Reviews

Utterly Beautiful.

Watched it yesterday. It's one of the greatest films in my recent memory.

Everything in this film is so relatable and is very real. I cried and I couldn't stop myself from tearing up from the first 30 minutes of the movies until the very end. The message is so strong and Bilkin, Grandma and the rest of the casts just did something we call 'Magical' in the world of the acting.

Cinematography is also on point. It looked real, but also artistic and very cinematic. This will resonate in every viewer hearts for so long and the tearing effect will stay hours after finished the film.

It's not often that the people in the whole theater cried and sobbed their hearts out like this. One of a very magical moment for the whole 2 hours.

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Weird All Around

First off, this is not a horror movie and I don’t know why it has this tag on MDL.

This move was just weird, and not in a good way. It tried to incorporate action, comedy, and romance to give a meaningful message. Unfortunately, it has a bizarre mix of all three elements that did not succeed. I apricate them trying to use comedy to balance out the serious topic of suicide, but some of it was not funny. The script also did not fully explain many aspects about the world it introduced and events that were happening. However, the movie ended with a clear heartfelt message. On the positive side, the acting was great. The movie also had spectacular cinematograph, graphics, and special effects.

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100% Rewatch Material!

The heading's pretty on-the-nose, but you'll most likely find yourself doing just that, even if you're not the type of person to rewatch anything like me.
First off, I believe the production team wouldn't have been able to manifest their vision if it weren't for the cast of completely cohesive actors. Jung Jin Young and Park Sung Woong in particular carried the entirety of the movie, which isn't surprising considering the plot mostly revolves around their characters. Both honoured their body-swapped roles extremely well- high praise to Jin Young, who managed to impressively pull off the mannerisms and idiolects of a wealthy, middle-aged criminal corporate without making it awkward or cringey.
This may sound slightly comical, but I personally love how they chose to focus more on Pan Soo's love story (in Dong Hyun's body) for quite a large portion of the movie. Somehow, it reinforced his sincerity considering he was limited to confessing in a high-schooler's body, not caring about the heavy scrutiny by disturbed strangers who have no clue about his situation. And hey, it enabled a lotta funny scenes too, which is always a plus.
I loved Man Chul and Mi Sun; both took their roles above and beyond, with the former providing much of the comic relief of the movie and the latter perfectly demonstrating the sentimentalities of a single mother struggling to move on from her first-love.
The order of this review is completely freaked up but I really appreciated the use of Pan Soo to physically destroy Dong Hyun and Hyun Jung's bullies, shedding light on the common crisis of school bullying. It would've been better if Jin Young lost the fatsuit, however, rather than vanquishing the bullies and undergoing a 'massive' change in his appearance to earn further, romantic attention from classmates who otherwise wouldn't have batted an eye. I mean, considering the other two victims of bullying weren't exactly bullied for their appearance, Dong Hyun didn't have to be any different, especially 'cause he's the protagonist of the movie.
All in all, I rate the movie a solid 9.5- here's to a hilarious, oddly-touching and wildly entertaining body-swapping flick!

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The reunion with oneself

Captivating and irresistibly beautiful, '1987: Kumbida' is a romantic short film with LGBT themes, directed by Aireen Remoto, who is also in charge of photography and script from a story by KL Rico.
Released in 2020, the film tells the story of Joaquin (Glenn Mhar Balmonte), a closeted, introverted and deaf gay boy, and Isagani, or just Gani (Joseph Manuel Galapon), as his loved ones know him, an openly gay, cheerful young man. and boisterous, who dreams of becoming a well-known journalist. They will both meet at a friends party and in the middle of the long, sweet night that awaits them, the couple of Filipino teenagers make each other discover their true selves through confidences, music and dance.
As the title portrays (kumbida means "to invite"), this moving film shows us what it is like to hide who you are and who you love in the late 1980s.
Always based on the margins of the independent Filipino homosexual film movement, its director gives us a sincere and visceral coming-of-age story.
Finalist of the Gawad Sining Short Film Festival 2020, the film makes a virtue of its scarcity of means and also gives us an emotional and poetic story about the impact that one night can have on our lives. The performances are deep and well done, the young actors give themselves in a way that makes us feel a connection between both characters.
The total dedication of Glenn Mhar Balmonte and Joseph Manuel Galapon to giving life to the protagonist couple ensures that the viewer ends up totally involved with the characters, wishing the best of possible futures for these two young people, whose relationship can lead to love. Both characters become that voice for those people who are still afraid to reveal themselves.
Joaquín and Gani's story conveys their struggles and the circumstances they have to overcome for the simple fact of being part of the LGBTQ+ community. The film aims to break gender stereotypes and will be beneficial not only for members of the LGBT+ community, but for all people. Likewise, the elimination of discrimination is proposed, promoting equal rights for all human beings and the desire for acceptance, at a time of approval of the SOGIEB bill. Carrying out this effort was not prevented by the pandemic caused by Covid-19 or Typhoon Ulysses, which put the lives of all those involved in the filming at risk.
While Isagani (Gani) hangs out with his usual gang of queer friends at the house of one of them, on a typical night, Joaquin arrives at the party. Gani has been wanting to get intimate with the newcomer for some time and, despite both living in a small rural provincial town where all the neighbors know each other, he has not dared to introduce himself properly because he considers it too serious.
His friends, aware of the attraction that arouses in Gani, encourage him to talk to Joaquin and they both enjoy the festival together.
It doesn't take long for the two young men to be talking. Although Joaquin receives Gani coldly, he will soon be infected by the boy's joy and will first begin to smile timidly at him, and then soon find himself involved in a lively conversation, verbal on one's part, and through gestures and sign language, on the other hand. the other.
They will leave on a bicycle, taken at random from a yard on loan, since they did not ask the owner for it, and now pedaling one, now pedaling the other, they will continue their journey of discovery and acceptance.
Unintentionally, the night out will end up turning into an adventure that will result in something completely different than anyone could have foreseen. After hours under the starry sky, bike rides, the sudden rain that comes while they are sitting on the banks of the river, where Gani will take Joaquin to show him his favorite place, where he goes every time he wants to breathe, and to ask for a wish after the passing of a shooting star, the two teenagers will begin to get to know each other better and make all kinds of confidences.
Gani will talk about his dreams of becoming a journalist to report only with the truth, about when he arrives at university in Manila, the first thing he will do is take a bath because the capital's water "has chlorine", about his desire not to disappoint others. his loved ones, especially his parents, the need to be accepted as he is, that nothing changes in the future, especially with his family, that he owes it to his friends to have confidence in himself, the feeling of emptiness inside him "perhaps because he is gay", that he has set out to prove that "although I am different I can achieve my dreams", of his right to decide and choose, of his fears and his insecurities. In silence, Joaquin listens carefully, and as a sign that he agrees with his new friend, he will take one of his hands and bring it to his heart so that he can hear the beats well.
And they will dance under a sky that already shows the approach of dawn, to the beat of "Isang Buong Araw Kasama Ka", performed by Akom Ayalam, and Sayaw NG Buhay, by Nathaniel Cabanero.
Sharp, moving and with memorable performances, despite the youth of its protagonists and the fact that they are not professional actors, which gives greater naturalness and conviction to their performances, the film has several sequences between the actors where an intimacy is built. credible and profound that, together with several sequences of monitoring and observation of Gani's character, are the most valuable moments of the film, in my opinion.
I like how intimacy begins to boil in the heat of Gani's confessions and Joaquin's complicity, two people who face their loneliness from diametrically opposite emotional places: one who has not come out of the closet and the other who trusts that his family will. he accepts, but finally discovers that this is not the case.
'1987: Invitation', by its English title, is a film about a brief encounter that will radically change the lives of two teenagers, made from a disarming humility, set in La Isabela, in the Administrative Region of Cagayan Valley, Philippines,
In a homophobic society, like the Philippines, where there is no type of recognition of same-sex couples in the form of marriage or civil union, therefore, it does not recognize homoparental families either, the film is a small triumph. in a sea of ​​defeats, where calm and honesty take over the narrative to give us hope at the end of the tunnel.
The invitation that its own title suggests is to reunite with oneself. Joaquin rediscovers himself through Gani, and that rediscovery is what allows him to spread his wings and come out of the closet, now free of all social prejudices, cultural ties and internalized homophobia, as some of the reasons that have made it difficult for him to come out of the closet. closet.
Accompanied by brilliant performances and a solid narrative, the film, which does not have a high budget, covers the transformation of the protagonist, a boy who finally accepts his homosexuality and is not afraid to show it to the world, thanks to the arrival into his life of a neighbor. with whom he had never exchanged a word.
The importance of the film lies not so much in its themes and display of diversity, but in its deeper approaches. '1987: Kumbida', is a story full of sincerity and humility, of narrative and formal intimacy that becomes an aesthetic exercise in the search for happiness: a beautiful idyll of the reunion with oneself, and that has the ability to bring to all types of audiences the question: why are we not able to look at the love between two men with "normality"?
The film takes a look at the growing love of two different people who stop their emerging true love for themselves and each other. In this sense, it proposes to debate the dilemma of accusing others of being wrong or lying about who they are, or of trying to accept that, sometimes, what is traditional is not always correct.
'1987: Kumbida' is a mirror for society to look at itself and understand the acceptance of what is different, and to understand that love is not limited by gender or anything else.
In this sense, we are all Gani and Joaquín in our own way, since we always want to be heard, loved and accepted.

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Clean-Up (2019) - 05/04/2024.

I'm really surprised no-one has written about this movie.

Am also wondering why it didn't make it over 8 as a rating because it is really good. Could it be because it is a tiny bit slow in unfolding the story or because the actors are realistic in what they are portraying with no unnecessary thrills or effects.

Although it is about a woman that lost her son due to a bad heart as a child we don't see much of him at all - this is more about an ex prisoner she meets later on in her work environment (Sweepers) that reminds her of the past, but for "different reasons" other than her son.

SPOILER ALERT!

It seems her and her ex husband abducted him to get a large sum of money when he was about 10 years old. As a consequence of that, however, it impacted on the boy in a negative way.

It is really sad when it comes out as to what happened to him and his life afterwards and why, also, her to some extent.

SPOILER ALERT!

It kind of has an OLDBOY feel (if you've watched it) to it with the way it is filmed, also, due to what develops between the two a bit later on which is messed up yet makes sense if you look at it from both of their perspectives.

What is explored in this movie is the relationship between a victim and abductor years after the fact, only one wants forgiveness knowing what they did and who the victim is, and the has no idea until the clues fall into place...

Worth the time and effort to WATCH!

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The beginning of the beautiful love story of Takumi and Gii

'Takumi-kun Series: Nagai Nagai Monogatari no Hajimari no Asa' portrays the sparkling love story of Takumi and Gii, in a real-time adaptation of 'Takumi-kun Series', the well-known manga series of light novels of the shōnen genre. ai, written by Shinobu Gotoh, and published by the Kadokawa Shōten publishing house.
Kenji Yokoi and Hiroko Kanasugi, the same duo from the previous film, are back together to, the first as director and the second as screenwriter, add to their filmography this romantic, school, youth and Japanese BL drama, released in 2023, which tells the original story of the first installment of the 'Takumi-kun Series' and the beginning of the romance between these two boys, and to do so it combines three titles from the Kanzen-ban 1 (omnibus edition) of the original novels: 'Akatsuki wo Matsumade' (Until I Wait for Dawn), 'Soshite Harukaze ni Sasayaite' (And Then, I Whisper in the Spring Breeze) and 'Nagai Nagai Monogatari no Hajimari no Asa' (The Morning of the Beginning of a Long, Long Story).
Without a doubt, it will surprise the public that, 17 years after the first film adaptation in 2007, the popular series is producing a film that travels back to its beginnings to recreate this famous romance with a new cast and story.
The film has taken the viewer by surprise, who never thought one of the classic Japanese live-action adaptations that were made at a time when today's popular BLs were hardly produced would ever be revisited. However, nostalgia, curiosity and intrigue have summoned his followers of yesteryear, while making those who have never seen the previous titles rear their heads: 'Takumi-kun Series: Soshite, Harukaze ni Sasayaite' (2007), 'Takumi -kun Series: Nijiiro no Garasu' (2009), Takumi-kun Series: Bibo no Detail (2010), 'Takumi-kun Series: Pure' (2010) and 'Takumi-kun Series: Ano, Hareta Aozora' (2011) .
With this, six live-action films have been made based on the series. Actors Tomo Yanagishita and Keisuke Katō played Takumi and Gii, respectively, in the first film. In subsequent adaptations of the franchise, both actors were replaced by Kyōsuke Hamao and Daisuke Watanabe in their respective roles of Takumi and Gii. Yukihiro Takiguchi, who played Akaike, was the only actor to appear in every film. Here Takahashi Rio is responsible for assuming the role.
Plot
Far away from the city and deep in the mountains, lies Shidō Academy, an all-male high school. In years past the school housed only the children of the country's elite families, but recently it has opened its doors to everyone in its historic classrooms. Takumi Hayama, a boy of humble origins, prepares to enter the prestigious institution.
The story begins precisely on the day of the entrance exercise. Giichi Saki, or just Gii, played by Kato Daigo in his acting debut, a popular boy who has returned from the United States, passes Takumi Hayama (Morishita Shion) in the hallway.
Fascinated by his striking presence, strong magnetism, and Gii's exotic, non-Japanese beauty, Takumi follows him with his eyes. Gii stops walking and they look at each other, with a mischievous smile on the latter's lips.
Now a high school student, Takumi is treated like a weirdo by his classmates due to his haphephobia, that is, phobia of human contact, the product of a psychological trauma from the past. It is for this same reason that he avoids socializing with others and everyone at school sees him as unemotional and unsociable. However, his aversion to touching and being touched by others begins to disappear thanks to Gii and his relationship with him.
Furthermore, Takumi is discriminated against for having a humble origin. The only person interested in forming a sincere friendship with Takumi is Toshihisa Katakura (Yusuke Noguchi), his dormmate.
Spring arrives and, at the beginning of the second year, the students are relocated and Takumi begins to occupy a dormitory with Gii, unaware that his own withdrawn and distant personality has caught the attention of his new partner. Gii is the only person who doesn't see Takumi as a stranger and the two become friends. The distance between them shortens while the bond strengthens. As Takumi learns more about Gii, he must also learn to overcome his past and the rivals who threaten to break up their budding relationship. The days of peace for Takumi will soon be altered.
Romance takes time to develop. Faithful to the original, the bond between the two young people is cemented from silence and distance. When the characters finally realize that they are meant to be, all the waiting is worth it. Having seen the previous films allows the viewer to understand that the relationship is simmering, and that at the least expected moment the love interests will finally come together.
The public must understand that their characters are completely opposite and have led a very different life because they come from two worlds facing each other: that of capital, on the one hand, and that of work, on the other. That is, that of luxury and waste, and that of poverty and deprivation.
The relationship is unintentionally helped by third-year student Kei Aso (Nagashima Ryunosuke) by asking Takumi to participate with him in the campus "shrine quest" event. Gii's jealousy does not take long to appear, realizing that other boys are also interested in Takumi.
On the other hand, Gii is more determined every day to get closer to the boy to protect him from harassment and accompany him in his loneliness. Paying attention to what Takumi's other students say drives him to relate insistently. The united glances and close encounters eventually lead to a closer bond.
Against everything desired, Izumi Takabayashi (Nakayama Satsuki) is the essential key for Gii to finally confess his love. Takabayashi is the first to realize that his beloved Gii not only does not pay him the required attention, but is also interested in Takumi. And while jealousy consumes him, he plans an attack against him, and summons the students who idolize him.
However, Gii realizes Takabayashi's plot and tries to save Takumi. While they are kidnapped, Gii takes the opportunity to confess his love. This truth disturbs Takumi, however, he realizes the true sensitivity of Gii's personality.
And so begins the long, long, brilliant story of Takumi and Gii. I doubt I will end the saga with this film. He himself left the door open to continue the romance.
Through the eyes of Takumi, the narrator, the viewer will be able to enjoy the birth of romance between two people who are a priori incompatible and who, however, enter into a loving relationship, marked by trauma and jealousy.
With a modern approach to differentiate itself from the previous films, Kato Daigo, the actor who plays Gii, has a strong presence on the screen and those scenes of walks around the school or simply being in his bedroom, near Takumi or talking to Other characters can make the audience delirious.
Morishita Shion shows the fragility and vulnerability of her character, and also how she comes to understand that Gii was the piece she needed for her life to turn around and begin to be happy.
There are no kissing scenes, but the interaction, physical and emotional, and the chemistry between the protagonists are manifested in so many other moments of intimacy, such as a friendly conversation.
I value in the film that it joins other dramatized films to address issues related to sexuality and gender identity. In conservative societies with strong patriarchal and heteronormative traditions, such as Japan, where discrimination against LGBT+ people persists and relationships between people of the same sex are not recognized, and where stigma and repression of sexual diversity prevail, conscious or unconsciously, the population has a deep-rooted prejudice that separating, even a little, from "normality" causes unhappiness.
Although some change is beginning to be seen, even young people instinctively discriminate when they pity homosexuals and think that they deserve support because they are not normal people. Perhaps, through works like this, people, especially new and future generations, will realize that homosexuals also enjoy "normal happiness" and a daily life that is not far from their own, thus allowing society changes.
By showing relationships between people of the same sex, without a doubt the image of the homosexual man in society changes. In this film, the character of Gii, an educated, high-society, athletic and attractive young man, who falls in love with a humble and broken boy, with a trauma that consumes him, and together they share a romance, which also has a transformative capacity, It can be the remedy to free young people from the image they harbor of masculinity.
I celebrate in boys' love their efforts to portray the diversity of human relationships with delicacy, dismantling the prevailing stereotypes regarding what is "normal." I applaud that efforts like this contribute to gradually changing society, bridging the gap between fiction and reality. Step by step, Japanese boys' love infiltrates the collective consciousness, and could usher in a new era in which homosexuals are not discriminated against.

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The genre shift was jarring, but it made me feel all the emotions.

Dong Gu is a North Korean spy who has been dispatched to South Korea, living a small-town life as an idiot country bumpkin, along with his other two comrades who live as an aspiring singer and a high school student. One day after years have passed with no order from the North, a sudden power shift in the North turned their mundane lives upside down.

"Secretly, Greatly" is a mixed bag. It starts out ridiculously foolish and funny... It's not until the midway point, that it turns into a spy action movie with an intense twist, none of those joyfulness was meant to last. Although this tone shift was jarring, it made me feel all the emotions, all the way to the end. The comedic and fight scenes were impactful and well-choreographed. Some of the jokes were so embarrassing that I feel bad for the actors, and there were times when I thought the stabbing/shooting went over-the-top. For the most part, though, it was entertaining. There were also some touching moments between Dong Gu and the villagers. The ending was really dramatic and memorable.

I never imagine Kim Soo Hyun could pull-off such gritty action sequences but wow, I was blown away! He was awesome fighting in his army uniform, and shirtless too! His acting ranges really the highlight of this movie. If you want to be gripped by his performance, I would recommend it.

thanks for reading :)
Find me on instagram @kdramajudge

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This is so short, it was possible to watch it to the end, without getting tto annoyed.

What I liked:
* Jang Eui Soo's (Chef Choi) acting. He did what he could with his script.
* The waiter and the sous chef were not just there but had their own characteristics, at least as much as they could within the short time.

What I did not like:
* Almost everything else. Examples:
* Empty scenery: Empty restaurant, empty beach, empty luna park... Where are the people?
* Overexposure does not make scenes romantic if there are no feelings. Same with montage + music.
* I think the main problem is that the script was faster than my emotions while watching. We have the rivalry / antagonistic beaviour in the beginning, that's okay. But when chef Choi acts like an arse during the first meeting and is shown to be the one who will maybe end Chef Yoon's employment, we, as the audience, need something to empathize with Chef Choi. We did not actually get it. I still don't know why Chef Yoon would fall in love with him.
* I have no idea why Laura (the restaurant's owner) wants to get rid of Chef Yoon. She says she wants to expand (he doesn't) but he's the one whose dishes people like?
* There's not enough restaurant and kitchen scenes -- show us how they work together, how they get closer doing their work.
* If the restaurant's so busy that Laura wants to expand, why are there no customers, why do the two main leads have enough time to hang around beaches and amusement parks and so on?

Both the world building and the relationship building is severely lacking in this movie. If I can empathize with the waiter and the sous chef more than with the couple, then something is very, very wrong.
It wasn't bad enough to stop me watching, but there wasn't anything to like it either.


Not recommended.

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"We'll take a cup of kindness yet, for auld lang syne"

The title Hotaru no Hikari referred to the Japanese version of the song Auld Lang Syne. The film focused on two school girls in a tight group of friends just before and after graduation. Love, friendship, and broken hearts flowed freely as the young women tried to navigate their feelings and world outside.

Sanae and Omie are close friends readying for graduation. Their lives have very different paths before them. Omie is a gifted pianist and going to Europe for further studies. Sanae is to be married to the bedridden son of the man who paid for her schooling and saved her father’s shop after an earthquake. Sanae is in love with Ariga, “The Prince”. When he asks her to marry him, she refuses without explaining. Distraught at a future without any brightness she goes to her friend Omie for help. Although Omie supports her, she excitedly mentions that Ariga is going to be accompanying her to Vienna. Broken at the news Sanae leaves but doesn’t return home. She makes her way to her “retired” teacher’s house where she helps with the farm work. Sanae may have stepped aside for her friend, but Ariga has other ideas. As the center of the friend group’s attention, Omie does not offer Sanae the same generosity in love.

This film took some effort to recognize the main characters. Initially, many of the students were introduced only to be sent to the sidelines. It did not help that Sanae and Omie/Ishii went by several names. The realities for women were stressed by parents and school authorities. Being a wife and mother was the only path to happiness for women. And women were to marry whoever their parents chose for them even if that person was an invalid. Director Sasaki dared to question some of those presumptions. Omie told Sanae, “Before being a daughter, we must think we are women first.” She also counseled her friend to not be afraid to leave her family and make a life for herself. Sanae boldly chose to do just that. The betrothed Sanae recognized her father’s actions for exactly what they were, “I was sold.”

Early in Japan's talkie era, HnH utilized sound with numerous sing-a-longs with the girls on their outings and in school. Omie demonstrated her ability on the piano several times as well. In the 1938 version of pop-ups, silent film intertitles and clips from Sanae’s diary often appeared to explain things to the audience. The diary pages revealed her innermost feelings and thoughts which I liked but some of the other written explanations would have been better acted out. The film was beautifully shot for the time with creative shots of scenery and buildings interspersed. Despite those appealing frames, time has not been kind to Sasaki's work with many scenes left quite blurry, often obscuring faces.

Also known as Auld Lang Syne or The Light of the Fireflies, Hotaru no Hikari was an interesting watch of young women breaking with tradition. My biggest complaint arose from the final act’s melodramatic noble idiocy. I had become invested in Sanae’s decisions and was quite aggrieved by the ending. This 1938 melodramatic story of friendship and love could have used a cup of kindness to ease the bitterness of the drink.

4/4/24

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U will kicking yourself if u don't watch this now ...

Relationships are not black and white, they are made of hundreds and thousands of shades of different colours - ugly and beautiful, and this movie does a spectacular job of painting such a raw and realistic one.

A soulmate is someone tethered to you and drawn back to you no matter what and this movie depicts the realistic struggles of growing apart and struggling to find and understand each other.

Was it a touch melodramatic? Sure. Was it still just as thought-provoking and relatable? Definitely. This movie - as all good ones should - left me thinking about my own relationships with my friends and family and my value and love for them.

The cinematography and soft music score absolutely fit the theme of this movie - raw and realistic - it doesn't rely on sfx to bring you to tears. In fact, the saddest moments are those in silence. Phenomenal performances from Da-mi and So-nee, their interactions on screen were so emotional.

Life is not perfect, the people in them most definitely are not perfect. But this movie might teach you something about unconditional love, being there for each other no matter what and valuing the time you do have together.

An absolute recommended watch ...

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Victory in Life

I miss movies like this. The martial arts genre is the genre of my youth that I enjoyed the most. Movies of this type have moved into the genre of thrillers, bloody gore or superheroes, but they have never been as good, and that's why I was both surprised and delighted by how much I liked this movie. It reminds me of the golden age of Korean cinema, which for me was from 2005 to 2010 when I was watching Korean movies every day, and in a way this film also belongs to that time.

Actually, I started watching the now movie because it wasn't on my "already seen list", but as soon as the movie switches to the youth of the main characters, I remembered that I had already seen it. I would even say that now, 10 years later, this movie is even better for me than when I watched it for the first time.

The film shows three friends who meet again in the ring after 25 years. The film briefly shows the days of their youth, but the main part of the film is the present time and these actors did the best job. I'm especially glad to see Hwang Jung-min, who is one of my favorite actors, and here he shows how skilled he is in fighting, and also in singing, since we hear his voice in the closing song of the film. The fight choreographies are very good, the story has enough plot and drama to justify the long duration. I have no complaints. A 10 for me.

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