Reviews

FATED TO LOVE IN EVERY BIRTH BUT TOGETHER, FOREVER ??

A Good Sequel to "My Boo" movie, which is a simple, straightforward & light-hearted Horror Comedy with a touch of Rom-com.

This Sequel Movie concentrates more on Romance (Main Leads' Human-Ghost love relationship from prequel) than Horror Comedy.
This is purely Time Travel Supernatural Romance, explaining how ML & FL are Fated to meet from Four births, how they fall in love in every birth / reincarnation and how they are meant not to be together in every birth (this part is sort of sad n emotional).

This story includes the two births shown in the prequel -- one past reincarnation of FL as rich lady & ML as theif and present reincarnation of ML inheriting the haunted house & FL as ghost and that's how, it is a continuation of the story left out in prequel but with different ending.

***
There are no scary horror scenes, no jumpscare moments and no haunting horror comedy scenes in this, unlike prequel.

Be aware, there are some Gore scenes, especially when the 2nd birth of the main leads are shown (the Ghouls devouring humans)

*** STORY NARRATION:
Story here, as extended explanatory version to the prequel's story, is Very Good
but the Pacing is damn slow in many scenes in first one hour of the movie.
And so, this is Not Captivating enough or Impressive like prequel.

(I can not tolerate sloth-paced ones and so, my interest to watch this, dropped but continued watching for the sake of my Watching Tradition that is not to drop anything, once I start watching, hehe).

Anyways, Last one hour of the movie is Very Interesting.
The Editing in this last part, showing one scene from every birth, one after the other, is Good.

*** CHARACTERS & ACTORS:
There's a diversity in all the roles of both the leads in all births, especially FL's roles -- in 1st birth, she is a warrior, 2nd life as Ghoul, 3rd as a rich lady and 4th (present birth of ML).

Loved her acting in all the roles, from a tough warrior lady to a sweet ghoul to a rich lady with grace.

ML roles in all births are Ok -- Loved the Inspector (2nd birth) and the one as child admiring FL in 3rd birth.

Even the supporting characters are reborn along with them and are Good. Some of them are funny too.

Actors Gee and Bow should do a full length Rom-com together or a historical romance.
They look very cute together as a couple ☺️

**** SPOILER (STORY) ****
It's sad, how ML is the reason for FL's death in all births.
All the past lives, those stories and their characters including the support characters are Written Well.

Also, I loved how ML time travelled to all births, learning their story in every birth and tried to stop her death, which led to change their fate and future (hence, Ending of prequel is changed)

Liked the Prequel's Ending but this Ending here, is more of happier one, though Open Ending and completely different :)
This Reimagined Ending to their love story is a Good Closure.

(Since it's an Open Happy Ending, can we hope for another sequel with pure romance but a Definite Ending for their love story this time, Haha Huh?! :) )

*** RATING:
My Rating is 7/10
(Could be more, if not for the Bad Pacing)

One Time Watch!
Usually, Reincarnations and Time travel trope are Interesting but somehow here, I liked that simple Prequel more.

***

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Released in August 2024 on the Vivamax platform, Ang Pintor At Ang Paraluman is a Philippine erotic drama that attempts to blend the artistic process of painting with carnal desire, following the "fantasy and passion" formula typical of the studio.

The Plot
The story focuses on Tristan (Ali Asistio), a talented but lonely painter who finds his ideal muse in a mysterious woman named Paraluman (Athena Red). She agrees to pose nude for his work, but imposes one strict rule: he must never touch her.

The film explores the escalating tension between the artist and the model as Tristan struggles to contain his sexual desires and fantasies, attempting to find satisfaction solely through observation and art.
Critical Points

The "Untouchable Muse": The script leans heavily into the concept of prohibition, which creates the central conflict. However, critical reception has been mixed, with some viewers feeling that the chemistry between Athena Red and Ali Asistio isn't always convincing.

Production Quality: As is common with many fast-tracked Vivamax productions, the film suffers from some continuity issues and acting that occasionally feels wooden or over-the-top.

The Erotic Element: The film doesn't hold back on sensual scenes but tries to give them a more "artistic" veneer through the painting sequences and set design, though some critics pointed out that the technical execution (such as certain practical effects or prosthetic work) left much to be desired.

Is it worth watching?
Yes: If you are a fan of Vivamax productions and enjoy dramas with romantic fantasy premises and a heavy focus on sexual tension.
No: If you are looking for real psychological depth regarding the world of fine arts or a refined technical narrative.

Verdict: This is another title focused on the platform's quick adult entertainment, using "art" as a backdrop for scenes of nudity and seduction.

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A gloriously trashy slice of gritty kung fu action

A gloriously trashy slice of gritty kung fu action, Slaughter in San Francisco is a sensational title that offers a pared-down promise of disreputable thrills, pure grindhouse poetry. Having originally been conceived as another vehicle for Bruce Lee, before his falling out with director Lo Wei and jumping ship to make Way of the Dragon, the undoubtedly sloppy production carries with it a certain appeal that's raw and unpolished, its pace is constant and unrelenting, even if certain events just feel like an excuse to get to the next bout of fancy fisticuffs, but it all comes across as a piece of weirdly charming exploitation. It feels quite like a low-budget film from the US underground scene awkwardly crossed paths with the action of Hong Kong and the tone of the typical American crime shows from the same era; scenes feel stitched together rather than carefully constructed, with the dialogue occasionally drifting into unintentionally comedic territory and some truly lousy police work populating its runtime. That being said, there's a lot of nicely photographed location work, while Lo Wei's choppily staged action carries with it a visceral urgency; the performances are all mostly solid, although Chuck Norris receives top billing, he's actually the villain with a diabolically cool name and sense of style donning Ray-Ban sunglasses, a fedora and a fur coat or watching his underlings practicing karate while eating an unnaturally large apple. Unfortunately, the film does very little to establish Don Wong despite his protagonist status, while Sylvia Chang makes an extremely early career appearance. Despite its plethora of action, Slaughter in San Francisco is very much a footnote in plenty of established careers, its serious edge ultimately at odds with all the inevitable B-movie silliness but that's where the fun really lies.

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A long fought battle

Carrying with it those familiar themes of brothers-at-arms and the bonds of fellowship that run through so many Shaw Brothers films, Five Shaolin Masters is certainly a long fought battle amidst this struggle for survival. It's certainly a tipping point for its creative team, serving as a relatively lean martial arts showcase for its stars while also marking the last collaboration between director Chang Cheh and action choreographer Lau Kar-Leung before they went their separate ways. It undoubtedly spreads its attention too thin in attempting to balance the five main leads' screen time; it unfortunately drags its feet for a lot of the runtime with long stretches of minimal activity occasionally interspersed with extended martial arts sequences that, while impressive, border on the repetitive, even exhausting. Thankfully, it's a well-shot picture with some wonderful photography, aesthetically pleasing training scenes and lovely camerawork throughout, with even the occasional bit of comedy, although it veers quite heavily into gallows humour. The heroes aren't that deeply explored, but their dedication to Shaolin traditions and mutual trust creates a strong sense of camaraderie with each master representing a different martial style and personality, which gradually converge in the film's climactic confrontation. It almost gives the film a sense of strategic buildup, like pieces moving into position before the final strike. The performances are mostly solid, with maybe the sole exception of Alexander Fu Sheng, who looked like he was suffering from the heat sweats throughout. I just found his antics rather grating, more than endearing, but that seems to have been by design, given he was nearly always accompanied by childish music. Despite my niggles, Five Shaolin Masters is still very much worth a watch; it may stand as a rather influential piece of kung fu cinema, but it takes ages to really hit the ground and go.

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This movie... it's too heartbreaking because it's too realistic.

Personally, I watched Once We Were Us for the melodrama storyline, but I was left completely speechless. The story felt too real, too raw. And the most heartbreaking part is the closure of Eunho and Jeongwon's love story.

For those wondering if this actually happened in real life, I can vouch for you that it truly exists. I’ve gone through something very much like what Jeongwon experienced, and that made the movie hit even harder :)

It feels like watching your own story unfold through someone else's eyes. Now, I understand why it breaks other people's hearts.

When we're living through something by ourselves, we often develop a kind of quiet acceptance just to keep moving forward. The pain becomes familiar, almost normal. So, it doesn't feel "tragic" to us anymore. It's only when you're placed in the audience seat instead of the main character's that you finally see the weight of what you've been carrying so calmly.

"Maybe it was heartbreaking after all... I was just strong enough to live through it."

And, perhaps some stories are heartbreaking not because we couldn't survive them...but because we did.

I have watched tons of melodrama movies and this movie deserves to be on the podium.

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From Strangers to Family: The Quiet Power of “Lighting Up the Stars”

“Lighting Up the Stars” is a beautifully made film that left a deep emotional impact on me. It follows Mo Sanmei and Wu Xiaowen, two strangers whose lives intersect in the most unexpected way, at a moment when each quietly needs the other the most. Their relationship begins in a place of grief and disconnection, but gradually evolves into something that feels like a true home for both of them.

Mo Sanmei presents a rough, guarded exterior, yet the film consistently hints at his vulnerability and buried longing for connection. Wu Xiaowen, in her own way, shares that same desire for a sense of home, love, and belonging. The movie portrays the development of their father–daughter bond with remarkable realism, allowing small gestures, looks, and shared routines to show how their relationship deepens over time. I especially appreciated how you can clearly see the moment things begin to shift for Sanmei, as his protectiveness slowly turns into genuine affection.

The story opens on a heavy note and that emotional weight lingers throughout, but it is carefully balanced by the tenderness with which their bond grows. The filmmakers use subtle moments to show how these two characters begin to care for each other, and many of these scenes are profoundly moving. I found myself emotional multiple times, not because of overt melodrama, but because of the quiet, honest way their connection is depicted.

The film concludes in a way that feels both satisfying and emotionally resonant, tying together the themes of loss, healing, and found family with grace. Liu Jiang Jiang deserves special recognition for crafting one of the strongest screenplays I have encountered in recent years; the dialogue, pacing, and character development all feel purposeful and earned. The performances from the entire cast are excellent, bringing depth and nuance to every interaction. The cinematography is beautifully composed, enhancing the intimate, heartfelt tone of the story, and the soundtrack complements the visuals perfectly, especially the standout track that plays over the end credits, which lingers long after the film is over.

Overall, I truly love this movie. It is a moving, tender exploration of grief, love, and the families we create, brought to life through outstanding acting, thoughtful visuals, and a carefully crafted script.

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Second Life aka Son of a Punch was one of those odd amalgams of slapstick, melodrama, and violence. I can usually handle two out of the three, but struggled with the film when it tried to strike at the heart strings with all the finesse of a ham-fisted thug. It was good to see septuagenarian Yuen Qiu star as the baddest of badasses to ever go up against the triad in “Chinatown in Unknown Country.”

A pregnant Lao Liang ended up serving 30 years in prison for killing her husband’s killer when he came to the funeral to mock the deceased. Her son was sent to an orphanage and Liang lost all contact with him. Upon her release, her only goal was to find him. Before Liang's release, criminal Gui was moving up in the same triad responsible for Liang’s troubles. When Gui was ambushed and blinded, it gave the criminal element a way into Liang’s house and past her more than formidable defenses by disguising him as her long-lost son.

Age is a funny thing in films. First, we have to accept that Liang was in her mid-40s when she became pregnant and went to prison as the actress was 74 at the time the film was made. Secondly, Gui may have lost his sight but Liang hadn’t and Phillip Ng looked every bit like a nearly 50-year-old man and not 30. I’m pretty good at aging and de-aging characters but the filmmakers were pushing the limits of my abilities with this casting.

Gui was a lethal killer rubbing his hands together with glee at the thought of Liang's demise and before you could say mommy-son day out, he was her defender and then he wasn’t and then he was. The addition of a melodramatic plot twist weighted an already heavy movie down, despite the comedy imbedded in the bloody fights. It was too serious of an issue to be given short shrift at the end, cheapening the whole plot element. And how did Gui not have any problems with losing his sight? How did he recover from his injuries, learn how to deal with his loss of sight and learn Braille all in one month? Light body abilities in a kung fu film? No problem. A 75-year-old woman kicking butt and taking names in a kung fu flick? No problem. But bring in real world concerns like Liang’s illness or Gui’s injury…there’s a problem. Perhaps people in Unknown Country have magical abilities.

I enjoyed Yuen Qiu’s performance and have a soft spot for her. The fights were all of the high flying, powerful qi, superhero style. I couldn’t help but cheer for her as she stalked her hunters. The relationship between her and Gui just felt forced to me and I would really have liked for that aspect to have been explored better. She’s a mother who suffered bitterly for a moment’s action and knows her child did as well. Now that she was free, fate smacked her down again. But when you have to make sure and get the comedy quota in, those moments must be sacrificed for the laugh or the body count. Whichever comes first. Second Life had some really nice moments and could have been so much more.

11 March 2026

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Having watched 25 Chang Cheh films, I felt like I had a handle on his filmmaking MO. Life Gamble shook my faith in his martial worldview.

Four thieves rob an escort agency of a priceless green jade piece. Unwilling to spilt the proceeds in the future once the jade is sold, they decide to gamble for it at the infamous Golden Lion. Numerous interested parties descend on the area, all looking to either steal the jade or return it to the rightful owner. Drawn into this dangerous conflict is blacksmith Qiu Zi Yu who left the martial arts world and wants nothing to do with it.

Now as to why my faith has been shaken in Chang’s worldview. I have been annoyed on many occasions regarding the absence of female characters in his films as if half the population of the planet simply disappeared. Here there were FOUR women and just one of them was a prostitute. All were smart and capable, albeit only Xiao Hong wasn’t a criminal. There was the requisite blood bath, I stopped counting at 30 bodies, but none of the artery spewing #2 red finger paint he was famous for. And weirdly, except for Lo Meng of course, most of the men were fully dressed. Phillip Kwok had a laced-up vest but part of his ensemble was a wraparound weapon. The person who seemed more at home in a CC movie was a thief that was one pair of stiletto heels short of being a dominatrix. The muttonchop sideburns and heavy eyeshadow sported left at least part of my observations of his world intact.

The cast for this film was large meaning character development was out the window. Most characters were nefarious criminals which meant no one cared when they died. There was only a tiny handful of righteous folks trying to return the jade. Four of the Venoms made an appearance with Phillip Kwok leading the cast as the reformed blacksmith. Alexander Fu Sheng played against type as a killer for hire. Ku Feng was the constable father and Kara Hui was his investigative daughter who infiltrated the dangerous gambling den and might have found love at the same time. Most of the fighting was with weaponry both hidden and obvious.

Life Gamble involved numerous characters jockeying for allies, betraying allies, and murdering allies. No one was safe when a treasure was on the table. Few could envision a world where they would share wealth beyond their imagination. Every character went all in with their lives on the line with few living to walk away. I wish Chang Cheh would have gone all in with more capable women (not victims) in his films. In this instance he might have walked a way a winner in my view.

10 March 2026
Trigger warnings: Aside from the high body count and numerous projectile stabbings, weirdly nothing.

Venoms: The Five Venoms (1978): Phillip Kwok (Lizard), Lo Meng (Toad), Lu Feng (Centipede), and Chiang Sheng (Venom disciple). Not in this film, but part of the Venom Mob-Wai Pak (Snake) and Sun Chien (Scorpion). Not Venoms, but Johnny Wang, Ku Feng, Dick Wei, and Lam Fai Wong were also in both films.

Venom hairstyle complaint: Lo Meng's wig looked like horses had stampeded over it. Poor baby.

Random personal note: Many years ago, my friend was a flag girl for the high school marching band and I kept flashing back to their routines with the Big Bad's villainous flag bearers. They even had kicky black go-go boots ready for any halftime show!


Spoilerish note:
Lu Feng has an iron weaponized hand here and in The Crippled Avengers (1978)

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What do you want?

"Confetti" is a good example why you don't always need an external conflict to tell an engaging story with depth.
Interesting characters, a relatable premise, a screenwriter and a director who know what they want, and, of course, outstanding actors -- if you have that, then even the most mundane plot can feel new and fresh. "Confetti" has all of these in spades.

Although the life circumstance of our main protagonist Yuki -- a kid who is growing up in a 大衆演劇 "taishu engeki" or "poular theatre" troupe -- are quite unusual, the central question for him is one most teenagers ask at a time in their lives: "What do you want?" With the end of middle school (and thus the end of compulsory schooling) growing nearer, he has to make his first life-important decision.

What I loved about the film is that it combines Yuki's unusual background with everyday topics in Japan: absenteeism in schools, parental expectations, exploitation of idols, the modern vs. the traditional arts and more. And quite a few of these themes are not addressed directly, but often just in a glance, a smile or a frown, a few words that are just said as an aside. What's not being said is just as important as what is being said in this film: and this is where the quality becomes very obvious. Because for something like this to work, all creative forces need to be in alignment about what story they want to tell -- and since they decided to tell their story mostly in the glances and side remarks, I'll leave the reading of this story to the attentive viewer.

Another thing that I loved: We get to see glimpses into the world of Japanese "popular theatre". I surely had never heard of it before, and liked that the film took us to see the genre and the inner workings of a theatre troupe. I would not be surprised if the actors for the troupe were a real 大衆演劇 group and the venue and the props were actually used in real life.

Let me take note of some technical aspects:
The screenplay is written concisely and every scene and every line has its own value. When Yuki speaks a few lines while sitting alone in his new classroom in the beginning -- and it's picked up again by a theatrical actor in the last minutes. When themes are gently introduced, and their importance is only revealed bit by bit.
The directing and the acting support the screenplay: A gentle nod, a crips bow, someone leaving and another standing by the door. None of this seems obviously out of the norm. Fit together, it makes for a cohesive whole where nothing is forced but everything can potentially be important.
And where these decisions would make another film feel slow-paced, this is strangely not the case for "Confetti".
I have to mention Yuki's actor, Matsufuji Shion, who has one of these round faces that don't naturally lend themselves to expressive acting -- but he does it anyway. His emotions are always very easy to read, his confusion, his melancholy, his joy. Very, very impressive for a 15-year-old!



Was it good?
I my view, this film is a little gem among Japanese films -- it's not pretentious at all, or flashy, but neither is it boring. But it tells a beautiful story about growing up and trying to find the answer to "What do you want?"

Did I like it?
A lot! Really, this is one of the films I'll definitely watch again.

Who would I recommend it to?
To those who like coming-of-age stories, definitely. To those who like to watch a film with their eyes and hearts as much as with their ears.

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Shaw Brothers took a slightly different angle from their usual kung fu revenge fare with A Deadly Secret’s story. Instead of a kung fu film with a little bit of tragic romance this film was a tragic romance with a little kung fu mixed in. The love story would need to be stronger than the kung fu, a tall task to accomplish.

Ti Yuen is thrown into the depths of the jail on trumped up charges. His cellmate appears to be a deranged wild man. Every month, Ting Dien is dragged out to the magistrate and viciously tortured. All he needs to do in order to be freed is to tell Ling Tui Si what the Deadly Secret is. Ti Yuen’s sifu is hoping that Ting will break down and tell Ti the big secret if he stays there long enough. Ti can’t figure out why Ting doesn’t break out with his superior kung fu skills and why he cares about the flowers on the window sill they can just see through the bars on their window.

This film had potential but a few puzzling issues dragged it down. The Deadly Secret was both a kung fu secret and the location of the lost treasure of Emperor Liang Wu. Now in order for either of those things to be helpful the person who passed the information to Ting Dien must have done the Vulcan MindMeld on him because the transfer of information was nigh on instantaneous. Everyone assumed that the dying man must have told Ting the info despite Ting being a stranger. Jumping to conclusions was a major pastime for the people of Jingzhou. Soon poor Ting was being hunted by every greedy highborn and lowlife around. The only person not after The Secret was the magistrate’s beautiful daughter, Ling Seung Wa. The two lovers were eventually betrayed by her father whose only desire was for the treasure and he was willing to sacrifice his daughter if that would bring him closer to The Secret. Also, numerous people failed to grasp that actually killing Ting would make it impossible for him to relay The Secret.

Another problem I had with the film was that much of it was filmed in the dark or low lighting. It was hard to follow the action while straining to see. The one fight filmed in daylight ended up being hilarious as a corpse was used in a giant game of “keep away.” The final fight seemed pointless. Chan Dik Hak and Hsu Hsia’s choreography was far from inspired.

Jason Pai and Shih Szu made for a sweet couple when they were shown together. Ng Yuen Jun wasn’t terribly compelling as the naïve Ti and this movie needed all the acting ammo they could wring out with the weak script. There was a story worth exploring buried under a pile of soiled hay and wild hairdos. Greed was shown as the great equalizer between the poor and the rich, for the greedy there was never enough, no life was worth more, and the price was never too high. I bumped my score up just for the karmic payback of the finale. A Deadly Secret wasn’t terrible but it could be deadly dull in places. As always, rated on a curve.

10 March 2026
Trigger warning: A rather gruesome torture scene early in the film. Attempted suicide.

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