Reviews

Sunglasses After Dark

Whilst “Branded to Kill” can be seen as the most obvious breaking point in the relationship between Seijun Suzuki and the Nikkatsu production system, “Trapped in Lust” appears to sit within an even deeper, almost subterranean continuum, where that same rift resurfaces in other forms, adapting to a production context that has since changed.

It is no coincidence, after all, that behind the project we once again find Atsushi Yamatoya, who was already one of the writers of “Branded to Kill”, and who here - as well as playing the role of Takagawa- is involved in a reworking that feels more like a detour than a real remake.

In his compelling analysis, ‘Il Fiore e Il Serpente’ (2022), Beniamino Biondi devotes a section to Yamatoya, also mentioning three different screenplays that formed the basis for “Branded to Kill”, although, curiously, he merely touches upon “Trapped in Lust”.

We are in the midst of the pinku eiga and roman porno season – that cinematic realm where the body becomes the central element, both an exposed surface and a narrative device. Yet precisely where one might expect greater freedom of expression, the film immediately introduces a more ambiguous tension.
Sex, in fact, is never truly liberating. It is obviously ever-present, pervasive, almost obsessive — yet progressively stripped of meaning, as if, by inertia, it continued to exist even after having lost its purpose.

Hoshi, the main character played to perfection by Genjiro Arata, navigates this system as a figure already broken. A rising killer, driven by a desire for recognition that coincides with his climb to the top of the organisation, he soon finds himself caught up in a decidedly complex dynamic that ultimately overwhelms him.

The character of Mayuko (the voluptuous and alluring Moeko Ezawa) — an apparently faithful wife, but in reality a pawn of the organisation — introduces an element of structural ambiguity right from the start: there is no relationship that is not, to some extent, constructed, manipulated or prearranged.
His (apparent) elimination, however, does not result in what might be seen as a strengthening of the protagonist, but rather marks a rupture. It is as though, just at the moment when the body should (and could) re-establish itself as the centre of the action, something ends up breaking irrevocably.

The resulting impotence — made all the more evident in his encounter with Yumeko (Nozomi Yasuda), the young prostitute at the hotel — is not merely a narrative element, but a genuine deviation from the system: desire, stripped of his ‘object’ and, at the same time, of its mystery, is transformed into an automatic gesture, a function incapable of producing any meaning whatsoever.

It is no coincidence that Hoshi spends almost the entire film behind a pair of sunglasses, worn regardless of whether he is indoors or outdoors, or whether it is day or night: it is as though his gaze, filtered and obscured, ends up conveying an inevitably distorted view, a reflection of a cinema in which reality is no longer simply shown, but is constantly obscured, distorted and re-enacted.

As was already the case in "Branded to Kill", a recognisable structure is present here too: there is always an organisation, rules are followed, and a hierarchy is in place. But it is precisely in the relationship with these rules that the film finds one of its most significant turning points.

Hoshi’s fault lies not so much in the mistake itself, but in the return. In returning to the scene of the crime, in reopening what ought to remain closed. It is an act that disrupts the system’s internal balance — and lays it bare. From that moment on, the climb is no longer merely ambition, but a form of attraction towards the point where the mechanism seizes up, becomes visible, and turns inevitable.

It is in this context that some of the film’s most unsettling characters emerge.
The ruthless and sadistic killers Mario and Saigo form a dual, almost unreal, certainly hallucinatory presence: a seemingly fragile female doll juxtaposed with a rigid, armed, silent body. Only later does the apparatus reveal itself for what it is: a simulated identity and mechanical bodily artificiality, a sort of Cronenberg-esque hybridisation.

Even once revealed, the effect does not fade. A sense of unsettling continuity remains, as if the body could now be broken down, reassembled and manipulated without any stable point of reference. It is precisely through these figures that violence takes on a further dimension: no longer a source of tension, as is typical of noir, but a repeated, almost abstract function.

The deaths follow a pattern that borders on the grotesque — bodies frozen in baffling, ambiguous poses, even the act of defecation abruptly interrupted (a pure homage to Suzuki, worthy of the finest Abel Ferrara) — whilst the narrative seems to constantly veer away from a linear progression. Curious musical and choreographic interludes, featuring Crazy Horse-style dancers who are stripped down and seemingly out of context, do not interrupt the narrative, but rather throw it off balance.

In Hoshi’s journey, this gradual loss of coherence results in an ambiguous transformation. Having eliminated his opponents, though physically scarred — blind in one eye — the protagonist seems to regain a form of ‘vigor’, but this recovery does not amount to a genuine restoration. Rather, it is the final stage of a process: the body returning to function just as everything else has ceased to make sense.

The final confrontation takes place in a stunning, almost Stanley Kubrick-esque setting that is both a fortress and a stage: a concrete building, isolated and surrounded by vegetation, which gradually reveals itself for what it is.: A theatre. The boss offers no resistance. He sits, observes, waits. The gesture that concludes the confrontation is simple, direct, inevitable. And immediately afterwards, something cracks.

Hoshi bows. Not to anyone in particular — perhaps, hypothetically, to an invisible audience; is this, ideally, a breaking of the fourth wall!?

It is at this point that the film ends with a meta-cinematic short circuit: power reduced to the role of spectator, the killer to that of performer, violence to mere representation. There is no victory left. Here too, there is no conclusion, but only the realisation that what we have witnessed was nothing more than a visionary performance taken to the extreme.

Whilst “Branded to Kill” depicted a system that had ceased to function, “Trapped in Lust” portrays what happens when, in place of rules, only the body remains. And even that, inevitably, ends up breaking down.

8/10

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Boyfriend on Demand is one of those K-dramas that doesn’t try to reinvent the genre, but instead focuses on delivering an entertaining and easy-to-watch experience. With a modern premise centered around digital relationships, the series hooks you from the start with its concept: an app that lets you have your “ideal boyfriend.”

And I have to say it… the virtual boyfriend app is really cool . The design, the interface, and the way this digital world is portrayed are quite well done. On top of that, the settings are absolutely beautiful, with a carefully crafted aesthetic that makes every scene visually pleasing.

The story also touches on interesting themes like loneliness and the idealization of love, although it doesn’t go too deep into them. That said, the drama is full of clichés from beginning to end, predictable situations and twists you can see coming… but somehow, they don’t feel too annoying if you go in expecting something light.

The performances do their job well, and the chemistry between the leads works nicely. But to be completely honest… I mainly watched this drama because of my beloved Seo In-guk, and I don’t regret it . His presence always adds something special and makes the experience even more enjoyable.

As for the pacing, it’s quite smooth and perfect for unwinding. It’s not a life-changing drama, but it’s definitely one that keeps you company and gives you some sweet moments.

Overall, Boyfriend on Demand is a light, visually appealing K-drama full of clichés, ideal for relaxing… especially if, like me, you have a soft spot for Seo In-guk .

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Too sweet, REWATCHED

The most sweetest couple ever 😍😍😍 the couple so sweet and so cute, I have moments where my heart can't handle this much sweetness, rare drama where both leads are equally best, the only cdrama which gives real true love feeling, other author should learn from this? they go on so many dates and so many romantic interaction, (while other cdrama they will go only on 1 date that's it and romance disappears in later)and the main screen time is main couple, even the 2nd couple is really slow burn unlike other drama where they start as slow burn but suddenly pregnant or marriage? cdrama lacks romance and sweetness like this ,this is what 90% kdrama look like and feel like, whereas cdrama historical, fantasy, etc all focus on everything except from romance, this is how a romance genre should be
there's enough
romance
comedy
friendship
no unnecessary drama
no dragging
no annoying 2nd couple,the only rare drama where I like 2nd couple too



i had given up on chinese drama 10 years ago when I started kdrama,most kdrama are 10 on 10 but for me chinese is still on level 7 or 8 only this is 10 on 10 for me ,I thought Chinese drama have improved but no still the same only few are good rest the same as 10yrs ago ,this is the best CDRAMA I have watched
She has one of the best high school drama all of them are good I liked it from start till end everything
her every drama is 10 on 10 and y'all rating them 8 seriously? and ratings others drama which are not good at all as 9 ?
this drama is so good and you still have problem with this ? who is giving this less rating ?🙄

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I feel the ML had no significance here, it's all about the FL trying her best to land a job and backfire the conspiracies happening to her.

It's not that I'm complaining, the show was entertaining specially when the FL is strong and has a solution for every trick they play on her but the romance however, is just too plain.

I would have liked it better if it's about achieving your dreams and you know working hard and so... But romance is completely weak here, and the ML appears in less than half of the scenes.

Overall nice, if you skip the forced romance here. I just didn't like the end, i don't know if the version I watched was choppy or is that actually how it ended, but it has a happy end in the novel, but nothing about what happened IRL, which is kinda weird end IMO.

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No romance at all, liars in review section

Starting is good, chinese drama author only know to start well but don't know how to keep it going well,it becomes bad, boring from half of the eps ? i watched till 15 eps and the story isn't focused on romance at all but historical, ml are not bad but not good nothing different, they literally behave life close friends from start till 15 and how are they suddenly going to fall in love now ? when there's no romantic scenes interaction at all ? i thought after being 10yrs in kdrama and avoiding chinese because they're really bad at writing stories ,now I thought they have improved? now feels like they're still the same I hardly rate any drama 10 , these drama completely lack romance ,I read review and started are those fake reviews or what where is comedy in this ? where ? and where is romance? only historical that's it
There's no romance in this ,the romance that didn't exist for 15-20 eps they're probably forced into it later or at end ,it isn't slow burn , they're like friends all the time , comedy is for starting few episodes only ,this one isn't even slight category

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“Great Performances, but Respect Matters More Than the Story”

“𝐈𝐟 𝐲𝐨𝐮 𝐜𝐚𝐧’𝐭 𝐭𝐚𝐤𝐞 𝐜𝐚𝐫𝐞 𝐨𝐟 𝐲𝐨𝐮𝐫 𝐨𝐰𝐧 𝐡𝐞𝐚𝐫𝐭, 𝐡𝐨𝐰 𝐜𝐚𝐧 𝐲𝐨𝐮 𝐥𝐨𝐨𝐤 𝐚𝐟𝐭𝐞𝐫 𝐚𝐧𝐨𝐭𝐡𝐞𝐫?”
- 𝐒𝐞𝐤𝐬𝐚𝐧 (𝐊𝐞𝐫𝐝 𝐏𝐞𝐧 𝐇𝐨𝐧𝐠, 𝟐𝟎𝟏𝟐)

This line from Seksan (2ML) to the Thiew (ML) stayed with me while watching, and It perfectly captures the heart of this drama: love, loyalty, and the moral choices characters face.

What made me start Kerd Pen Hong was P’Kwan, and going in, I expected something within the usual debt, revenge, and misunderstanding genre and it did follow that path. The story revolves around Thew trying to question the will that handed over his father’s assets to Thep, which sets off a chain of conflicts, revenge, and emotional tension between the characters.

There are definitely things I appreciated here. The casting was strong, especially Thep as the villain. Honestly, he stood out even more than the main lead for me. The acting overall was convincing, and the OSTs added a nice emotional layer to the scenes. My favorite character was Thiraphon (2ML), the doctor whose calm, grounded, and someone who brought a sense of balance to the story.

I also liked how the villain’s three wives eventually came together and allowed justice to take its course. Their shift from rivalry to understanding was something I didn’t expect but really appreciated. Seeing Khun Kaew in a good mother role was refreshing too. The female lead’s stubbornness and dignity made her character strong, and while the male lead wasn’t the best initially, I’m glad he showed growth. The drama also did well in showing karma, people eventually faced the consequences of their actions, which I always value.

However, there was something that deeply affected my experience, something I couldn’t simply overlook. Certain scenes in the drama used sacred religious elements, like a Buddha statue in ways that felt jarring and out of place. In our culture, these symbols represent peace, reverence, and calm, so seeing them included in intense or dramatic moments pulled me out of the story. As someone who values my faith deeply, this wasn’t something I could just overlook as “just a scene.” Even if the intention wasn’t harmful, it still crossed a line for me . I truly respect the actors and the story, but for me, honoring these boundaries mattered more than anything, so for me; the production failed in a certain way

That’s why this became the first Thai drama I’ve rated 5.0/10. I genuinely appreciate the effort of the actors and the strength of certain parts of the story, that’s why I didn’t go lower. But at the same time, my respect for my beliefs is something I can’t compromise on, even for a drama I otherwise might have enjoyed more !

Overall, this is a drama with good performances, familiar themes, and some meaningful character moments but also one that didn’t sit right with me on a personal level.

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A Visually Engaging Drama Let Down by a Shallow Plot

After quite a long break from watching dramas, I was looking for something engaging to dive back into. I happened to stumble upon reviews of this one and decided to give it a shot. While I wouldn’t say I was disappointed overall, my experience was definitely mixed.

To begin with, the drama is undeniably enjoyable in parts. It has its moments...scenes that pull you in, emotionally or visually, and keep you invested. The cast deserves special praise here. Their performances were consistently strong, expressive, and compelling. And of course, good-looking actors who can actually act are always a bonus...definitely a treat to watch.

However, where the drama falters is in its storytelling. Chinese dramas are often known for being long and somewhat dragged out, which I usually don’t mind if the narrative has enough depth to justify it. Unfortunately, that wasn’t the case here. The story felt quite shallow, and the central conflict, especially the 17-year-old grudge, didn’t land with the weight or logic it needed to feel convincing.

Character development was another weak point. Some characters felt underdeveloped, while others were introduced too late despite being tied closely to the core revenge plot. This made certain emotional beats feel rushed or unearned. There were also moments where the direction hinted at something visually powerful, but the lack of depth in the script held those scenes back from reaching their full potential.

In the end, this drama is still worth watching if you’re looking for something light and entertaining. It offers solid performances and a few memorable moments, but don’t expect a deeply layered story. With a bit more attention to writing and character arcs, it could have been something truly remarkable.

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Calming, relaxing, emotional yet realistic

This is one of the most touching and realistic BLs I've watched. The drama has quite some unique features like less emphasis on the leads being gay and more about their life and other problems. How everything is not magically solved.
The story is about 2 boys one who gained some light as he grew up and one who lost it. Hiro brings this light into Kai's life when they were younger but overtime loses his own cz of how messy life is.
Compared to Kai's story i liked Hiro's more. I like how accurately they described corporate life. How companies make you feel unworthy and how you lose yourself unknowingly over time. I liked how hiro didn't confront, fight or do anything instead just quit to get out of the cycle. Unlike other dramas where you see the lead works hard and then things happen the villain gets fired and the office problems are solved. In reality no such things can happen. I like how hiro finished his work and quit. How subtly Kai supported and brought back light into Hiro's life and how they grew during the entire series.

It's just beautiful. I dont understand why its rated 7 but for me it was short and sweet

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BEST SHOW OF ALL TIME

This show has left a lasting impression, and made me cry for weeks after the ending. Anyway, I really liked the concept as it is not common in many dramas you would see nowadays, and I really like the fact that most of the drama is pretty similar to the novel, just not the ending or certain doors, with some of the script lines directly from the novel. Sometimes I would get confused with their names in and outside of the doors, but I still thoroughly enjoyed this show! The casting is also done really well, with both the main characters having strong chemistry with each other:) Definitely recommend reading the novel after the drama to lighten the blow of the drama's ending!!

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Dramas with healthy and heartwarming relationships

The scriptwriting is highly structured, ensuring the story remains easy to follow. Each character's development features a distinct subplot that complements the main plot without being distracting; the pacing feels fresh, perfectly defining what a "female-centric" drama should be. The acting across the board is excellent—even the supporting roles are flawless.
​Zhou Ye’s performance continues to improve with every new project. She carries this drama exceptionally well and never fails to deliver in her roles. Furthermore, the portrayal of Xiaolan’s family, friendships, and romance depicts healthy, supportive relationships where everyone thrives together.
​Although the romance between Xiaolan and Zhou Cheng isn't the primary focus, their sincerity is deeply felt by the audience. They support and respect each other's decisions. The ending is quite logical, conveying a powerful message: one must face reality, accept what has happened, and strive to do their best. Given the many fan theories circulating after the finale, a second season exploring the future of Xiaolan and Zhou Cheng’s relationship is highly anticipated.

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Strong Chemistry, Devastating Ending

Honestly, this drama felt quite boring at the beginning and almost made me drop it. The pacing was slow, and nothing really stood out in the early episodes.

However, everything changed thanks to the incredible acting of the cast. Their visuals were definitely a bonus, but it was their performance that kept me going—and I’m so glad I didn’t give up.

As the story progressed, it became more engaging and emotionally captivating. The chemistry between the two main leads felt natural and heartwarming. The female lead is shy, sweet, and adorable, while the male lead is protective and deeply caring—a combination that truly makes your heart flutter.

Towards the ending, the drama becomes intensely emotional and heartbreaking. There are many sacrifices and unexpected twists that completely caught me off guard. It’s not just a drama—it’s an emotional journey.

Overall, this drama is amazing, touching, and absolutely worth watching until the very end.
Thank you to all the cast and crew of Generation to Generation for creating such a memorable and impactful story

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