Reviews

I disagree with most comments on this season. For me, it was shocking that someone thinks the acting here is poor. I really loved the actors. Not only the new cast is good, but the old cast is better here than in the previous seasons. My favourite performances are Frung's (Oil) e Pea's (Boss). Their story and acting are really good and convincing. Boss introduces an important discussion about politics in Thai society, while Oil made me cry due to her desperate and destructive way of life. But besides them, I loved all stories, even though I hated Non and Pang and had the feeling that the lovely lesbian plot was out of place compared to the other plots.
Differently, from most people, I think the third season marks a come back to the good times of season 1. I loved the 'rebel' first season, but the second one seemed conservative and too concerned to please mommy and daddy. This season was more sensible and realistic when dealing with controversial issues, like AIDS and gay parents.
I liked as well the end of the season, I think they were more skilful to end the story than the second season. It was a wonderful ending for one of the best series I have ever watched. I wanted that other Thai series could be so realistic as this one. Tired of series with poor stories and bad acting like so many things I see around.

(Sorry for my poor English).

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PROPER MINDSET
What to expect: a festival of backstabbing.
Don't watch it if you despise convenient plot points, because almost every single twist and turn here is exactly this.
Imagine a storyboard, an intricate and tensed network of possible outcomes. As the story flows, it forces some lines to close down. Some chess pieces are bound on their positions, limiting the movement of others. Some are taken down (destroying evidence is a recurring theme of the first half or so - which, realistically speaking isn't a wisest move on a characters' part, but it's necessary for the plot to move forward; once a deal is finished, it's impossible to restore the former status (but hey, there's a twist on this too!)).
The first episode is a gateway of sorts, filtering out the viewers who aren't for this kind of story (the controversial part is even in the official trailer). A journalist gets killed, his friend framed for it, and a judge known for his integrity blackmailed to announce him guilty. Framed man's daughter seeks the judge's help, but feels betrayed in the end and sets him up, trying to create a pressure point on him. He ends ups tangled between Taebaek law firm's all-reaching influences and her blackmail, facing an impossible choice. Sprinkle with hints of latest political scandals from real life and you have a Taebaekgate of your own.

WORLDBUILDING
There are no right choices here. It's a bleak and ruthless world in which power overcomes truth and justice can be bought. Everyone important knows each other and sits in Taebaek pocket. The law firm serves as a symbol here: it recruits its employees from the elite lawyers, prosecutors and judges by orchestrating their downfall from behind and generously offering them a place to stay. Then it feeds on their former reputation and abilities.
Many people complained that a hero introducted as just and incorruptible breaks so easily and turns shattered and 'spineless' during first few eps, but that's the point. 'Whisper' suceeds in creating a sense of encirlement, hopelessness and inevitability.

CHESS PIECES
Characters' cunnery manifests in being in right places at right time with right people and smirking knowingly. They're smart enough to forsee one or more moves of the opponent ahead, but it doesn't mean they don't lower their guard from time to time. And yes, deadpan and smirk (and furrowed brows…) are dominant expressions, but first, I don't think it was actors choice, two, there's much more to it (a honourable mention for Hyung Mook, let's hope to see more of him in the dramas).
There's no clear, progressic character development, only people being poked from different angles and reacting accordingly. In a sense, it's not about Dong Joon and Yeong Joo substantially changing at all, because those two (especially she) were badass from the start, only their means were limited. For them, it's about achieving their goals. They come to their original point, only stronger and calmer. What changes the most is everyone around them losing their comfort, realising that the rotten world they know so well affects them too, that they too could also fall prey of a betrayal, not just stage it for others, and that people they trust and love won't always put their good first. All the sense of comradery in crime falls apart.

ROMANCE TAG
There's a love line and it stopped me for some time from even starting this. (Two, actually, but I don't want to completely rob you out of feeling smart and perceptive in a first few eps.) Its existence may or may not feel a little forced. It develops gradually and for the better part of the show consists mainly of male lead spacing out watching female lead being awesome, his gaze tinted with guilt. If you don't feel like watching a drama with a romance tag, you can safely ignore that for the first 12 episodes or so and pretend they're just partners with a hostile start, reaching an adorable intimacy later [here would be a gif of Dong Joon stealing a bite of Yeong Joo's salad from her plate].
However, the important part is: they both have agency during the show, can act separately and aren't overly protective. In the end, them developing feelings for each other serves as just another pressure point.
I could say there's a 'strong female lead' (and it applies to both to various extent), but the thing is, not a single character is gender-limited to begin with. They aren't forced to act or behave like males or females at all.
Also - the poster is right. It's not about main couple and their vengance only, all four characters are equally important. I'd even argue that the other two carry the story once the things between the former are roughly settled.
What it doesn't depicts, are four fathers. There's a rivalry and resentment between Choi Il Hwan and Kang Yoo Taek and it cast a shadow on their children. Lee Dong Joon has family issues too. But all of this is treated as a mean to a purpuse.

17 HOURS OF YOUR LIFE
I tend to avoid crime/law/suspense/mystery/… dramas longer than 10-12 episodes, because stretching it further calls for people running in circles like a headless chickens and creating misunderstandings that could have been easily avoided if they just stopped and used their brains for once. Not a case here. On the contrary, obstacles come from constant betrayals on every front and people trying to protect oneself on other's expense. The pacing is fine. It takes some time to dismantle stalemates within stalemates and get enough power to force the truth. When this drama does prolong some event or a threat, it does it in such a manner to close all exits but one. For example, you can see someone soon-to-be framed for something at the beginning of the episode, but it takes some preparations to make sure that person will have little to no possibility to get out, and if s/he was taken sooner, s/he could save him/herself much easier (enters a fire destoying what little evidence have left). It's logical and kinda mechanical.
Anyway. I didn't skip a scene, which is something to brag for me these days. There was a week-long break forced with the presidental election coverage, but it's not noticeable. Recaps and flashbacks are minimal if any during the better part of the show, but there's more towards the end, because it was originally written as a 16 episode drama.
It's not super realistic in details, but uncanny in essence. The story is cleared out of all the accidental clutter and wholly focuses on the main plot and connected subplots showcasing the main players. Don't expect much of legal cases or police investigation. They do work, but it mostly serves as a setting since they don't meet mundane problems or unrelated cases. If something comes up, it's used as an exposure point, to reveal something from the past or to create a new problem that can be used against someone. Characters have only skeletal backstories - and for me it works. For many it doesn't.
Generally speaking, if you don't feel an urge to cheer for your characters, but rather shake them, throw on an arena and see who'll last, you've found yourself something to watch.

MUSIC
Tolerable and sparsely used for a kdrama standards, mostly instrumentals and background noises (clock ticking etc). Main theme is a latin chorus (with a hint to an early plot point), but it's nowhere near as pretentious as say, K2.

VISUALS
That's the biggest forte for me. First, it's stylish, two, it's fitting. It heavily relies on contrasts. Taebaek resides in a fortress-like building, a huge grey cube with slot-like windows. (Of course it has an open roof for dramatic conversations in the wind, duh.) It's interior is all glass, chromium, highly polished marble and some rough stone on the walls. Tight, dimly lit corridor leading to the owner's office ends with an anti-chamber filled with a terra cotta army and two hostess taking away all electronic devices from the guests. It's an example, but there are many locations and they all match the common theme. Interior decorations items are used within the plot. People mostly wear elegantly matte fabrics and everyone is coordinated for the sake of coherent screencaps. Even PPL doesn't hurt the eyes that much. The lighting is cold, blueish and artificial and it bonds all the scenes for the scale I haven't seen before in a kdrama. It's on par with Cruel City's grittiness and darkness or W clear division between two worlds when it comes to a coherent worldbuilding.

HUMOUR SAMPLE
'My father is not here today, they are having a praying meeting in their community, so the embezzlement of the temple funds won't be found out.'

Pros:
- Highly motivated, flawed, charismatic characters
- Reasonably smart intrigue (forming alliances and shuttering it, finding weak points and exploiting it)
- Good acting
- Even pacing, engaging power struggles, focused storytelling, clear and somewhat elegant structure
- Visually pleasing (and it's an integral part of the worldbuilding)
- Comic relief isn't overused, neither is the story too dry and serious
- not makjang.

Neutrals/cons:
- Convenience everywhere. Some things that never have any business be written take tangible form.
- Music fits the mood and action, although it ranges from forgettable to 'dear lord, not K2 again'
- Romance feels forced an unneeded.
- Not very engaging on an emotional level (there's a lame attempt of holding the viewer hostage with making one character badly sick in the middle, but I still don't really care for anyone or anything). It brings out repulsion, pity maybe, a satisfaction from people meeting their end and justice triumphing, but that's it.

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I generally avoid romcoms of the J-drama variety because they so often follow the same formula. That being said, I wanted to give it a chance because there *are* romcoms out there in existence that can strike the perfect balance of light and feel-good yet clever and critical (a la 'Nigeru wa Haji da ga Yaku ni Tatsu', or hell, even 'Otona Joshi' which follows a similar concept).

Unfortunately, after giving Tokyo Tarareba Musume a go, I can't bring myself to be generous. The point that it's making is there, and the conclusion they came to had a good message. I get what they're going for, but the execution was off. It was a little bit *too* on-the-nose when it came to the main characters and justifying their poor life choices. There's a fine line between writing flawed, complex heroines and writing characters who keep making the same exact mistake until the very end where they would finally "fix" things after having the same realisation for the fifth time.

The men in their lives (aside from Hayasaka) were all selfish and straight-up awful, including KEY. He redeemed himself a little bit in the last few episodes but I didn't find that his reason (a traumatic past, of course) was enough to justify being such a colossal dick for most of the series. The progress of his relationship with Rinko and their interactions felt inorganic and I know they live in the same neighbourhood or something, but there is no way they would bump into each other by coincidence *that* often. Most of all, the insights that they make and the social commentary was shallow, which wouldn't bother me if it weren't for the fact that the point of this drama was to "tackle" the issues haunting women around thirty.

Look, the end result was clear in what the writer's intentions were - the women did grow as did their outlooks, but the process in getting there was neither complex nor nuanced. The drama, with its premise and characters and situations, could've been good with better writing but unfortunately it missed the mark and landed smack into the realm of Infuriating Formulaic Romcom.

I also haaaate the bubblegum electropop soundtrack by Perfume. It cheapened the show imo.

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Kiriyama Renn is an enigmatic and super cool assassin named Mirage, in this almost Bond like thriller, with a unit called K13 in Japan who has the license to kill and clean up messy organizations and people. The police system seems corrupt and vile enough as always, and the villains are mysterious. The main antagonist listens to this recurring opera and each time you hear it, you know the villains are gaining an upper hand.
Watch this for the cool music, a very well choreographed set of fight scenes in each episode, and Kiriyama who has little speaking parts but lots of fast action, and a cool car. In fact, the action scenes are short and swift but that is what one looks forward to each episode. They are almost movie quality choreography and design, with each fight scene showing off Mirage's empty hand, or weaponed, or shooting prowess. Mirage is a mysterious killer who dispenses with his missions efficiently, stylishly, and without fail. Even though Kiriyama is not a martial artist, the fight scenes are quite convincing and intricate.
And if you can ever figure out who really are the good and bad guys in the Japanese government/police force, good luck...

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I went into this lakorn hoping for a badass female lead, although in the beginning she was bratty and obnoxious I had this little hope like "okay her character will began to redeem itself a little, hopefully?". But I was disappointed, her character was only weak, simple, and had her go-to trait a brat. We do see some bit of change around episode 6-7 but I felt that it wasn't sufficient.

I am not that in love with the male lead, he had those similar characteristics as what you'll see from other lakorn, he cares for the niang'ek, "helps" her from behind the scene, la-di-da-di-da but I did;t feel touch like I would with other lakorns. The lakorn did not do any justice of romance. I wouldn't blame the actors and actress, it's kind of like the storyline/the way it was directed, there was no sense/a drive to convey of a love connections between the two leading actors, and even if there was one I felt that it was weak and wasn't able to fully relay those feelings of love between the characters.

I tried to do as other comments said, to finished before reviewing, and I did finished, after skipping through a lot of parts because it frustrated me so much. I'm suppose to fall in love with the storyline, the lead characters, but what this drama left me was disappointment. 6 episodes into the drama and I felt that the true plot hasn't even happened, it was a real dragger. I felt no sympathy for the male lead, and I hated how weak the niang'ek was. No love connection could be felt at all that's why I didn't even have a sense of wanting to root for the two lead actors to end up together. It didn't create the feels I would usually expect when watching lakorns.

This is just my opinion I'm sorry if it was so long, but Dang IT! I just had to comment an opinion because this frustration at this LAKORN, ARGHHH!!! lol I was hoping for so much more but... the disappointment was real (not at the actors but more towards the storyline, i wanted a bigger development)

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Fantastic acting, production value, cinematography, sound track. It was pretty much a movie production stretched into drama. Ayano Go is amazing here as the 'monster' created from dead people, where a scientist had altered some genetic material and revived. He learns about what it means to live, be a human, and human emotions like love, fear, displacement, friendship. Less sci-fi and more fantasy, and slower paced than it could be, still, its beautiful tone throughout is worth watching every minute. Finely calibrated performances from Ayano and Nikkaido, at a level you don't normally see in TV dramas. Take out the annoying side characters and you have a perfect drama.

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I have very strong feelings about this drama, enough that I felt like I should skip-watch it to get to the last episode and see how it turned out and clearly I have more time in my hands than I realise as I definitely felt like I just wasted 12 hours of my life with this one.
DO NOT WASTE YOUR TIME
Honestly, I was hankering for some Melodrama/Revenge stories after watching 'Secret' (which was excellent!) and the whole love/hate dynamic was heartbreakingly good to watch. In Secret the chemistry was amazing and I'm sure I'm not the only one who wanted some censorship friendly hate s** , or at least some bruising kisses between the Main Leads. This is how I ended up watching this show. Boy did I take the wrong turn! I really don't understand why this has a 7.9 rating and glowing reviews.
Story was not bad, immature at times but actually thought out. nothing earth-shattering or even highly original but easy to follow and the mystery that we follow throughout all 19 episode get resolved somewhat satisfactorily at the end. Just that the way it was filmed was confused in the sense that you realise that the director/writer just wasn't sure if this was a Melodrama, a rom-com, or a thriller.
Cast/Characters were totally mismatched. Nothing against any of the actors, they played their part well enough but whoever did the casting was either romantically numb or just plain blind. Marcus Chang had better chemistry with BFF/spy and should have been given the main female lead role. The actress playing Xi Yu should have been cast as the vet. and the vet as the bff/spy. The only perfectly casted actor was the fiancee. She did the job well.
Honestly the writer needs to learn to write better tv female leads. The main female felt like a caricature of a warm-hearted, kind, earnest & naive Damsel in Distress. Seriously I cried for feminism as she tumbled her way across the screen not even thinking about self preservation (seriously the whole town knows your face and are after your mommy, change your hair style and wear some Clark Kent glasses or something!) I get that's why the other characters are supposed to feel protective over her but one can be a spunky, sassy damaged heroine who others want to protect too!
Music/OST was the only real redeeming quality, both the opening and ending songs were very catchy.
Overall waste of time. I stuck it out because the reviews says it gets better. I'm here to tell you that it doesn't. I do respect that other people have different opinions and if you decide 1 bad review is not going to stop you from enjoying this, then go ahead. I reserve the right though to draw comparisons with this and the worst Harlequin romances I've read so far (and trust me I've read quite a few, don't judge, I travel a lot ok?)

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Though not familiar with Japanese movies I can really say this was a fun film! I saw it twice and still enjoyed it! The actors were good; they communicated well the angst of starting and sustaining a relationship. I particularly liked Asuka's character - assertive without being brusque; tender without being sappy. The Nanami Ryu character was convincing in his wish to hold on to his dislike for marriage despite his growing enchantment for Asuka.
Let me not forget the supporting characters - they showed friendship and affection for one another. An uplifting movie all in all!

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EDIT (2018): The show is supposed to have English subs now available on Netflix!!!

A Touch of Green is consistently heartbreaking, heavy in its themes, yet amazingly gripping, painfully realistic and most importantly, so very human. A shining gem in the age of stagnating Taiwanese dramas, this terribly underrated show is 100% recommended for its superb subtleties in writing, excellent character developments and fantastic acting amongst other things.

Strong female characters in a feminist drama, three-dimensional yet flawed characters, a touch of romance and sheer quality in writing+dialogue intertwined with great acting - what's there not to love?

PLOT: It is hard to summarise this show into a seemingly exciting synopsis without sounding like every other historical drama. In fact, it’s because there are SO MANY THINGS happening that you are just pulled along with each episode without much time to think about what just happened. And things don’t necessarily happen in clear cut arcs either, unlike more simplistic drama plots. What are cliches even?

However, a more important reason for this is the sheer heavy nature of the show. The first third of the drama is still fairly easy to watch quickly given its relatively more lighthearted nature. The show even arguably has its fair share of unexpected comedy to balance the heartache.

But soon, you will realise the drama is gonna take you to discover new lows. Just when you think that things cannot get worse, the drama proves you wrong time and again. It seems nearly impossible not to cry at all throughout the entirety of the show.

Hence a word of warning for all those (planning on) watching this, this drama definitely requires mental preparation. However!! This should never act as deterrent for you from watching the show! The story and characters are all so good there was no way my friend and I were planning to drop this.

CHARACTERS: In this highly character-driven plot, the characters are the backbone, flesh and the shining glory of this drama in many essences.

Again, it is hard to describe the main characters succinctly because it would do them no justice at all to create a stereotype for them to fit in. All of them are so complex and unique that the show definitely acts to shatter typecasting of the actors themselves.

In a nutshell attempt, Zhu Qing is independent and takes no BS from anyone yet beholds an unspoken innocence. Guo Zhen is also not just a charismatic and defiant pilot, but also harbours darkness in his heart only leaked through his sarcastic jabs and comments.

A great source of enjoyment from this show was simply watching the character development of all of the characters, especially across the more obvious “arcs” across time. It was also brilliantly portrayed and written how the characters kept their quirks and personality in some way or form across time. Yet all of them also grew and changed because of their respective painful experiences into new roles that the audience would never have thought to expect from the characters.

Human nature is so strongly presented in this show to our delight~. None of the characters are stereotypically “good” or “bad”. Most significantly, the wives and their seemingly demure nature is contrasted with the sacrifices and moral dilemmas that they are willing to go through for their husbands.

The relationship between the main characters are also constantly changing with new events. While they are friends and love each other, they fight, they leave snide remarks, they seek forgiveness and even betray each other.

Sometimes the characters even do seemingly inexplicable and irrational things, yet that is exactly what makes the show so human and complex. Even minor new characters are constantly introduced with almost none of them disappearing insignificantly.

STORYTELLING: Another part about this show I enjoyed very much was the narration/dialogue and many subtleties delivered in the filming direction.

Using the voice of Mo Ting, Xiao Zhou’s daughter and various objects in the show, many beautiful metaphors are delivered – the fake math equation 5×1=3, time being a drug with unknown side effects; a dove; plane 513; and the pilot’s bomber jacket next to Shi Niang’s qipao being kept.

There is simply so much depth being included into every scene whether with dialogue or not that not a single scene should be missed

OST: The main reason that I came to know of this drama was through Hebe Tien’s OST MV for this show titled "As it is" which can also be translated as “Numbed” or “Jaded”. This theme song alone epitomises much of the show’s heartbreak and complexity in its lyrics and appropos dramatism.

Clearly, the MV was enticing enough to reel me in to desperately find sources for it just to find out what this interesting-looking story was about.

REWATCH VALUE: There's probably so much more subtlety to appreciate from the script through rewatching, especially with the level of depth and complexity in the writing of characters. Hence, there should be a lot to still enjoy in the sheer quality of this drama, as long as you're prepared for the whirlwind of emotional drama to ensue.

CONS: If there is any thing to complain about this show, it’s that it can be hard to understand. The show uses specific and historically related references, so it’s somewhat easy to get lost and not catch why certain things are happening to the characters. Simultaneously, the characters themselves often use roundabout sarcastic jabs and often don’t mean what they say. So once you lose the context, it’s hard to understand what they really intended to mean.

PLEASE do give this show a try, because this show is really THAT good. I cannot do enough justice to this epitome of an underrated drama which swept accolades at the 2016 Golden Bell Awards, other than you being able to simply watch it and see it for yourself.

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Don't let the title of the drama fool you - I thought it was going to be just another tawdry Grey's Anatomy-esque romantic-melodrama-with-hospital-backdrop and the first two episodes kind of leave you with that impression. In the beginning, it feels like they're trying a little bit too hard to be sexy and scandalous, but that soon takes a backseat as the real plots begin to unravel.

I ended up falling love with every main and supporting character, and becoming invested in every subplot running throughout the show. Every storyline is strong without convoluting the overarching story or making it clunky. The interwoven relationships in this story take precedence but the eventual main conflict is career-based with a dash of social commentary; the fact that their work also takes part of the centre focus is exactly what made it more than just a romantic melodrama.

Most of all, the conclusions that are drawn in the end are both realistic and satisfying, which is normally such a hard balance to strike. Every character, even the main antagonist, is done justly without oversimplifying the end of their respective arcs.

Ishitachi no Renai Jijou is by no means a flawless drama - it has its own tendencies to fall into the regular Japanese drama tropes at times - but overall it's clever, modern, presents us with complex characters and a refreshing outlook on love and work without being too preachy.

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While most people claimed they lost interest in the second half of the series, I found the first half very plain and the second half better – which led me to give it an 8/10 overall when it could've been as low as a 6/10 up until episode 7.

Now, don't get me wrong. Each episode from 1 to 7 wasn't bad; they just didn't add up into a good 7-hour experience for me. They were good one-by-one. If you have seen American series (police or crime series in particular), you'll know how they start an episode with one case and ends it within that episode, and nothing from that episode will affect the next episode at all. As soon as our main detective Park Kwang Ho arrives in 2016, Tunnel plays that card.

For character introduction purposes, not touching on the main plot for a short while is totally okay. However, the length of 7 episodes of doing that is painfully long – 44% in and there's still no progress whatsoever. That point kept bugging me all the way. Apart from that, the main characters are good at their job, so the one-case-one-episode is averagely fun on its own.

I believe that the story picks up around episode 8. From then on until episode 12, the pace of the drama suddenly changes in a good way. These are the most exciting and suspenseful 4 episodes in my opinion. There is a surprising amount of improvements from character development to story revelations. The last phase of the drama, episode 13-16, cools down a lot, but it still keeps playing with the main story. For me, it was fine. By the end of the series, I was more satisfied than I thought when I went through the first half.

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It's still too bad that after all those satisfying second half, I still don't see the point of making this a time-traveling drama. Of course, the "tunnel" and the time-traveling play a part in this story. I just think that they could've made use of this theme much more – or dropped that idea completely.

The main character who time-travels lacks a lot of "oldies" qualities I expected to see from its premise. By this I mean that he could've possessed old-school yet surprisingly useful methods that help with the modern crime-solving process, or rather appear really countrified that he looks funny. Instead, he adapts to the modern world so well. If this wasn't a time-travel drama and this character was a detective from the present time, it'll still work just fine. It feels almost as if the writers are using this "time-traveling" trigger word just to call for attention.

At the same time, Tunnel cannot escape a lot of clichés in making their characters and criminals, and even situations. A lot of things were revealed by words rather than actions. Many mysteries are solved in a blink of an eye after dragging them for so long. It's like when things build up to a certain degree and you're almost excited, the next moment it becomes "Oh... That's it?"

The cast and their acting really save the entire show. They're extremely great in every given situation, although again, you'll have to get to the second half of the show to see so. I rated their acting a 10/10 although some small side characters are so-so because they don't have much impact anyway.

The background music and sound effect cues aren't awkward, so I gave it a 7/10, but they mostly just went through my ears instead lingering around for more impact. This is the genre that doesn't need emotional OSTs to play at heartbreaking moments anyway. I still wished I ended it with one or two songs to keep listening to. I ended up with none.

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Final thoughts: I wouldn't suggest my friends to watch this for the time-traveling. I would suggest them to watch simply because it's a good crime drama with good acting. I liked it – don't get me wrong after I point out all those cons. I didn't regret watching this show. Also, I barely rewatch dramas, and a crime drama can be either too predictable or too gruesome to rewatch, so I gave that part a low score.

Overall, it's a 8/10 for me because it does only 75~80% of what it initially promised to do. This score is not to be compared with other dramas, especially the ones that are not from this genre.

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