Reviews

Nothing gives a young soldier more pleasure than being a dog loyal to his master

Based on the novel "Military Dog" (軍犬) by Petit (Xia Mu Cong), the Taiwanese short film of the same name shows an intense virtual erotic encounter between a "human puppy" named Li Jun-Zhong and his Master DT, while offers a glimpse into the unique BDSM scene, the well-known human-puppy play in Taiwan, influenced by Japanese shibari (繩縛) and culture leather/kinky/fetish from the United States.
Based on his own experience in the army, which, in Xia Mu Cong's words, is a gigantic sadomasochistic place, 'Military Dog', a psychosocial thriller of obsession, directed in 2019 by Ping-Wen Wang and scripted by Yi-Hsun Yu delves into the strangest and most provocative areas of the human mind, while viscerally penetrating all the spooky moments that keep us up at night.
Film that won the Gold Award at the Outfest: Los Angeles Gay & Lesbian Film Festival 2019, tells us about a soldier who wants to level up through an extreme method, which involves his Master DT: entering the world of BDSM.
Shocking and full of suspense... a little fun as the soldier follows his Master's instructions via video call, 'Military Dog' received high ratings from critics and the public during its screening at the 2019 Outfest LGBTQ Film Festival and 2019 Outfest Fusion LGBTQ People of Color Film Festival "Opening Night Gala".
One night, in the military camp, the young soldier, played wonderfully by Chun Yao Yao, an actor known for his participation in the LGBT+ themed film 'Dear Tenant' (2020), by Wang Li Wei, accepts the proposal of his Master DT to become his "puppy" to demonstrate his burning desire and tremendous loyalty and submission.
The cast also includes Tommy Wang, an actor known for playing Eric in 'Dear Tenant', Kevin in 'Gentleman Spa' (2019), and Xiao K in the series 'Dark Blue and Moonlight' 2017), all of LGBT+ theme, who plays Junior Soldier here.
In an exclusive sphere where any activity can occur, Li Jun-Zhong as the "Military Dog", and Master DT (although his face can barely be seen through the mobile phone, in an outstanding performance by Li Yun Tsai, actor known for participating in several LGBT+ themed films, such as 'Bao Bao' (2018) and 'The Story of the Stone' (2018), like "Master", blur the limits of pain and pleasure through control and submission, the look, the compliance with orders, the speed with which he must react if he wants to gain the acceptance of the "Master", the dangers he must run to satisfy the Master's demands in a place guarded by other soldiers on duty, the sound of the urine when falling, one's own touch, smell and breathing.
What make the story more fascinating are the young Taiwanese director's imitation of an instructor's training and the oath of enlistment, culminating in the pleasure of built-up erotic tension.
Full of passionate and kinky exploration along, DT is referred to as "Master" and "He" in the story to indicate a relationship between a caretaker and a pup.
Naturally, Li Jun-Zhong's pronouns "he" and "his" (with "Military Dog" as his pup's name) are presented in lowercase. The purpose of this conceit is, first, to show the respect, love and adoration of the human cub towards its Master; secondly, prove that DT is the only Master of Li Jun-Zhong.
At the same time, the film adopts combined first and third person points of view to refer to "Military Dog", celebrating the fluidity and versatility of his sexual identity. In the film, viewers are supposed to understand that "I" is "he" (lowercase) is "the slave".
The film gains vigor thanks to Eric Chao's photography with flat colors with little color saturation seasoned with dark night nuances, and a sharp, penetrating music by Thomas Foguenne.
'Military Dog' focuses on sexual fluidity and the metamorphosis of humans into "dogs" in the context of contemporary Taiwan. Captivatingly shot, the film subverts cultural norms by outing the underground BDSM scene and imagining the military as a distinct site of queer performance, creating a layered act of queering what is normal or "vanilla".
Furthermore, this important and timely work questions the universalizing claims of queer desire and fundamental notions of the erotic, the individual, and the body. The short film seeks to document the existence of the Taiwanese BDSM scene and new sexual identities. It also offers the opportunity to imagine a new politics of sex, one that projects a vision of our queer past and future.
Moving away from stereotypical representations of queer characters as a group of suffering victims, Ping-Wen Wang explores and showcases LGBTQ+ experiences using new approaches.
'Military Dog' reaffirms the high level of social acceptance of Taiwanese queer cinema, while promoting greater awareness of the LGBTQ+ community. This film is a demonstration that the film industry is evolving, progressing and expanding queer productions, responding to increasingly deep conversations about queer issues and recognizing their commercial potential.

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Low angst, but...

I had so many problems with this movie. I can't believe I'm going to say this, but it might have been better as a series to allow for some character development. However, I almost turned it off multiple times because the FL was just so lazy, stupid, manipulative and controlling. I think she was supposed to be a happy character, even with hardships, but, for me, she just wasn't likeable.

ML was bland, and toward the end when you see all he did to be with her, he was controlling as well, bordering on creepy. Good looking once you could see his face without the glasses and hair in his face (last half hour, at most).

I don't like triangles. The 2ML served absolutely no purpose, seriously no purpose. He had a couple of scenes like there was going to be a point of him being there, but then he disappeared.

2FL - she didn't like the ML, she just didn't want to lose to anyone else.

Worst of all, the acting was over the top and cartoonish for a lot of it.

I can't recommend it, but it does have the fluffiness factor going for it.

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A Heartfelt Journey of Emotion and Connection

“Silent Love” is a deeply moving Japanese film that explores the quiet yet profound connections between individuals. The story, filled with subtle emotion and tender moments, beautifully portrays themes of love, loss, and personal growth. The characters’ journeys unfold in a way that resonates with the heart, and the ending, in particular, is both uplifting and poignant. It reminded me of the anime A Silent Voice, with its powerful exploration of understanding and empathy. Overall, Silent Love is a must-watch for those who appreciate emotional storytelling and the delicate art of human connection.

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Power plays and ticking time bombs

Returning the focus to Bunta Sugawara's gangster Hirono and the ongoing brutal power plays after the events of its predecessor, Proxy War ups the betrayal, scheming and chaos akin to that of a ticking time bomb, counting down to detonation. Alliances are formed only to be broken the next second, rival parties are reconciled only to go at it again the next day. It's definitely the most deliberately paced entry so far, a slow burn and a convoluted one at that to be sure, as the yakuza get richer and expand, they also grow more cautious, preferring to handle situations with mediators at a dinner table instead of in a dark alley with a knife. A real testament to Kazuo Kasahara's meticulously crafted screenplay. Kinji Fukasaku attempts to show some semblance of restraint in the chaos this time, taking his time to build the field of play before it all erupts in sudden assassinations and gangland violence, there's not as much blood as in previous instalments, but when violence erupts, you feel it. Fukasaku's use of widescreen filming techniques is on full display here, filling every inch of the frame with movement and colour. You could watch these scenes multiple times and each time focus on something different because every actor is doing something, unwilling to go unnoticed even when the scene is being powered by someone else. Everyone fights for your attention and thanks to the continually strong performances from the cast, they all demand it. Backed by another exceptional score by Toshiaki Tsushima, it's hard not to appreciate just how well Proxy War tells its story. It has enough going on to fill out a three-hour film but the fact that Fukasaku delivered that story in under two hours is rather amazing, a tight film with not a single wasted scene or subplot. While the film may lack some of the chaotic madness seen in the first two films it more than makes up for that with a clear vision and a deftly plotted screenplay.

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"Samurai aren't as great as you think"

“Kill!” was a 1968 film adapted from the same book Kurosawa Akira used for Sanjuro (1962). Just as with Sanjuro, “Kill!” had a hero who didn’t want to kill yet ended up having to take lives to save lives. The honor of the samurai was called into question as Genta, the itinerant ronin, found himself working to rescue a handful of loyal samurai from a corrupt system. With his wild eyes and hair, Nakadai Tatsuya perfectly played the humorous yet lethal swordsman.

Tabata is a farmer who sold his land to buy samurai swords and is in town seeking a yakuza family that is hiring swordsmen. More than anything he wants to be a samurai. Well, almost anything. He hasn’t eaten in five days when he arrives in a town nearly destroyed by a recent revolt. Tabata meets another hungry ronin named Genta, as they both eye a scrawny chicken that would have made Moana’s Heihei* proud. In town are seven dedicated samurai who kill a corrupt official that has stepped out of line with their lord. The local chamberlain, Ayuzawa Tamiya, gave his tacit agreement for the assassination. Tabata goes to work for Ayuzawa while Genta sees a plot that may cost the seven loyal samurai their lives and begins to covertly work on a way to extricate them from the trap they have fallen into.

The first 30 minutes of the film felt needlessly complicated, though I suppose when introducing two dozen characters it was inevitable for there to be confusion. Nakadai Tatsuya played Genta, the wandering ronin who gave up being a samurai two years prior. Quick witted and quick with a sword, it was hard not to like Genta, especially as played by Nakadai. I have come to truly appreciate his wild eyes and cocksure smile. He looked like he was having great fun playing the skilled samurai masquerading as a vagrant. Takahashi Etsushi’s Tabata had a heart and physical strength greater than his brain power. Though not the sharpest katana in a battle, he made up for his lack in enthusiasm. The two unkempt swordsmen would find themselves on opposite sides but never truly enemies.

“Kill!” had numerous humorous moments yet never more than dipped its toe into slapstick. Other samurai films were alluded to without diving into parody. The samurai fell into “the good guys,”“the bad guys,” and “the average guys,” who were just trying to make a living. Swords, arrows, and bullets didn’t care which category the men belonged to and there was one death that particularly hurt. “Kill!” had several narrative issues, but I enjoyed it based mostly on Nakadai’s performance. The unlikely duo of farmer and reluctant samurai was entertaining as they attempted to save the “good guys" and “the average guys” all while trying to stay alive themselves. Once the film found its footing this chambara was entertaining. If you liked Yojimbo or Sanjuro, “Kill!” is one to try.

14 January 2025

*Spoiler---The chicken lives!

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Suspenseful

I watched this movie today on YouTube. I knew nothing about it going in, and when I was reading the credits and seeing the cast of actors, wow! It was very fast paced and frenetic. Some of the scenes are filmed very dark, you need to be in a dark room to see what's going on.

The cast, as I mentioned, was outstanding.

The only reason I didn't rate it higher, was because it was all action, I didn't really feel an emotional connection with any of the characters. Everything felt somewhat disjointed.

SPOILERS BELOW!
The ending was touching with the survivors coming to the graves of those that didn't. But I felt it would have been more powerful if those that died showed up in their uniforms to salute the ML that was there, because I think he's going to be haunted by the incident for the rest of his life.

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Such a good movie.

I usually don't write reviews, but The Paradise of Thorns truly moved me in ways I didn’t anticipate. This film is a delicate yet powerful portrayal of love, loss, and societal barriers. Set in Thailand, it follows the story of a couple navigating the complexities of their relationship in a world that doesn’t fully embrace their love. The cinematography is breathtaking, with every frame capturing the raw beauty of the landscape as well as the emotional depth of the characters.

What struck me most were the performances—each actor brings a deep, authentic vulnerability to their role, allowing you to connect with their pain, their dreams, and their struggles. The film’s pacing is slow but deliberate, giving you time to absorb the weight of each scene. It doesn’t shy away from the harsh realities of discrimination and the consequences of living in a society that doesn’t legally acknowledge same-sex love.

The emotional rollercoaster of The Paradise of Thorns stayed with me long after the final scene. It’s a film about hope, defiance, and the undeniable power of love, even in the face of overwhelming adversity. It’s not just a love story—it’s a call to reflect on the world we live in and the people who are often overlooked. If you’re looking for a film that’s both beautiful and heartbreaking, one that’ll stir your emotions and leave you thinking, this is a must-watch.

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I think worth a watch

I don't know why everyone is criticising the movie so much, but for me it felt raw, like it was so straightforward that i felt suprised all the time, the acting was quite good too as expected from the female lead and i was suprised by how Jaehyun portrayed such a difficult character, the story also was satisfying and I really liked the ending, it was different from other k-dramas/movies, the main lead don't always have to end up together, they were good friends with an end to their chapter, i also gotta say that the meaning as i understood it was quite refreshing and also sad, but i usually like sad movies more (weird, i know).

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Hiroshima Death March

The political machinations of the yakuza world provide bloody, non-stop thrills in this deliriously anarchic sequel that is never less than fascinating for its attention to personal details and vivid pictorial exploration of a criminal, country-wide hornet's nest. Deadly Fight in Hiroshima may take a more linear direction than that of its predecessor due to its basis having not been finished at the time of filming, the screenplay by Kazuo Kasahara cleverly weaves an adaptation of real-life gangster Mitsuji Yamagami, whilst continuing to build upon the themes of the first Battle. Fukasaku's direction continues to impress, unveiling an eye for breathing space in the middle of the blood-flowing whirlpool; the action sequences are brutal and unforgiving with the camera work by Sadaji Yoshida, at times, mesmerising, especially in the film's final twenty minutes, where Yamanaka is hunted in the rainy laneways of Hiroshima, those are exceptionally beautiful. Despite Sonny Chiba's impressive performance as the ultra-psychotic Katsutoshi, whose manic, psychotic body language jerking movements are used by Chiba to hold Katsutoshi as a ticking time bomb keeping everyone on edge; Bunta Sugawara's weighty presence, despite taking a back seat in this episode, the film truly belongs to Kinya Kitaoji and, the lone voice of feminine voice within the first two films, Meiko Kaji. Their chemistry is fantastic; you get a real feel for these two forbidden lovers' plight, a testament to Fukasaku's handling of the romance, which is deft and touching without becoming cloying. Backed by another spidery score from Toshiaki Tsushima (who even includes a playful nod to Seijun Suzuki's Tokyo Drifter), Deadly Fight in Hiroshima might be a more commercial film than it's predecessor, but just as worthwhile, one that's magnificently vicious and brutally exhilarating.

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They found in each other their only hope

The film opens with an emotionally very hard scene: a student’s suicide, and from the start, the viewer understands that it will be difficult. BETTER DAYS has taken it upon itself to speak out against school harassment in all its pain and to talk about young people in difficult family situations. Two very hard subjects that are treated throughout the story without a pinch and with a poignant realism.

Carried by incredible actors, the viewer drinks the story and cries with the characters throughout the two hours... They managed to find a perfect balance between showing the violence as it is, and still preserving the viewer (which I liked very much because I am not able to accept this kind of scene without turning away).

Throughout the two hours, the film is dedicated to denouncing the Chinese school system as a whole. Indeed, it puts a monumental pressure on its young people who have no other hope of finding a job and succeeding in life than entering the best universities in the country. We also discover all the rites of passage of a high school student who, for westerners like us, seem so outsized. It is incredible, for example, that the examinations to enter universities are considered a real national event mobilizing the police... If you are interested, there are many reports on the subject (I had seen one about South Korea in particular) that you can find on youtube or elsewhere on the net.
In short, all this to say that the pressure on students must be released on something... or someone. And this leads to serious abuses such as school harassment where a whole class will be (actively or passively) on one or more comrades. And you can imagine, this will be the case of our poor heroine.

I loved romance passionately... There are several scenes that have remained etched in my memory for their beauty or intensity. A powerful romance between two teenagers who found in each other their only hope.

The story revolves around three endearing, touching and realistic characters.

CHEN NIAN (Zhou Dong Yu) is a very introverted character who has locked himself in a sort of silence and who, out of fear and selfishness, chooses to let one of his comrades be harassed, hoping that he will not be in his shoes. He is an imperfect character who touches us with his humanity, his despair and his fierce struggle to get out of a disastrous family situation and the absence of his indebted mother.
XIAO BEI (Jackson Yi) is a street boy who no longer believes in anything and gives his life no meaning. Without a family, he had to learn to manage on his own and his days are punctuated by fights, small trafficking of all kinds and great solitude and precariousness. When he goes to meet CHEN NIAN, he will suddenly find a meaning to his existence and will base all his hopes on it... Even if it means sacrificing yourself for success.
Finally, the third character I wanted to talk about is this policeman, ZHENG YI (Yin Fang), a young man who starts in the profession and believes in justice. His ideals will soon be upset when he discovers with horror that he fails to protect our teenager and it is a character who touched me very much for all his efforts.

Frankly, everything was so perfect in BETTER DAYS... The direction is excellent and supports the drama of the film, the actors are extremely good in their roles, the adapted story of a novel (itself inspired by a true story) is moving... In short this film made me cry, made me smile also sometimes and above all moved me a lot throughout.
I can only advise you this huge crush!

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"There's no joking in the army"

The “Iron Triangle” of Chang Cheh, Ti Lung, and David Chiang brought the pain in The Heroic Ones. This Shaw Brothers film was about as epic as they got for a 1970 martial arts film. Walled towns, plenty of outdoor scenery, treachery upon treachery, and pretty much every stuntman on the SB payroll made this movie a step up from so many of the throw away films from this era. It was also beautifully restored.

Near the end of the Tang Dynasty the emperor asked King Jin and his 13 General sons to rid him of the bandit usurper Huang Chao. Warlord Zhu Wen was also concerned about the bandit who had conquered Chang’an. King Jin sends nine of his sons to spy on Huang and assassinate him if possible. The 9 Generals are led by the youngest, Li Tsun Hsiao, which causes jealousy among two of the older brothers. Cracks in the brothers’ solidarity soon threatens them all.

The Heroic Ones was different from other Shaw Brothers productions in several ways. One of which was that it was not the Mings and Qings fighting but rather set much earlier in the Tang Dynasty. While there were two military antagonists, the primary drama, like a good old-fashioned Shakespeare or Greek tragedy, took place within the family. As this was a Chang Cheh film, there was no doubt going into it that there would be buckets of blood spilled and few, if any, of the brothers left standing. The man had a sadistic streak running through him. He outdid himself with one of the most gruesome deaths I've seen from this era. For another character’s death, someone said, “Your belly is open.” (Was disemboweled) I truly wanted the dying man who continued to fight to reply, “Do you honestly think I don’t already know that?” or “It’s just a flesh wound.”

I watched this movie for Ti Lung. But during this era when he and David Chiang made over 20 films together, in order to have Ti, I had to have the other. Chiang was enormously popular at the time, I just never saw the allure. I loved watching Ti Lung’s fierce fighting style, even when he was relegated to a supporting role. I’m always happy to see Ku Feng, although his character could be dimwitted at times as could Chiang’s. Eldest brother Chin Han also made questionable decisions that resulted in brothers being killed. The lone woman in the cast, Lily Li, had a brief appearance when the brothers needed a place to hideout.

The fights were well choreographed for 1970. There were a lot of swipe and flip, or swipe with stuntmen jumping off walls or into the water. Martial Arts Directors Tang Chia, Lau Kar Leung, and Lau Kar Wing staged large creative fights with no lack of blood though not as spurt happy as Chang’s later films would be.

The sets were enormous and well built. I’m not sure why the antagonists guarded their gates so heavily. The brothers tended to scale the fortress walls quite easily. Upon its introduction, there was no doubt that the Bridge of Peace would need to be renamed, The Bridge of Pieces. I cannot imagine how many costumes had to be made for the extras or dug up from other films. As a Shaw Brothers film there was no shortage of bare chests and furry vests and capes. Sadly, no silver lamé. Surprisingly, a young, thin Chan Sing was almost unrecognizable in his fancy costume which he didn’t remove for the entirety of the movie! There were also numerous spears wielded by both sides. One character was so committed to destroying King Jin that he burned down his own town! Whether a miniature or a set, the fire was realistic.

Most martial arts films from this time ran around 90 minutes. The Heroic Ones clocked in at 2 hours, too long for this kind of film. In all fairness, Chang Cheh and writer Ni Kuang kept the action and treachery cranked up enough to keep my attention, though I could have done with fewer banquet and dancing girls scenes. In nearly every way*, this old martial arts flick was slightly above average for the genre and time. Still only for fans of these old movies and graded on a curve.

13 January 2025
*Never go into these films expecting Bruce Lee level of fighting, he was the one and only or modern CGI and camera aided fighting scenes that anyone can do. There were numerous martial arts trained and acrobatic stuntmen to sell the action in these more balletic bloody battles.

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A work of art

After finishing this I sat in silence for a long time processing. That was as incredible as everyone said! The actor for Tae Shik, Won Bin, had an absolutely jaw dropping performance. The subtleties he was able to bring to the role was incredible. My heart hurt for him, from his back story to the pain he went through to find the girl. The stunt choreography was some of the best I have seen. The fight scenes were extremely well designed. That child actress did such a great job. Her emotions were on point. While the plot was a bit convoluted at times with all the different groups of villains. It was impactful and at its core it was simple. It was heartbreaking. This was a visually stunning piece of art. The cinematography, the lighting and the play with shadows. This was simply a top notch work of art.

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Personal opinion

Really loved it , it was relaxing , romantic and peacefull i can watch a full 16 episodes series of this and not get bored by it .
It washes away your troubles and your fatigue like it's nothing , and when you finish watching it you will see a smile on your face beacuse while you can't hear most of their worlds their voices appear in your mind because of the amazing portrayal by the cast .
I really loved the acting by the cast but Roh Yoon Seo's performance blowed my mind so does her beautifull and innocent appearance.
It was like Love me , Love my voice a chinese drama no rivarly , no break up (except a little one) , just pure and light romantic comedie
The music isn't 10 just because it's not a movie that is music has a big impact but the backgroung music the calm and romantic one was perfect for it

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A rare gem of Chinese queer cinema

The innovative Chinese filmmaker, film scholar, screenwriter, novelist, activist and gay academic Cui Zi En, known worldwide for his films 'Star Appeal' (Xingxing xiangxi xi', 2004), 'Zhi tongzhi' (2009), 'Feeding Boys' , Ayaya' (2003), 'Chou jue deng chang' ('Enter the Clowns'), 2001, 'Nannan nünü - Nan Nan Nü Nü' ('Men and Women'), from 1999, 'Queer China, Comrade China' (2008), among others, offers in 'Jiu yue' ('The Old Testament') a rare vision of the gay life in China.
Presented in the Official Selections of the renowned Berlin International Film Festival, the Outfest: Los Angeles Gay & Lesbian Film Festival and the Philadelphia Film Festival in 2003, two years after its filming and premiere in China, the episodic film, written by Cui Zi En and co-directed with Jiangang Wei, uses biblical references to weave three interesting vignettes on the themes of sexuality, homophobia and AIDS, while Greek-style choirs sing the moralistic conclusions of each of the trio of stories.
At the same time, it promises an ironic commentary on the tension historically between the Church and homosexuality, as the images show soapy shower scenes with naked men, underwear groping and bed scenes.
Produced by Cuizi Film Studio and Glory Film TV, and distributed by Water Bearer Films, the Chinese film has received praise from critics: "The film's roots are planted in the fertile soil of avant-garde filmmaking", he noted the film the Outfest jury.
In 'Song of Solomon', a couple of men receive an unexpected visit from the ex-boyfriend of one of them who is sick with AIDS. Faced with the commitment to provide palliative care to the former lover, the couple must face the breakup of their own relationship.
'Proverbs' follows the love triangle between a married man, his wife and his gay lover. As the bisexual husband tries to reconcile the two-way relationship, the conflicted wife and lover begin to wonder if he is worth the fight. 'Psalms' concludes the trilogy, with a denunciation of intolerance, through a story about a heterosexual couple openly hostile to the homosexuality of the husband's younger brother, who plans to have sex with his "special friend."
With a duration of 75 minutes and a cast made up mostly of non-professional actors, 'Jiu yue' explores homosexuality in China, and features the performances of the renowned Huanan Du, Luo Dong, Zhang Jian, Yang Qing, Yu Bo , Wei Jiangang, Yu Xiaoyu, among other Chinese actors and actresses.
As in other films by Cui Zi En, 'Jiu yue' is characterized by its low budget, an unconventional production method, few resources in production, a script without great needs and expenses, few locations, predominating real places to the detriment of the sets built for filming, and the use of reduced technical and artistic teams.

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