would turn out to be if they didn't successfully marry off their 'daughter'. In most Ozu films, we see that the 'father' is successful in marrying off their daughters. The "Gourd" also is a tool to comment on social economic differences, and especially the awkwardness when juniors/students end up far more successful than the seniors/masters (Sensei).

Ozu gives us another one of his great ellipses/gaps in An Autumn Afternoon. After showing us the face of a potential groom, he doesn't satiate our curiosity with an image of the actual groom. We only see the bride and her immediate family.

Gender roles in society and family are well-explored in this film. And it is a bit more forward in examining WWII themes or themes of the 'soldier'. While not Ozu's best film, it was certainly a solid last film in the oeuvre.

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Rushed fantasy movie with a hint of romance

This is an ok movie. The storyline is quite simple.
Character wise we have an immortal (ML) who is suspected of stealing the Magic Lotus Lantern when in fact he was trying to prevent an intruder in doing so. He then throws himself into reincarnation in the mortal world in order to get the lantern back. Here he meets and falls in love with FL who is a strong woman with superior martial art skills.
Acting wise this is not top notch. Focus is on telling the story but they are trying to put in more than there is time for, so it feels rushed.
Anyway, if you like the fantasy genre, this is an ok watch - just don’t expect too much from the romance.

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Left up in the air!

A Chinese/Korean collaboration - interesting, and with LJG - it was a film firmly on my watch list. The film started off very well and captured my interest from the beginning but then somewhere along the way it lost its direction and it became a little confusing as to what was actually going on as there seemed to be chunks of information that the viewer was not provided with and we were left to draw our own conclusions about certain elements of the story , for example when did he tell the neighbour downstairs what was happening to him - did I blink and miss that? Was the whole company aware of his 'secret' except his girlfriend? As for the ending, I was left completely dumbstruck.. cheated.. couldn't work out whether he had really gone or he was suddenly going to turn up - "ta da!"

Lots of questions unanswered so sadly, despite LJG, and the potential the film had, disappointed.

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Could have just called it Momo and be done with marketing.

Anyone slightly familiar with creepy pastas will right away see the similarities between the supernatural being in Stare and the urban legend of Momo - long dark hair, slim long face, big and creepy eyes. You hear about her, she shoes up, you have a stare showdown, you die - that’s the movie.

I don’t think there was more to it to be honest. It had great potential to be great with better and slower directing. Stretch these starting into her eyes scenes longer, build that tension, but in the actual film it all passed way too quickly. The whole origin got messy, the importance of some characters forgotten, who was in on it, who just told the scary story thinking there is nothing more to it? All too blurry.

Acting was fine, so were the effects. I would appreciate less blowing up eyes, since that aspect was rather lackluster in presentation.

Overall, a decent watch when you feel like watching horror, but also want some simple and short entertainment.

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Almost unbearable to watch, gut-wrenching and splendidly acted...An important cinematographic work.

This movie starts with the arrival of a new art teacher at a school for hearing-impaired children where he uncovers some truly horrendous wrongdoings. The story told is based on a true case, making it even more horrific to follow. It is a very difficult watch, almost unbearable at some points given the level of violence exerted on some of the protagonists.

The level of acting of the ensemble cast is very high, especially the kids who are delivering beautiful performances. The main leads (Gong Yoo and Jung Yu Mi) are great and interact well with each other and the younger actors.

The production is really well done, some scenes are properly haunting and I was heart-broken more than once because of the tragic plot supported by some gut-wrenching directing choices. As the film approaches the topic of deafness, noises background, sound choices and even at some point music are also key to the well-executed story-telling.

It is not necessarily a film I would like to rewatch, as it is not an easy watch but it really left a deep and resounding impression on me as a viewer. Beyond question, it is an important and crucial cinematographic work touching on serious issues that need to be brought to light despite their darkness.

I would recommend this to people looking for a more serious watch splendidly acted. Be aware that this movie can be very triggering, so mind the warnings.

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If you didn't like the series, you'll probably like the movie!

So, basically, this movie took the original Episode 0, the 12 episode series and the final special episode and turned them all into a 2 hour movie.

For people who didn't like the series because Nine & Daonuea took too long to get back together, there was too much drama, it was too chaotic, there was too much back story without enough forward progress, Ep.0 promised spiciness and there was almost none in the original series, the side stories took up too much screen time ... whatever the reason... chances are good that it was either removed or altered slightly in the movie and it is now less messy, better paced and just tells the core story without an excess of drama or side story.

Now, for those who really enjoyed the original series and liked seeing all the back story, the history and super messy drama they most likely will not favor the movie because most of that was removed.

Personally, I really enjoyed both. I liked the series, but I still had a few issues with it, but overall I enjoyed that there was so much going on. I liked how Nine & Daonuea should have met during university and Tee messed it up, but fate chose for them to still come together. I didn't like how long Praew stayed in the picture, she was a great character and I'm glad she had a part, but I think her part should've ended sooner. So, I was happy they did that with the movie. Sure, we don't get the full story behind Tee & Ice before the after credits scene -- but isn't it good enough just to know how things ended for Tee after what he went through with Daonuea? We don't *really* need more than that, but for those who want more then there's the series to watch.

So, overall, I think the movie was a great addition to the Check Out line up. I recommend it to both those who liked the series and those who wanted to like the series and didn't.

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"I'm happy as I am"

Ozu's 2nd to last film, The End of Summer, starts off with a sign of changing times. We see neon lights in the nightlife of a city (Osaka it seems). One of the earliest scenes is in a posh cocktail bar. Despite these signs of 'modern' times at the time of the film (1961), Ozu brings us back to much of the classic or traditional cues his stories are primarily based in. The film takes place in classic looking towns with traditional style homes and clothing.

With the End of Summer, we are treated to variations of Ozu themes yet again. Setsuko Hara plays the lead in Akiko, which was also the name of her character in the previous Ozu film, Late Autumn, but it is a different Akiko. There's another character in End of Summer, named Noriko, but it is not played by Setsuko. Ozu must have had a blast with vanilla characters and repeated names. It's as if he was saying it doesn't matter who the character is - their name, their role, their relationship - because what he wanted us to see was the common denominator of all these characters - the humanness.

Ozu films have this interesting juxtaposition of similar characters, plots (family themes), and storytelling mechanics. But the setting changes as the times change. It doesn't matter if we start off with silent films, then move on to black and white, then to color, or that it is pre-WWII or post WWII, or whatever else has changed in the external world; no, it doesn't matter because being human remains the same regardless of country, era, and place. Did neanderthals keep secrets from one another? I'd wager they did.

The similarity of Setsuko Hara's Ozu roles is not by mistake. She is not a one-note actress. Ozu purposefully keeps her character roles and temperaments limited. Hara's character Akiko, says "I'm happy as I am". It's a summary of all of Setsuko's Ozu characters. It's as if the character/Ozu are saying, "Let me stay this way in a world that is constantly changing; let me hold on to this beautiful moment, savor myself - my life- as it is right now; what more could I ask for in this life?". However, change indeed happens to us all, and keeping that happy moment forever with the accompaniments, companions, and scenes of that moment are impossible.

The music in this film was more experimental and versatile. It opens up with a Baroque music aesthetic. It certainly caught my attention more in this film compared to other Ozu soundtracks. However, some of the music is a bit jarring or doesn't quite fit the ambiance.

This film was solid, but it wasn't as emotionally impactful as other Ozu films. Many of the support roles felt insignificant or less compelling compared to other Ozu film characters. This film, while very visually stimulating, felt a bit tiresome in terms of plot and character development. There wasn't quite enough variation to Setsuko's role in this film and her character came across a bit bland. Still, it is a worthwhile film to watch for the veteran Ozu filmgoer.

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Power of Kindness and Connections!

We’ve seen many times how one life touches so many, and how one act of kindness can be like a pebble dropped into a pond. Its ripples stretching all the way across. People should never underestimate what one act of kindness can do for someone. We never know if a smile, a kind word, or act might will have an effect that we can’t possibly predict or fathom.

Life is about connections. Connecting with ourselves as well as connecting with others. Chihiro is a former sex worker who now works at a small bento shop in a seaside town. Initially, a person may scoff at her former life as a sex worker and judge her as someone of little/no value. Ah! How often do we judge a book by its cover? The film invites us to understand how a connection and a small act of kindness can help someone in need, while also learning how to dispel our own judgments about people.

The film opens with Chihiro paying attention to and playing with a cat. Initially, one might wonder why this is such a compelling scene. Because more often than not, how a person treats animals is often an insight into how a person treats people. Chihiro greets the customers warmly, and we can see her warmth is genuine. It isn’t fake or an attempt to win anyone over. It’s simply how she interacts with others.

Throughout the course of the film, we find Chihiro helping a variety of people. An old, homeless man down by the waterfront. She brings him a meal, gives him some company as they eat, and even invites him into her home so that he can have a bath. And sadly, when she’s looking for him in order to bring him another meal, she finds that he has died behind a small fence, and she takes the time to give him a proper burial in the middle of the night.

Chihiro also befriends a couple of high school girls who see themselves as outcasts within their own families. Chihiro treats them with kindness, accepting them fully as they are. Kuniko is one of these girls who’s basically told what to do in a family home with little warmth. When she’s given a meal by a single mother—as a means of gratitude for helping her son—Kuniko breaks down in tears, overwhelmed that she’s found more warmth from this stranger than she’s possibly received in her own home.

Chihiro also has to deal with the same, single mother who is outraged that Chihiro has been feeding and spending time with her son, Makoto, a lonely boy who has to spend much of his time fending for himself because his mother works. When the boy gets an idea from a TV commercial to buy flowers for his mother, the mother wrongly accuses of Chihiro of being behind it. After having the flowers thrown in her face, Chihiro calmly hands the flowers back, telling the mother that she will be making a huge mistake if she doesn’t accept the flowers and to see her son for what he is: a kind but lonely little boy who simply wants to show his mother how much he loves her.

Lastly, Chihiro also interacts with a woman in a hospital who has recently lost her eyesight. Little does the woman know that Chihiro is the woman she’d briefly had an encounter with, it becomes apparent that the woman is more of a mother to Chihiro than Chihiro’s own.

Chihiro is like a breath of fresh air, a gentle rain, a beam of sunshine as we quickly discover how she interacts and touches the lives of the various souls around her. Nothing about her is superficial or fake. She’s asked by her friend and former co-worker in the sex trade why she’s never fallen in love. It becomes apparent that Chihiro does not find romantic relationships appealing, largely due to their selfishness and propensity to strip a person of their freedom to be who they are.

Kasumi Arimura is a true delight in this film, and she shines brightly on the screen as she invites the viewer to look past her past. A person isn’t necessarily their job. How they treat others and interact with them counts the most. And like a passing rain—seeing that her job is done—she moves on to the next town, the next job, spreading her joy for life to everyone she meets. She takes pride in small moments of sitting on the dock in the sun or standing barefoot in the water.

I also found it interesting when I looked it up that Chihiro means, “A thousand questions.” This name is appropriate as one might have a thousand questions about her, but find that much like the wind, she can’t be pinned down to one thing or perhaps even grasped. Everyone could use a “Chihiro” in their life, and hopefully, everyone can try just a bit harder to be a Chihiro for others.

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A beautiful crime trust story

The Merciless is one of the few gangster crime movies that I've watched that does justice to the complex dynamics involved in a criminal lifestyle where trust is scarce and death is plentiful. Yim Siwan does so much more than justice to his character and every action he performed carried more than a 1000 words. Sol Kyung Gu played the role of the older brother in such a problematic manner that at some point his character found that its own contradictions had led to his downfall.

This movie always kept me guessing and really brings up the question of trust and conviction in one's own way and how others fit in that system.

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Nothing happened?!

We got like 20 minutes of new footage with nothing really happening. We simply get to see where everyone ended once the boys graduate, that's it. It's mostly just a recap of everythign that happened during the two season of the series.

This makes it hard for me to rate! I like the acting, but with there being no new story and mostly just old footage, there is no story to judge or rate. Rewatch value - none, you can just watch the series and get the less choppy version of events. It's not a terrible movie, I enjoyed the new scenes, but with there being so little of them, I have almost nothing to judge or rate.

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