Reviews

A very good final entry to the OUaTiC film series.

I was kinda surprised that no one bothered to write any reviews for this movie, cos I can never get tired of rewatching this movie over and over again.

Just as one thought there would be no more continuation to the OUaTiC series since the disaster of the fifth, we got another one, which is set in western America. And to make it better, Jet Li has returned to reprise his role as Wong Feihong alongside Rosamund Kwan and Hung Yanyan as Siu Kwan and Ah Chat. Ah So is also in this movie, which made sense... since he would be a reason why a new PCL branch could be placed in America anyway. Also, for once, Leung Foon was not included in the returning cast and I'm very glad about it. Because I felt that Leung Foon was only in the past movies just to act silly and be a perv, which may stem from the setting when Yuen Biao was playing him.

I could barely recall how happy I used to be as a child when I heard that Jet LI would be reprising his Wong Feihong role. It's always a pleasure to watch him on screen with Rosamund Kwan and I had fun watching this movie. So this time, Feihong, Siu Kwan and Ah Chat head to America to visit Ah So... and in the middle of it, they met with a cowboy named Billy. Somehow, afterwards, the convoy was attacked by a group of Red Indians and the trio ended up falling into the river before they got separated. Siu Kwan and Ah Chat were soon rescued by Chinese miners at the fort town nearby, but Feihong ended up losing his memory and was taken in by a different Indian tribe.

Got to say it was really fun watching this movie. It was really amusing to see Feihong trying to practice his English in what Jet Li would often refer to as his Limited English Company mode, and to see his interaction with the Indians and later the other Americans at the fort town. And it was a nice homage to the past movies as Ah Chat tried to trigger Feihong's memories by posing as two of Feihong's past enemies, though it was never explained how he knew about them.

Something that I like to point out here is how different Jet Li's portrayal of Wong Feihong was compared to Vincent Zhou's. And you can clearly see it from how Feihong was shown in this movie, where, while he was still amnesiac and living with the Indian tribe, a daughter of the tribal chief had taken a liking to him. And Feihong treated her as nicely and politely as he possibly could while remaining clueless about the latter's affection. He also behaved the same way to Siu Kwan and got angry when she suddenly took back Feihong's ring, not knowing its significance. Cos back then Siu Kwan was a stranger to him and the chief's daughter was his benefactor. But Feihong never act too flirty to the daughter even while amnesiac, which was a stark difference with how Vincent's Feihong acts towards Lady Miao and 14th aunt.

Also, when he regained his memories, Feihong still had his awkward moments in trying to show his feelings towards Siu Kwan, but he still does try his best to care for his fiancée. This was something that was missing in Vincent's portrayal, and what was endearing about Feihong's and Siu Kwan's relationship. I also love the budding friendship Ah Chat had with Billy despite the language barrier. And I love the running jokes about Feihong's long speeches.

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L'importante non è cadere, ma rialzarsi. Soprattutto quando hai ancora il 50% della vita davanti.

Drama coreano davvero originale e per certi versi anche geniale. Finalmente qualcosa che non sa di già visto. E, in aggiunta, fatto anche bene. Due aspetti sempre più difficili da trovare nelle nuove produzioni (e trovarli nello stesso drama è cosa ancora più rara).
La novità? Dimentichiamoci il protagonista giovane, aitante e con un’estetica da supermodello: a farla da padroni sono tre cinquantenni spettacolari: alla bellezza dei lineamenti cesellati, agli sguardi tenebrosi e agli addominali scolpiti evidenziati da inquadrature studiate ad tavolino questo drama preferisce personaggi vivi, espressivi e carismatici, portati in scena da attori sulla cinquantina davvero eccezionali e che spesso, in ruoli secondari, sono invece le vere e proprie colonne portanti che “salvano” molti drama incentrati sul belloccio di turno – ma che magari si è inventato attore il giorno prima – dal flop totale.

La trama ha come fulcro iniziale il recupero di un oggetto, una chiavetta USB con delle prove legate a un traffico di droga capaci di stravolgere l’assetto politico dell’intero Paese, e il cui possesso è per questo molto ambito dai piani alti (e corrotti). Per il recupero dell’oggetto ogni fazione schiera il suo uomo migliore: ad affrontarsi senza esclusione di colpi sul ponte di un traghetto, nel cuore della notte e sotto una pioggia torrenziale, saranno un’abile agente del NIS soprannominato “Shadow”, un agente speciale nordcoreano conosciuto come “Bulgae” e maestro nel travestimento e infine un gangster dalla forza impressionante. Tre uomini adulti, letali e intimidatori, oltre che incredibilmente capaci e sicuri di sé. Nello scontro la spunterà il nordcoreano, ma cadrà subito dopo in mare e, salvato dagli ignari abitanti di un’isola vicina, si risveglierà senza il prezioso oggetto e – soprattutto – senza memoria del proprio passato e identità. Anche per gli altri due, il non aver recuperato l’oggetto avrà conseguenze infelici e dovranno pagare lo scotto dei giochi di potere di chi siede ai vertici.
Questa è, in realtà, solo la premessa. La vera storia inizia un decennio dopo, dove li ritroviamo in un contesto completamente cambiato. Isola di Yeongseon, tre uomini, tre destini: Jeong Ho Myeong (l’ex agente NIS) è costretto a vivere sotto copertura come cuoco nel ristorante cinese di famiglia. Si è sposato, ha un figlio di sette anni ed è alle prese con i primi sintomi dell’andropausa. Tiene un profilo basso e veste i panni del marito remissivo mentre trascorre le giornate in cucina e a fare le consegne a domicilio in sella al suo scooter. Bulgae, sempre senza memoria, è stato accolto a suo tempo da un anziano e dal suo nipotino: ora, con il nome di Bong Je Soon, vive come un impiegato qualunque, vessato da un capo prepotente e occupato a gestire – nei panni dello zio putativo, data la morte dell’uomo che lo aveva accolto in famiglia - il nipote diventato nel frattempo un adolescente scapestrato. E, per finire, Kang Beom Ryong: ex braccio destro di una potente organizzazione criminale, ora gestore di un piccolo minimarket. La sua giornata è scandita dalle varie incombenze legate al negozio e dall’attesa della sua cliente preferita, una poliziotta per la quale nutre una cotta segreta e davanti alla quale si rivela costantemente timido e impacciato.
Una serie di eventi li porterà nuovamente l’uno di fronte all’altro, in un confronto che li vedrà uscire stavolta come temporanei e improbabili alleati impegnati a perseguire un obiettivo comune: mettere la parola fine all’irrisolto del passato, ingiustizie subite comprese.

Al di là della vicenda del recupero del materiale prezioso e degli intrighi di potere, il vero senso del drama è racchiuso nel titolo, “Fifty percent”, e punta i riflettori su quella spiacevole sensazione che sopraggiunge una volta raggiunti i cinquant’anni, per cui la vita sembra aver già detto – e dato - tutto: i sogni si sono affievoliti, il corpo comincia a tradire e le giornate scorrono in una routine che sembra non avere fine. Ma, complice un passato che bussa improvvisamente alla porta, ecco che tutto viene rimesso in gioco e, tra la voglia di tornare “sul campo” e il timore di essere ormai troppo arrugginiti, si finisce per scoprire che non solo non è andato tutto perduto ma che, nel frattempo, il percorso di vita si è arricchito di nuovi elementi preziosi e che l’avvenire che si prospetta dinnanzi a un uomo di mezza età in realtà potrebbe rivelarsi la parte più gratificante.

L’aspetto più bello della serie è il contrasto tra ciò che sono stati e ciò che sono diventati: Ho Myeong è preoccupato dalla diagnosi di menopausa maschile, Bulgae soccombe spesso davanti ai prepotenti senza ricordare di essere stato in passato un'arma letale, e Beom Ryong si preoccupa più di preparare i bentō per la poliziotta di cui si è infatuato che riaprire vecchie faide. Non sono più quelli di prima, ma in parte lo sono ancora. E sono anche qualcos’altro, che prima non erano.

Le scene di combattimento sono avvincenti, l'azione è spettacolare, ben coreografata e con il valore aggiunto di non essere mai fine a sé stessa. Ci sono scene che possono sembrare sopra le righe, con contrasti quasi assurdi, ma davvero studiate con scrupolo (aspettatevi botte da orbi con tanto di fuochi d’artificio e musica da sala che fanno da sfondo, tanto per dirne una). E’ un drama che abbandona decisamente tutte le scelte scontate e costruisce mix tanto improbabili quanto azzardati e interessanti, ma sempre pensati e frutto di un approccio convinto. Non è una serie che manca di una propria identità o che si può confondere con mille altre, questo poco ma sicuro.

La riuscita caratterizzazione dei protagonisti è senza dubbio merito del cast, semplicemente perfetto: Shin Ha Kyun, Oh Jung Se, Heo Sung Tae. Non sono solo attori: sono veri artisti del cinema coreano. E sembra quasi che, sgomberata la scena dal fotogenico ma poco capace idol di turno, possano dare piena prova delle loro capacità e che lo facciano quasi divertendosi, gustandosi appieno il proprio ruolo. E’ una sensazione quasi contagiosa, che porta ad apprezzare la loro alchimia, i loro battibecchi, la loro capacità di passare dalla commedia al dramma in un battito di ciglia, rendono ogni scena una piccola chicca. Al loro fianco, tante altre prove ben riuscite: Kim Shin Rok, nei panni del tenace procuratore che indaga sul caso, regala una prova di forza che lascia senza fiato. Shin Dong Mi, Han Ji Eun, Lee Hak Joo, Kim Sang Ho, Hyun Bong Sik: ognuno aggiunge un pezzo prezioso a questo mosaico umano, a dimostrando che non davvero un solo buco nella recitazione. In particolare, Kim Sang Kyung, nei panni del villain politico Han Gyeong Uk, è un avversario che incarna perfettamente il male perpetrato senza scrupoli.

Pur presentandosi come una commedia d'azione incentrata sullo spionaggio, sotto la superficie nasconde molto di più: attraverso lo stile della commedia, il regista Han Dong Hwa esplora temi profondi come la possibilità di ricominciare dopo una vita di violenza e segreti, la redenzione, la costruzione di una seconda possibilità. La domanda che aleggia per tutta la serie è: ci si può davvero lasciare il passato alle spalle? O il passato, prima o poi, tornerà sempre a galla? I tre protagonisti, con le loro imperfezioni e i loro tentativi di essere persone migliori, sono figure incredibilmente umane.

La serie è inoltre un perfetto equilibrio di toni: si passa dalla risata sincera alla tensione dello scontro fisico, dal momento toccante a quello assurdo in un turbine di generi - azione, criminalità, commedia, romanticismo - che il regista riesce a dosare con mano sicura.

Qualche difetto, va detto, c’è. Il mordente diventa un po’ altalenante nella seconda parte, dove qualche scena si poteva tagliare o quanto meno accorciare, facendo tesoro di quel minutaggio che avrebbe evitato al finale di apparire troppo frettoloso, come invece è stato. Dopo aver costruito con tanta cura le vite di questi personaggi, la chiusura non concede loro il tempo di respirare che meriterebbero. La risoluzione è sensata nel contenuto ma precipitosa nella modalità, e lascia lo spettatore con la sensazione quel pezzo mancante – ma dovuto – nell’epilogo avrebbero fatto la differenza. La storia chiude in bellezza, la soddisfazione dello spettatore assapora un po’ di amaro in bocca. Ed è un po’ un peccato calare il sipario proprio sul momento meno riuscito di tutti.

Detto questo, lo consiglio caldamente. È una di quelle serie che rischia di non essere presa in considerazione o, peggio, di venire sottovalutata. Vale invece davvero la pena darle una chance, anche se si è indecisi: la si inizia per curiosità e ci si ritrova in breve tempo coinvolti in una storia che parla di seconde possibilità e del diritto di essere felici, anche a cinquant'anni suonati. Nella sua modalità insolita e a tratti anche stramba è tuttavia un inno alla vita, alla speranza e a quella follia che ci spinge a rialzarci anche quando tutto sembra perduto.

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Liebe liegt in der Luft – zwischen Sturm, Regen, Wind und Himmel

Hinweis: Folgende Zeilen stellen meine persönliche, subjektive Einschätzung der Serie dar.
Love in the Air erzählt zwei Liebesgeschichten. Im ersten Teil stehen Payu und Rain im Mittelpunkt, im zweiten Teil Prapai und Sky. Beide Geschichten haben ihre eigene Dynamik, ihre eigene Form von Romantik und ihre eigenen Konflikte. Dadurch fühlt sich die Serie fast ein bisschen wie zwei Serien in einer an. Ich muss Rain zustimmen: Rennanzüge sind toll. Dadurch hatte die Serie bei mir von Anfang an einen gewissen Bonuspunkt gesammelt. Und ja, Prapai, gespielt von Fort, macht nicht nur im Rennanzug eine hervorragende Figur. Ehrlich gesagt sieht er in jedem Outfit gut aus.
Die Geschichte von Payu und Rain lebt vor allem von ihrer lockeren, verspielten Dynamik. Rain ist manchmal chaotisch, sorgt regelmäßig für peinliche Momente und trifft nicht immer die klügsten Entscheidungen. Payu übernimmt dabei oft den ruhigeren und kontrollierteren Part, wodurch sich die beiden gut ergänzen. Der zweite Teil mit Prapai und Sky schlägt etwas ernstere Themen an. Die Geschichte beschäftigt sich stärker mit persönlichen Verletzungen und Vertrauen. Dadurch wirkt sie emotionaler und teilweise auch schwerer als die erste Hälfte. Trotzdem mochte ich beide Storylines sehr und hatte nicht das Gefühl, dass eine deutlich stärker oder schwächer als die andere wäre, beide Paare unterscheiden sich auf eine angenehme Weise voneinander.
Ich mochte auch den Bezug zum Wetter. Nicht nur wegen des Titels, sondern auch, weil sich dieses Motiv durch die ganze Serie zieht. Es passt zur Stimmung der jeweiligen Geschichten und gibt der Serie noch einmal einen zusätzlichen Wiedererkennungswert.
Was ich allerdings nie ganz verstanden habe: Rain und Sky sind enge Freunde, genauso wie Payu und Prapai. Trotzdem laufen die jeweiligen Liebesgeschichten über weite Strecken erstaunlich getrennt voneinander ab. Natürlich gibt es Berührungspunkte, aber ich hätte mir deutlich mehr Austausch zwischen den vier gewünscht. Gerade bei wichtigen Ereignissen hatte ich oft das Gefühl, dass gute Freunde eigentlich mehr miteinander reden würden.
Natürlich bedient sich die Serie vieler bekannter BL-Tropes. Aber Love in the Air versucht auch gar nicht, etwas anderes zu erzählen. Die Serie weiß genau, was sie sein möchte: eine romantische Geschichte mit viel Chemie, Drama, attraktiven Hauptdarstellern und einer ordentlichen Portion Fanservice.
Und Love in the Air lebt vor allem davon. Die Geschichten von Payu und Rain sowie Prapai und Sky unterscheiden sich genug voneinander, um interessant zu bleiben, haben aber gemeinsam, dass sie genau das liefern, was viele Fans einer romantischen BL-Serie suchen.

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Knight Flower (2024) is a great thrilling Korean comedy set during historical times with ML: Lee Jong Won (as Park Su Ho) and FL: Lee Ha Nee (as Cho Yeo Hwa) in the leading couple role. This is a star studded drama with fantastic performances, writing and editing, music. choreography, costumes, and direction. The chemistry among the cast was remarkable and, even though there were no romantic scenes between the leading couple, one can see and feel their growing likeness and respect for each other. There is great storytelling between the present time and the events from 15 years prior that links 3 families and the royal palace to bring about a story of palace intrigues, pursue of justice, and a fated and heart fluttering love story. Overall, this drama is excellent and entertaining; enjoy it!

SPOILER ALERT:
For romance seekers, the drama might get 9 stars because the romance was beautiful but toned down without intimate scenes.

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TutorYim’s Off-the-Charts Chemistry Wasted on a Plotless Mess

Tutor and Yim are a stunningly gorgeous pair, and because of them, I had massive expectations going into this. The first episode absolutely hooked me—the chemistry was there, the settings were beautiful, and the color grading was gorgeous. Unfortunately, it went downhill fast after that.
There is essentially no plot. If you asked me what this show is about, I couldn’t tell you other than "two people meet and run a restaurant together." While I liked the quirky, unserious vibe at first, it often crossed the line into cringe. The editing was incredibly jarring, cutting from one scene to another with zero flow.
The only saving grace was Tutor and Yim's off-the-charts chemistry, but even that was underutilized. The romance scenes felt short and underwhelming. I ended up skipping through almost every episode just to see their scenes—I was simultaneously interested in them and completely uninterested in the actual show. Watch it for the visuals, but keep your fast-forward button handy.

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Good and Evil Through the Tragedy of Choice

Waiting for a drama to premiere is an act of faith, and my journey with this one was a test of patience. At first glance, the storytelling felt muddled, a puzzle with pieces that didn't quite seem to fit. It wasn’t until the narrative settled into the familiar rhythm of the academy that it truly found its footing, building a genuinely compelling momentum. If I had to draw a line, the first half of the drama was a solid, engaging watch. The second half, however, wasn’t as satisfying; it stumbled where it should have soared. And yet, even in its imperfection, the final episodes held moments that resonated with a quiet power, leaving a bittersweet taste that lingers longer than a more polished, forgettable finale.

Having seen other adaptations of this author’s work, I was prepared for a certain formula. I tried not to make comparisons, but the echoes were impossible to ignore. The drama leans heavily on familiar, even overused, tropes: the immature and childish female lead who eventually matures, the enemy-to-lovers dynamic, and a collection of obsessed, psychopathic male characters who blur the line between antagonist and outright villain. I had hoped that the second male lead, Ji Tongzhou, would be a complex antagonist rather than a full-blown villain, but the story took a darker, more definitive path—a common tragedy in these sprawling cultivation tales.

What truly anchors this story, however, and what saved it from being a simple trope-fest, is its core theme. Beneath the flashy CGI and frantic pacing lies a poignant exploration of nature versus nurture, of birth versus choice. The drama masterfully deconstructs the very foundation of its world. Everyone speaks in hushed tones of a past catastrophe, a great war between immortals and demons. The elders, draped in the robes of sages, indoctrinate a new generation to hate a faction branded as evil by birth and origin. But the truth they so carefully conceal is far more damning: the sages were never truly sages, and the devils were never born evil.

This hypocrisy is the engine of the drama’s tragedy. The so-called righteous immortals, led by the sanctimonious Cui Xuan, are driven by greed and a hunger for power they mask as divine justice. Cui Xuan’s secret prison, the Xiaoqian World, where he drains the life force of demon spirits to fuel his own cultivation, is a more horrifying evil than any act committed by the demon clan in the show. He didn't just kill Qing Cheng (Wu Gen), the master who chose love and redemption over transcendence; he betrayed the very essence of their brotherhood, exploiting his trust to imprison and eventually murder him. This act of intimate betrayal is the true face of "righteousness" in this world, a far cry from the "evil by birth" he projects onto the demon clan.

At the heart of this conflict stands Lei Xiuyuan, the demon lord Ye Cha. He has every conceivable reason to become the monster the world insists he is. He is born under a curse that forces him to consume the very personification of life, Jianmu (Jiang Lifei), or suffer a soul-shredding death. He is hunted, blackmailed, and manipulated by a scoundrel like Zhen Yunzi, who uses his dying brother Lu Shanhua as a puppet. The world, including the woman he loves, is a constant crucible encouraging him to embrace his inherent darkness. His fight is not just against external enemies, but against his own cursed nature, which drives him to uncontrollably hunger for the very scent of Jiang Lifei’s life force.

And yet, his defining act is defiance. His greatest strength isn't his terrifying demonic power, but his unflinching choice to be good. His iconic line, "Xin zhi suo xiang cai shi xuan ze" (What the heart desires is the true choice), isn't just a slogan; it's his life's thesis. It’s the mantra he clings to when resisting the soul-corrupting magic, when refusing to harm Jiang Lifei even to save himself, and when ultimately sacrificing his life to shatter her chains and set her free. He is a character who embodies the drama’s soul: a person born to be a villain, given every justification for villainy, who instead uses his power to protect the world that despises him. His internal battle is far more compelling than any external sword fight.

Juxtaposed against him is Ji Tongzhou’s downfall, which is a perfect, tragic foil. Unlike Lei Xiuyuan, who resists his cursed bloodline, Ji Tongzhou is consumed by a self-created one: his obsessive love for Jiang Lifei. He starts as a loyal friend but spirals into a demon of his own making, cloaking his possessiveness and ambition in the language of protection. He doesn't need a curse to absorb Jianmu's power; he does it out of a chilling sense of entitlement. His moral decay is so complete that he murders his oldest friends, in a fit of rage after being confronted with his own hypocrisy. In the end, he’s a hollow figure, painting portraits of a woman who will never love him, having destroyed every genuine connection he ever had. His tragedy isn’t his love; it’s his choice to let that love fester into a tyrannical need to possess, turning him into the very monster he claimed to fight.

Jiang Lifei, too, evolves from a source of frustration to a pillar of strength. Her initial childishness is grating, but her journey is one of painful awakening. She learns that the world her master Qing Cheng wanted to protect is full of wolves in sheep’s clothing. Her most powerful moments are when she sheds her naivete, like when she mocks the assembled immortals at her public trial, brilliantly exposing Cui Xuan’s plot to enslave them all with her trap-like chains. Her decision to stand against the sea calamity at the end, not as a sacrifice to a cruel world but as a fulfilment of her master’s dream, completes her arc from a naive girl to a self-possessed woman who understands that true power is not in one's origin but in the sacrifice one is willing to make.

Sadly, this beautiful, thematically rich narrative is trapped in a flawed vessel. The acting is inconsistent, often failing to carry the heavy emotional weight of the plot. But the real villain of the production is the post-production work. The CGI and editing are, to put it bluntly, a hot mess. At times, the garish graphic effects were so blinding that I nearly dropped the drama. The editing gives the show a frantic, breathless pace, butchering scenes that should have been given time to breathe and resonate emotionally, leaving the viewer feeling pummeled rather than moved.

It’s a story that understands that the most profound monsters are not born in the netherworld but in the secret chambers of a hypocrite’s heart, and the truest hero is the one who conquers the monster within himself.

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Comedy From Afar, A Tragedy Up Close

Tan Jian Ci does a phenomenal job in his portrayal of the ML and manages to turn a crabby, dislike-able ML into someone kinda cute. Don't get me wrong, TJC carried the drama and without him, this easily could have been an angsty melodrama. He has a natural talent for comedy and tongue-in-cheek moments. If it weren't for him, I most likely would have dropped the drama.

But please, let's be serious. The ML is a love that I don't wish upon anyone. Who else would want a crabby, sarcastic, sometimes downright rude good-for-nothing that cannot wash dishes, cook, clean, or do laundry and thinks the whole world runs around him. It might give viewers a little PTSD because we all know someone like this, but they often are not some conglomerate group's heir.

From afar, it's a comedy but up close, it's a tragedy. The poor FL who was on track to being a trad wife gets dumped by her fiance for a rich girl and her earnesty taking care of him and his whole family is thought of as suffocating. But because she was so set on being a trad wife, FL gave up a lot of career opportunities. Not only does she end up broke from buying a marital home by herself, she also has no job prospects and is taken advantage of multiple times by many different people. As the author would have it, the ML comes in and saves the day every time something happens. He loans her money, teaches her how to navigate work, diffuses or resolves plots against her, and eventually gives her a job (multiple times). It is safe to say that without ML, FL would have been cannon fodder and likely would have just been another unfortunate scapegoat. Unfortunately, she is also accompanied by several well-meaning but troublesome friends who don't always make the situation better and only add to the situation.

Needless to say, my issues lie with the script and characters but not the actors themselves. Wang Chu Ran does a great job in this drama because she manages to balance the fine line between drama, comedy, and tragedy. It's just TJC blows the entire cast out of the water in this one because he quite literally dominates the screen. In short, it's a male-saviour drama where the ML saves the damsel in distress. While it's not outright misogynistic, there are enough red flags for you to not love it and rewatch it later.

Red Flags (not an inclusive list):
- The streamer/front desk/dancer friend x the stalkerish gamer couple = No, just no. Completely omitting them would have made the drama better
- The random mini break ups the main couple goes through followed by reconciliation without changing any behaviors
- The last minute selling of the house because the ex's mom is sick (bro, there's literally no obligation to do anything for them anymore)

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I’m literally crying laughing ? dynamic duo of the year already!

Okay, so I randomly picked up this drama because I love Ji Sung, and Oh My God, I’ve only watched the first two episodes and I am already obsessed! My stomach genuinely hurts from laughing so much. If you need something light, super funny, and chaotic for the weekend, this is IT.The whole plot is just so wild and unhinged. You have this ex-gangster boss who decides the best way to steal 10 billion won is by becoming the president of an apartment complex. Like, who even thinks of that?! But the real gold is the "fake family" setup.The fake wedding scene in episode 1 had me rolling on the floor. Ji Sung and Ha Yoon-kyung have this weird, bickering chemistry that just works so well. One minute they are faking a romantic moment with a thumb-kiss, and the next minute they are arguing like they’ve been trapped in a toxic marriage for 50 years. Ha Yoon-kyung is such a breath of fresh air here—she’s so chaotic and money-minded, I love her character already.And Ji Sung? The man never misses. He looks so intimidating but then does the goofiest things while dealing with the nosy apartment aunties and grandpas. The entire neighborhood is full of weird, shady, and hilarious people, which makes the whole vibe feel like a complete madhouse.It honestly reminds me a bit of The Fiery Priest or Vincenzo vibes where it's a crime/heist story but the comedy is just turned up to 100.Only two episodes in, but I'm 100% hooked. If they keep up this exact energy and comedy timing, this is easily going to be one of my favorite watches this year. Go watch it right now, you won't regret it!

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Murayama's Departure was beautiful

Instead of the main story and new main characters in this movie, I found myself more invested in Murayama's departure story from Oya High School, along with the story of Housen Academy's leader Ueda Sachio, and Todoroki.

This movie still had great fights and good music. I think the main story is done pretty well. I still liked it, and maybe I would have enjoyed it more if it were an independent movie, not a sequel from the High & Low franchise. It didn't touch me so much as the original High&Low story, with the original characters. I think one of the reasons would be that the plot was very similar to the previous series and movies, which I'm already so familiar with. Besides, it didn't give the same vibe as I had expected. What I loved the most from the High&Low saga, besides great action scenes and distinct theme songs created for each gang, was strong brotherhood, and found family vibe and unique street vibe. It felt like the gangs in S.W.O.R.D district were fighting for something important to them. As it was mentioned throughout the series, the gangs used their fists to protect their friends, brothers, family, women, and also the whole district from big yakuza corporations and corrupt government officials.

In this movie, besides the story of trying to bring back a friend who was choosing the wrong path due to misfortune, which was basically the main theme of the High&Low franchise, the new main characters' purpose is just to constantly pick fights with different rivals to prove their strength and power. It's pretty understandable to me too, as most of them are teenagers and I guess perhaps that's a normal attitude of boys at that age. What confused me a bit was that I felt like they were trying to normalize that attitude and made those young boys look like they were heroes. I actually disliked some new students in Oya High School, but luckily they were not the main characters and didn't have much screen time.

As I have mentioned above, the spotlight of this movie for me was Murayama's departure from Oya High School and his journey into adulthood. Despite Murayama's little screen time, I loved every moment he appeared, including his second fight scene with Todoroki, his wise words given towards the junior students in Oya High School, him at his part-time job, his appearance with his iconic truck, the final big fight against the bad guys in the area, and his iconic line before every fight. It was really nice to see how humble and polite Murayama became at work, in the world outside Oya High School. He was gradually changing and learning to be accept new challenges in life other than being the leader of Oya High School. His departure from Oya High School was inevitable and necessary for his own growth. He was ready for a new chapter in life. I'm happy for him, and glad that I was able to witness his last moments in Oya High School.

I also loved the way Murayama was trying to call Cobra for an advice and for a casual talk, like between close friends. It was another beautiful scene to me. Until now, my top favorite individual fight scene in the whole High&Low saga was still the solo fight between Cobra and Murayama from the first series. I'm so happy to see how far they had become.

My other favorite parts in this movie belong to Housen Academy's leader Ueda Sachio. Shison Jun is one of my favorite actors and he was so cool in this movie, from his look, facial expressions, actions, to his badass fight scenes. Everything was perfect. I wish he had more screen time. He seemed to be an interesting character that I would love to learn more about, and his relationship with our main character Fujio was pretty interesting too. I guess they would become good friends in the future.

Oh, Tettsu and Chiharu appeared again in this movie. This time they appeared together in one scene. They were still a comedic duo as always. It would be nice if Dan could be there too. By the way, Tettsu had a new hairstyle again, which was also nice, but I still loved his dreadlocks style the most.

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I'm hooked!!! (Past Tense)

This show had the best intro episodes I've seen in a while! wow so, so, so perfectly done.

I have with just 2 episodes watched the perfect understanding of who these characters are, the mains and support too and so far it's good!! So good in fact that I'm scared of how the 10 next episodes are going to keep this up. Is it going to be this good for all 12? Is it going to slowly go downhill and end up being trash? Somewhere in the middle, maybe? Probably?

I don't know, I truly hope that it keeps going this well, but I've been disappointed too many times before to be confident that it will. For now it's a 10/10 and I cannot wait to watch more.

I am so into this drama! episodes 3-4 were just as good as the first two episodes , I'm so happy with how the story is developing and how the characters interact with each other.

The plot is nothing new, we pretty much can tell what is going to happen next but the chemistry between the actors is so fantastic and the acting is so good that in my opinion it is worth watching 100%. There's still plenty of time to mess it up so I'm not going to say that this is the best drama ever or whatever but, so far so good and still a 10/10 for me.

Well, it happened, my expectations for this drama have dropped one the one end, Hana's mom sucks!! I might hate her more than I do Soobin's dad so that gives me a good villain to hate, but I jae has become an annoyance for me I don't dislike her but she's making it really hard for me to root for her.

I'm updating my rating to an even 8.0 and I am treating the Hana and Yugeon pairing as the main plotline because honestly it's the better plot and their chemistry is fire!

I know not to get my hopes up and yet I do every single time, episode 8 felt like a waste of time most of it spent on the annoying "Jelous for absolutely no reason" trope, it would've been so much better if it focused on the scandal and more Hana and Yugeon instead. I didn't care much for third couple as that plot thread felt completely removed from the story and now that it's somewhat integrated I don't care at all. There are only 2 episodes left to go and I'm just hoping that it ends well for Hana, I thought I was going to hate her when she was first introduced and she became the best characters in the entire series, I absolutely adore her.

I was hooked! they had me excited and hopeful for a 10/10 drama, but they lost me. I came here today to watch the final two episodes and as soon as I clicked on episode 11 I regretted waiting until today because it meant I had 2 more hours of this instead of one. I am utterly disappointed, the ending was fine same old same old, what started as a possible 10 for me ended as a very generous 6.

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The story follows Saeko, a woman shattered by the sudden loss of her fiancé, Yusuke, in a tragic accident on the very day he proposed. Months later, she crosses paths with Naruse, a man who has been given a second chance at life after receiving a heart transplant. Unbeknownst to Saeko, Naruse was the recipient of Yusuke’s heart. As the two are drawn to each other, Naruse begins to experience strange, lingering memories and impulses that do not belong to him—but to the man Saeko loved.
🌟 What Makes It Special
1. A Poetic Exploration of Grief and Connection

Rather than relying on cheap melodramatic tropes, Beyond Goodbye treats its supernatural premise (cellular memory) with incredible gentleness and maturity. It’s not just a romance; it’s a profound meditation on how we process loss and whether the essence of a person can truly survive after they are gone.
2. Spellbinding Performances

The chemistry between the lead actors is the beating heart of the show:

Kasumi Arimura (as Saeko) delivers a masterclass in quiet, devastating grief. You feel every ounce of her longing and confusion.

Kentaro Sakaguchi (as Naruse) brilliantly navigates the complex, jarring experience of a man caught between his own identity and the foreign emotions taking over his body.

3. Breathtaking Visuals and Atmosphere

Set against the stunning, snowy landscapes of Hokkaido and the vibrant streets of Hawaii, the cinematography is nothing short of cinematic. The contrast between the cold, serene environments and the warm, aching emotions of the characters makes every frame look like a painting.
4. A Soulful Soundtrack

The music, featuring a hauntingly beautiful theme song by Hikaru Utada, perfectly mirrors the melancholic yet hopeful tone of the series. It gently pulls at your heartstrings without feeling manipulative.

8.5/10

"A breathtakingly sad, yet incredibly comforting watch."

Beyond Goodbye is a masterpiece of modern Japanese television. It takes a premise that could easily have felt cheesy and elevates it into a deeply respectful, visually gorgeous, and emotionally raw story about love's endurance. It’s a must-watch for anyone who appreciates a mature, deeply felt romantic drama.

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This cast!

For this being Min and Toptap's first series at all (as Mains) let alone together, the chemistry between these two is phenomenal. Excellent job done by the casting director. And the rest of the cast is just as good. Shogun was great as the sexy playboy type in Deep Night, and yet I am totally buying him as the sweet and innocent Sky here. Khunnote is a great supporting actor, but I think he must be better known for his music because I don't remember him having any main roles before and other than Dare You to Death, I don't know that I've seen him in anything. Fuaiz playing the bad guy seems like the next logical step after his character in 4Minutes. This series stands alone much like KinnPorsch for me.

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