Reviews

A chama que consome..

Que gosto amargo que fiquei ao finalizar esse drama vertical coreano.
Kim Ji Hoon e a Son Ye Ji tinham uma tensão incrível, e suas cenas mais íntimas eram muito realistas.
A história inicia-se com a FL, noiva, de um homem que não se importa com ela, não a conhece em seu mais profundo entendimento e com toda aquela pressão familiar. Já o ML, não se sabe muito dele, apenas que houve aquela atração forte entre os dois.
Gostei do desenvolvimento da história e como os temas abordados em sala de aula eram coerentes com a situação de ambos, era a teoria vs prática nos sendo apresentada.
A atriz Son Ye Ji conseguiu transmitir toda a confusão de sentimentos que sua personagem estava sentindo, sejam em suas expressões mais melancólicas ou nas que se sentia realmente feliz e leve.
O sabor amargo que me restou foi pela dura realidade e pressão da sociedade perante a mulher mais velha com um homem mais jovem, sabemos bem que é assim, independente do país. Tudo bem um homem de quase 40 anos ficar com uma mulher de 20, mas ao contrário é "nojento", como alguns personagens secundários disseram.
Apesar do final ser um pouquinho clichê, eu gostei da simbologia do isqueiro, a tensão, se a chama iria se acender ou não e toda a recapitulação dos sentimentos vividos de ambos.
Tenho me interessado cada vez mais pelos dramas verticais coreanos, é uma pena que seja um tanto quanto difícil encontrá-los, principalmente com legendas em português.

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Words that Maketh Murder or the Price of Being a Flamingo

"Gossip is dangerous", warns ominously one of the characters in Tender Light, a teacher, as he attempts to discipline his rebellious teenage daughter. His parental admonishment is not unwarranted. In the small fictional town of Qingshui around the year 2000, everybody gossips about everybody else. But the most pervasive and prurient gossip has been ferociously circling one young woman, Nan Ya, for years without relenting.

Nan Ya is conspicuously different from other womenfolk in town. She has a wicked step-mother, an abusive husband and a sick daughter; unlike most, she has no relatives to stand up for her, which makes her an easy target for malicious rumors. Moreover, unlike most, who quickly lose the flush of their youth worn down by the mundanity of daily making do, Nan Ya is a beauty - even at the ripe old age of 30. She looks beautiful as she walks about the streets with the fluid grace of a dancer. She creates beautiful clothes to make a living and beautiful toys to amuse her little girl. She privately reads beautiful poetry and listens to beautiful music. Every once in a while, she seeks out beautiful nature spots in the vicinity of the dreary little town. She does so, she says, to remind herself that she is alive.

On the Millennium Eve full of fireworks, food, song and laughter, Nan Ya reports herself to the police. She killed her abusive husband, she says, in legitimate self-defense. There is an eye-witness to the incident: a young man, more than ten years her junior, Zhou Lou. On the face of it, Zhou Lou seems like an ordinary teenager. The only thing making him stand our from the crowd is his uncommon talent for academic achievement. His top grades had already won him a place at a prestigious national-level university, which he had left under mysterious circumstances - a subject of much speculation in his home town. However, thanks to the support of his loving family, he has been given a second chance. After some extra study at the cram school back home, he will be able to reapply at another prestigious university and hopefully leave the dreary small town, with its lack of opportunities of any kind, far behind him.

The upcoming police investigation should be pretty straightforward. There is a confession by the killer; there is a matching account by an eye-witness. But the police detective in charge of the investigation - himself originally an academically successful local boy, now assigned to his backwater hometown as a stepping stone in his promising career - does not think so. Together with his local colleagues, he keeps investigating long after the sequence of events seems to have been established beyond reasonable doubt. He is doggedly determined to find out the truth, the whole truth and nothing but the truth.

The witnesses interrogated by the police are all, for their own various reasons, unreliable narrators. The police detective keeps telling the suspect, his colleagues, his girlfriend and himself that he simply seeks to do his duty by fully examining all the facts and circumstances of the case through an objective lens. Yet it soon becomes apparent that he is just like everybody else: we have increasingly strong reasons to believe that his motivations are mixed at best and highly dubious at worst. Thus, as the story of the main protagonists and their community is slowly peeled episode after episode, layer after layer, we remain kept in suspense not only as to what actually happened on the Millennium Eve, but also as to what is currently going on and who is pursuing which goals. Shady deals, family secrets, hopeful aspirations, fatal infatuations progressively emerge in bits and pieces through the prism of flashbacks and shifting perspectives, all against the backdrop of intergenerational poverty, institutional dysfunction and deeply ingrained prejudices.

Tender Light is a poignant psychological study and an acute social commentary presented in the form of a moody, gorgeously shot, unapologetically poetic thriller noir. I am strongly tempted to call it a masterpiece. Every aspect of the drama is carefully crafted to create a suspense mystery embedded in stark realism but tenderly infused with haunting melancholy. Direction, script, cinematography, acting, scenography, costumes and, the last but not the least, the score and the brilliantly curated lyricism, all conspire to create a work of art whose bitterness and sweetness you can still taste long after it's finished.

My only reservation concerns some excessively melodramatic moments. Practically very protagonist of Tender Light undergoes an emotional breakdown at some point or another. For most characters, it makes perfect sense; for a few, less so. This is not a minor detail as it impacts the story as a whole. Had at least one of those few characters remained steadily grounded in their usual benevolence and/or common sense, without crumbling down under pressure, they could have shifted the tide of the story and spared us the unsatisfying yet inevitable ending, abruptly presented in documentarist form.

As it is, once that the case is officially untangled and the facts are fully revealed, there is nothing to shield us from the unrelieved dark truth eternally plaguing close-knit communities around the world. Gossip is dangerous. Don't be a flamingo in a flock of pigeons. If you stick out from the average and refuse to compromise and conform, you will be brought down, over and over again, until you leave, die or fit in.

Incidentally, Tender Light seems to be a flamingo in a flock of pigeons in and of itself. It stands head and shoulders above the standard C-drama industry entertainment, yet I only happened to discover it by accident. Do not skip this unique drama just because you are afraid of facing a few unpalatable truths. If you fear sinking too deeply into doom and gloom and losing faith in humanity after watching Tender Light, just follow it up with Meet Yourself, a much more joyful, healing and heart-warming take on the merits and demerits of a small tight-knit community.

Many thanks to other reviewers of Tender Light for helping me discover this hidden gem.

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They promised us a messy toxic gl and it did deliver (to an extend)

I might be in the minority that actually did like this show.

Yes, it had its big flaws let's get that out of the way. The editing was ass and the song choices were horrible. We had music every 5 secs and it would have a different feel than what the scene is conveying. The fashion was bad too. All of these were very noticeable in the first few episodes but they got better by the end.


Story wise it had its flaws and inconsistencies but come on, very few gmmtv shows have good scripts. I would say this one is slightly better than most gls I have watched.
The pilot trailer hinted at mixing of pairs but I knew to not expect anything crazy, even then I was surprised at how much mixing and matching there was. Adding EmiBonnie was so much fun. All the 3 couples have different plots and are mainly connected through their work. My ranking on the couples would be ShashaGorya>PrimBambi>MinPraew.

Shasha-Gorya are MilkLove's best roles. Both of them gave their best performances as these characters. The chemistry was sizzling. They were the epitome of enemies with benefits to lovers (unlike the ewb which is airing rn). The way we could see their attraction to each other in the beginning but they both pull away due to their own reasons. Gorya was such a complex character even though we don't have a backstory for her beyond her feelings for Prim. She had her strict boundaries but that never meant that she would not help someone when they were in need, even if they aren't her friends. Shasha was so hot and deep, her trauma being shown at the middle of the show explains so much of her behaviour and how she builds a wall around herself to never be used like that again. All the girls gathering to support her was a sweet moment too. Shasha and Gorya's bickering was so fun and I'm glad some of it carried out into their relationship. The big let down of their plotline is how they got together, we had good jealousy moments which push them to be together but then we have a lacklustre scene where they become a couple. Honestly I don't even remember the scene where they decide to be a couple, that's how unmemorable it was. Shasha's mother plot also was boring and out of character, she made it clear from the beginning that she is not close with her mother so for her to come in the last episodes and suddenly have so much power over her career and nobody doing anything about it was so out of the blue. Other than these two things they were a 10/10 couple. Like I said, MilkLove's best roles, way better than whalestore.

Prim-Bambi were fun at first but it quickly got toned down. Yes, Bambi was unlikable and annoying but she was so much fun. She was bratty and bitchy i.e iconic. She didn't care who was getting disturbed or annoyed she just wanted to get what she wants and that was Prim. She was not shy about it and had so much audacity. But then we lose it. Prim's reason for getting back with Bambi was not good in the first place, but we can ignore it thinking its pity and codependency. Then we have Airy reveal Bambi's mistake (Bambi was at fault for Zee's death, not completely but still she has a huge part in it) and then suddenly Bambi has a personality change. She suddenly doesn't want Prim's love if it is out of pity. I was very confused at this. The Bambi we met didn't care how she got Prim, she wanted her in any way, why care about the details now. And then suddenly she seems to question whether she is a burden to Prim and that she doesn't want to be with Prim if she is going to be in her way. That whole thing was ridiculous to me. Their breakup in the past was lame in itself, you know for a fact that an independent filmmaker is going to be 10 times more busy and desperate than anyone else, but then using the same reason now? But in this present Bambi was with Prim 24/7, she always walked into the studio like she owned the place so what more does she want? Plus if she was so reluctant to be a burden why do all that in the beginning? Why come and force yourself in situations when your plan was to leave in the first place? I know that Bambi has mental health issues but they are never explored properly. It would have been better if she was this bratty character throughout the series.
All this to say Prim sucked too. Her fight with Min about the leave was so illogical. Like you are not a corporate worker, you are running an indie film making company, you can't just ditch big clients because you think your girlfriend needs a break. All those issues could have been solved if Prim opened her mouth and talked with Bambi but I guess that makes up the toxic aspect of their relationship. At least Prim was consistent. Their reunion would have hit more if we had developed it over many episodes
I think so many inconsistencies with this couple could have been addressed by highlighting the class difference between the two and how it affects their relationship.
This whole couple dynamic was toxic af but was entertaining to watch in the beginning. Chemistry was good, but not as good as pluto.


Min-Praew, my biggest disappointment. From the pilot trailer and the official trailer I thought Min would be fresh out of a relationship and wants to experiment with a girl and Praew offers to be an experiment- Praew falls first and then develops even deeper feelings and prepares herself for a heartbreak and then as a shock she finds out that Min likes her too and then they navigate their relationship. But here they almost instantly become a couple and even though Praew says that Min can take all the time that she needs she starts pressuring Min almost immediately to go public and put a label on herself. There is nothing more to this couple than this plotline getting repeated. They were also very weird about bi ppl. Such a waste (just slightly better than OatNene)

Another complaint I have is their kissing scenes. These girls know how to kiss so why did it look like they were kissing for the first time in many scenes. Someone pointed out that all of them kiss with their mouths closed and I can't unsee it now. There were some high emotional moments which end with a kiss but they end up kissing each other on the cheek like friends.

Even though I have all these long ass complaints I enjoyed watching this show more than most gls. Idk why ppl are acting as if its the worst gmmtv show, this is better than most gmmtv gls. Ppl saying 4elements is better than this when that show barely has any plot and is just insta love. I think people are ultimately not ready for an ensemble gl, if all these 3 couples had 3 separate shows with the exact same plotline they would be showered with praises.

The main ost was bad but the rest all were amazing. The fashion got better but still, these girls are ambassadors of luxury brands, u could do better.
The integration of the friend group was nice and felt very natural. Gmmtv should just get rid of the fixed pair system cause the potential all these pairs have is insane. Namtan-Love, Milk-Film, Emi-Love, Milk-Bonnie, Emi-Milk.....like i need shows with them all yesterday!!!! I'm sad that my girl Tu wanted to appear in this but was not allowed to, there goes my Milk-Tu dreams.

I had a great time and will definitely be seated for a s2 with EmiBonnie as KrisBaipor. Add all the new couples too!!!

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Unpretentious entertainment

This drama is a light-hearted take on the "two strangers fall for each other, but some obstacle makes their love impossible" formula, with a side of bento.
The two leads are very cute together. Their honesty to each other is refreshing.
The supporting characters are just that: supporting characters. With the exception of the two over-the-top rival bosses, they mostly come to help advance the story, and then disappear without much development. I felt this was a shame because some are really lovely and deserved more screen-time.

The writers spared us most of the annoying tropes such as love triangles and silly misunderstandings. As a result, this drama is a frustration-free, easy-to-watch and ease-to-forget, cute little drama.

For those learning Japanese, this drama is on the easier side. It's day-to-day Japanese delivered at a normal pace (except maybe for the manga-ppoi rival bosses!). It's also a fun opportunity to learn more about the different sorts of bento. Viky has Japanese subs.

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Great start but lazy ending

When I started watching this drama, I was really amused, it made me laugh so much! It starts off as a comedy, then continues as a romance, then as a thriller, then a romance at the end again.

Sadly, however, there are a few problems and plot-holes.

The family problem of Ya was resolved too easily, and in such a way that it was unbelievable. It makes you think, "What? That's all it took?" You feel that the stubbornness of the father was way more than this, and it was not realistic.

Then the plot-hole of how Thorn was able to continue using Apo's body? It was pretty unsatisfying in my opinion.

The ending was rushed and lazy, didn't convince me.

Overall, it's a fun watch with some visible flaws.

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It Wasn't Perfect, But I Loved Every Minute

I finally finished. Started it in March and only wrapped it up in June. Not because it wasn't good, but because I honestly didn't want to say goodbye to this story.

What I loved the most was how fresh everything felt. The comedy was genuinely funny and had me laughing so many times. Then whenever the emotional scenes hit, they hit hard enough to make me cry. And when certain characters got annoying, they were annoying enough to make me feel genuinely frustrated. Every emotion landed exactly where it was supposed to.

The visuals were also a huge plus. Everyone looked amazing, not just the main leads. It was one of those dramas where every scene felt nice to look at. The cinematography was beautiful too. I loved how they used colors to match the mood. The colder blue tones during the heartbreaking moments made the sadness feel even heavier, while the warm tones during the hopeful and romantic scenes made everything feel soft and comforting.

And the soundtrack deserves a special mention because every song was so good. It's one of those OST collections that stays with you long after finishing the drama.

Out of all the characters, Fan ChangYu was easily my favorite. Her character development was one of the strongest parts of the drama. I especially loved how her growth was reflected through her hairstyle. When she was still innocent and carefree, she wore two braids. As she stepped deeper into conflicts, it became a single braid. By the time she matured, her hair was simply tied back, showing a completely different version of herself. Her action scenes were also some of the coolest moments in the drama. Tian XiWei was absolutely perfect for this role.

My favorite episode was the final one. So many mysteries and hidden truths finally came together, and I appreciated that the drama spent enough time showing what happened after the main conflict instead of rushing straight to the ending. The "what if" segment was probably one of the most memorable parts for me. Seeing how their lives might have looked if the core tragedy of the story had never happened felt like getting a glimpse into another universe, and it left a surprisingly deep impression.

There were a few things that didn't fully work for me. Once the story entered the heavier conflict arc, it felt like the drama was trying to juggle too many plot points at once. I could still follow the story, but there were moments where I felt like I needed to read the novel to fully understand everything. A drama should ideally be able to stand on its own.

I was also a little disappointed with WuAn Hou, Xie Zheng. He was introduced as a Marquis and the commander of an army, someone with a terrifying reputation and a strong killing aura. Yet his action scenes were surprisingly limited, especially compared to ChangYu. It felt like the story kept telling us how dangerous he was without actually showing enough of it on screen. It was a missed opportunity because his character had so much potential beyond just being incredibly handsome.

Even with those flaws, I still loved this drama. Pursuit of Jade gave me laughter, tears, frustration, comfort, and characters I'll remember for a long time. Finishing it felt a little bittersweet, like saying goodbye to people I've spent months growing alongside. It's definitely a drama I'll come back to and rewatch someday.

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❝What if I stay... and ruin your first four wishes in the list.❞

On a superficial level one can watch Girl Rules for its lesbian ensemble with three different couples executing the tropes of the ex that came back, friends with benefits and the classic, straight as a circle, respectively. That in itself is enjoyable. But to truly get the most out of this series you have to let Bambi get under your skin, Prim on your nerves, MinPraew set your lacrimals sobbing, ShashaGorya into your very soul and understanding into your heart.

They will foreplay you and set you up for emotional upheavals that will mess up your week till you get your fix which only comes with playing the next episode, which is why I turned in every week and that's a lot from me because I have the attention span of not one but two goldfishes!

The three different couples are on their own journeys and at any point of time you will have three different dynamics on screen: the familiarity of Prim Bambi on their second chance romance navigating–and hopefully fixing–things that went wrong last time; you will have the avoidant player Shasha as she falls in love with the only selfless goodness in her life and lastly you'll find the exploratory happiness of Min as she is led by Praew out of a violent relationship.

By the time the show enters it's last quarter, the viewer might sit up, like me, and proclaim, "when does this sadness end?" You might wonder EXACTLY WHEN did this series with it's retro punk cover and suggestive theumbnails, bypass the boundaries of NC scenes, sexy fluff and promised toxicity into something real and throbbing in your chest. You will find the seemingly bitchy lesbian breaking down in bipolar swings and survivor's guilt. Instead of a straightforward love story, you might find gay circles of codependency and regret. The portrayal of dysfunctional families, intimate partner violence, suicidal ideation and the general struggles in the life of a woman might hit too close to home.

But this is a spring of hope and redemption too. It is the story of girls who lived horrors, fought them and the girls who helped them out of it. I love that although P'Jojo has directed the gay versions of these shows before, the creators have worked in the authentic women's experience into the series and instead of dwelling on the issues they focussed on how they came out of it. I thank him for his portrayal of the sapphic experience.

In the first three episodes I was the strongest critique of Girl Rules, i brought up it's editing issues the problems in sets and the likes but the by gods did it improve and it came back with a vengeance, the chokehold the rest of the show had on me was delightful. So i beg future viewers to give this show a chance beyond the first three episodes. The well paced presentation of story with respect to each and every storyline was the maintained throughout the show and it helped flesh out all the characters as and when needed.

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A good watch

The alternate-history setting is truly unique and interesting theme.

IU brings her signature charm to Seong Hui-ju — bold, a little chaotic, and deeply compelling. Byeon Woo-seok as Grand Prince Yi-an is quietly magnetic — his character carries layers of suppressed pain and guarded hope that he conveys with real restraint. But what truly made this drama feel alive was its ensemble. Every supporting character — from the scheming court figures to the loyal side characters — added genuine texture to the world. The supporting cast didn't just exist to fill scenes; they made you care about the universe beyond the central romance. When a drama succeeds at that, it's a sign of both strong writing and a committed cast delivering at every level.

A formal petition was posted to the National Assembly's public petition board criticizing the drama for allegedly borrowing Chinese-style clothing, etiquette, and vocabulary despite being set in a fictionalized version of Korea — with petitioners arguing it engaged in cultural appropriation and historical distortion. Specific criticisms included details like the use of nine strings when emperors use twelve, and the greeting "Cheon-cheon-se" when emperors are traditionally greeted with "Man-man-se." As a history buff, these are not trivial points. Attention to cultural and historical detail matters — especially now, when Korean dramas and films are no longer viewed only domestically, with the entire world watching. The concern that a globally distributed show could muddle Korean identity and it's a conversation the industry genuinely needs to have.

That said, the drama was set in an alternate version of modern Korea operating under a constitutional monarchy — a work of fiction, not a history lesson. The leap from "this drama made historical missteps" to "demand the immediate suspension of the drama's broadcast and its complete removal from VOD and OTT platforms" is a dramatic one. Demanding erasure of a creative work over correctable errors — ones the production team did address with edits and apologies — crosses into overcorrection. Art can be criticized and improved; it doesn't need to be destroyed.

The drama's biggest missed opportunity, for me, is the ending of the monarchy thread. The show builds a world where royalty and privilege are woven into everyday modern life, which creates a perfect canvas to explore how that very structure harms ordinary people. The rigid class divisions, the way Hui-ju's illegitimate birth becomes an obstacle despite all her ability, the political maneuvering to protect royal bloodlines — all of it hints at a deeper critique. But the drama never quite commits to it.
It would have been powerful to see concrete moments showing how royal status and inherited privilege extract a real cost from common people — not just as a backdrop for the romance, but as a theme the story actually wrestled with. That layer of social commentary would have elevated Perfect Crown from a very enjoyable rom-com into something more memorable and meaningful.

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“You, me, and them - we were all scarecrows.”

“Scarecrow” is a detective thriller about a former police officer who returns to his hometown of Kangsan and teams up with his former school rival, now a prosecutor, to investigate a series of mysterious murders. As the investigation unfolds, both men are forced to confront secrets from their past.

The first thing I want to praise is the dual timeline structure, which switches between 1998 and 2019. In my opinion, it was used very effectively and helped reveal the story gradually while making the plot easier to follow. I’ve seen a similar approach in the drama “The Frog,” but there it felt much less successful.

I also loved the overall atmosphere of the drama. The cinematography and soundtrack perfectly capture the mood of the story and make it easy to become immersed in its world. The character I connected with the most was Tae Ju. He genuinely wanted to uncover the truth and do what was right. More importantly, he was one of the few people who truly recognized his mistakes and felt remorse for them.

What stayed with me the most after finishing the drama was its overwhelming sense of injustice. Even after all those years, the people responsible never admitted their wrongdoing. They continued to live comfortably, enjoying their status and privileges, while the victims were left carrying that pain for the rest of their lives. The drama does an excellent job of showing what people are willing to do for money and power. That’s probably why it feels so impactful - it reflects real life, where evil is not always punished and justice does not always prevail.

One quote that particularly resonated with me was: “You, me, and them - we were all scarecrows.” To me, this line captures the main message of the drama. The real “scarecrow” was not just the killer, but also everyone whose actions, mistakes, or silence contributed to the tragedy in one way or another.

I was especially touched by the final scene where Tae Joo dreams of a reality in which everyone is alive and happy. After all the pain and injustice throughout the story, that moment felt truly heartbreaking, as it showed the life they could have had if the tragedy had never happened.

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Gong Myoung is undeniably the greatest fit for the lead role!

This series surprisingly captivates me and I enjoy watching it.

Story: It has a straightforward narration of the trope "how to hate him/her lovingly", "secret workplace romance", "superior-subordinate romance", "workplace politics", and "one-sided love". I would say the element of humor elevates the story telling making it really fun to watch. It was interesting for me to see how a specific "Audit Department" exists and functions for a large business entity and how essential its role in administering and protecting the set work ethics morally. I love how the story simply resolve each character's conflict by accepting the variables in their lives and making the right decisions that would not merely benefit themselves but the people around them. All in all, the story has a lot of heart in capturing best the emotion, warmth, and sincerity.

Acting/Cast: Shin Hae Sun & Gong Myoung has a slow burning chemistry here. Unlike with other pairings, the moment you see them together, you could instantly see the visual chemistry but, with these two it's totally different. Their chemistry shines and literally explodes during their interactions and performances together in this series. You will love the dynamics of their pre & post relationship scenes that their differences in work status, age, family backgrounds, and convictions work for them favorably. Meanwhile, Kim Jae Wook with whom I'm not used to seeing a weak character role here delivers a satisfying performance too. His laid back, soft and mellow movements shows flawless alignment to what he is portraying. His character might be spineless but he's decent and has a good soul. Lastly, Hong Hwa Yeon, whose character comes into circle from good to bad to good, does an impressive portrayal as well. Her character is annoyingly relatable that heightens the tensions in the story compromising the reputations of the other three lead roles.

Music: This is the area where the series fall short. I really can't recall a background song for this one. Fortunately, the executions, performances, and dialogues make this shortcoming unnoticeable.

Rewatch Value: Yes, a definite option to watch again sometime. I'd love to see how specifically Gong Myoung make me a fan through this. Seeing this will make you want to have a decent, adorable, protective, and charming boyfriend like him in a workplace.

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A Dark and Psychological Drama That Explores Trauma, Revenge, and Forgiveness

I really liked this. It’s gripping, dark, and highly psychological. The only downside for me was that Yan Zixian wasn’t the main lead—especially since I felt something missing in Zhang Chuhan’s performance who was. That said, Yan Zixian still played a significant role, and at times it felt like he and Zhang Chuhan were dual leads. Both characters were essential to the female lead’s development, offering two very different arcs: one rooted in healing and closure, and the other offering a future and fresh start. I think this drama really highlights Yan Zixian’s talent and delivers a powerful portrayal of mental anguish, revenge, and the complex layers involved in processing trauma and forgiveness. It's a haunting piece, so I do think it deserves fair warning before jumping in.

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Plot written in bullet points.

Why did it feel like chatgpt writing? Nothing was explained, nothing was developed, nothing was truly connected. What happened? Why it happened? Don’t know. Sometimes it’s fine, but only when the horror does not pretend to have a plot, but here - they tried to fool me.

They gave me nothing except for a decent set up. But I feel like I only have bullet points of who the characters are, what’s the background, and what the plot is about - not a full narrative structure. Female lead with trauma - why, when, how? Senior with unexplained past and motives. Granny with vague goals and even more vague past. Rules of the supernatural that no one understands and cares to explore. Ending that kind of makes sense, but also feels not satisfying at all.

They had the cast and they had the budget, so what happened? It’s 2026 - lake lady with long black hair is not enough anymore. With all the innovative takes and twists in the genre you cannot give bare minimum and be happy with the result.

They tried to make it more fresh with camera work, but some ideas were ill-fitting. That fish lens bird view not only made me feel nauseous, but also it fitted more for a kids movie adventure type of a story.

The performances were good, but the writing for the characters was a mess. Example: Han Su In one second be acting like a true skeptic who only believes what she sees, to then be the first one to act paranoid because of the supernatural events.

Maybe I saw too many horrors in my life, but this one was simply below the average. There were two moments I did enjoy - both in the lake with the ghost attacking/trapping/hunting the characters down. Effective scares, too bad the story itself created zero tension.

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