Reviews

Amazing story with a little problem

This movie was great, the acting, the cinematography, the music, the subtle pacing, i know it has been accused of queerbating but actually i don't see it that way, to me it's the start of a cute relationship between the leads, they have feelings for each other and it's obvious even if it's not classified as a BL, people are just bitter because they assumed it was gonna be a love story from beginning to end and it was not, it's necessary to admire the art beyond the kisses and all that comes along with that. The problem i noticed is with the timeline changes in the story, like, how could he save him but still no having change his own experience at all?, the butterfly effect jus didn't affect him and logically speaking, it should have, but overall amazing movie, very cute.

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heartbreaking yet beautiful

This is the most heartbreking movie i've ever seen. I needed a few days to recover from this film. My heart breaks every time I think of the story of these 2 boys, innocent yet such a tough life. I just can't understand the concept of homophobia and bullying. I hope from the bottom of my heart that they are together and live a happy life, but I still had different feelings at the end. the fact that he is exactly lying dead in the bathtub makes me rather think that he died and when he finds him in the bathtub, can't accept it and imagines a story about their happy ending and then he eventually dies too. I also want to note how wonderfully the boys portrayed the characters. This was incredible for such a young age. you could feel all their emotions and experience their pain with them.

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Heroes never die, they live forever

Just as much a tribute to the heroic bloodshed films of yesteryear as it is a brilliantly stylised entry in its own right, A Hero Never Dies is a pure exercise in genre film despite being so hard-boiled that it almost becomes a comedy. Taking a fundamentally tried, tested and clichéd story in a world where the violence is more sudden and the atmosphere much darker and upending nearly every element of the films he's paying homage to, shows the power of Johnnie To's filmmaking ability. To's direction is fantastic with plenty of sweeping camera movements and tremendous use of colour, all coupled with Cheng Siu-keung's outstanding photography make the film a feast for the eyes. The incredible sense of loyalty and honour these characters display ultimately makes them “heroes", the themes are often hammered home so relentlessly that the film nearly enters the realm of parody. Only in a gangland fantasy would characters enjoy a friendship but have no qualms about killing one another later. The performances from its central cast are phenomenal, Leon Lai and Sean Lau especially, both playing fundamentally different archetypes of the same profession to immense effect, all the while Raymond Wong's hauntingly powerful score dominates the sound mix, even if he does repeat a few too many cues from his work on Running Out of Time. A Hero Never Dies ultimately just solidifies to me that Johnnie To is one of, if not the best post-handover filmmaker in the industry. Heroes may die, but their actions live forever.

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Sweet

The plot is sweet and all but I gotta admit it was a bit confusing. I wanted more tbh from them,more romance is what I wanted to say. They were just about to start the romance then boom he died. I am ashamed to say this but I was kinda waiting for an R-rated scenes the entire movie. Both the actors were so hot,so I expected that there will be one but alas. I wanted them to have a romantic relationship first. Not like the relationship they had before was not romantic but i wanted more, starting deeply in love in someone's eyes,date scenes,awkward silences. I feel like this would have been better as a series cause there is so much interesting plot to be given here. A movie just doesn't do it justice. But I still liked it. It's cute but I was expecting a little bit more.

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Good watch!

Recently, I was introduced to the world of anime by a friend. Her favorite one is Nana, so naturally, that's what I watched as my first anime. I finished the anime of Nana today, and it left me a little sad, so I couldn't help but want to watch the movie immediately.

Wow! I was not disappointed! I loved it! Firstly, this came out in 2005, and I just wanted to note that I liked the nostalgic feel. I think most of the cast were perfect for their roles. And I think that the story played out nicely, like the anime. I think this is a really well-done adaptation. The acting was good, as was the pacing. Overall, it was a really good watch.

I have confidence that someone who hasn't even heard of the anime would like this movie. It's a nice story. I just found out right now that there is a number two, so I will be watching that as well.

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From soft nice guy to deadly person

This movie is definitely a must watch because it covers certain gaps of the Untamed series. It also greatly explains why someone with a loving soft nature like Nie HuaiSang became someone who is so great in planning, cruelty and hell bent on revenge and was the person who brought Jin GuangYao to his downfall in The Untamed series. Amongst so many of the clans in the Untamed series, I would say the Nie Clan was - in my own personal opinion - the only one that wasn't into this power struggle.

Other than filling an immensely big gap of understanding, this movie is also showing the difference and explaining the difference of the Nie Clan that uses Knives instead of real swords like the other clans. It also explains a little of the Clan's history, for those who are interested in knowing. But, to me, this is an eye opener to a number of questions I had after watching The Untamed. I would say it would definitely be a great watch, for a first time and also a re-watch if you are interested after that.

I love the song that was for the Nie brothers. Absolutely beautiful.

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A Haunting Exploration of Modern Isolation

Pulse (2001) is a masterful film that delves deep into the existential fears of the digital age. Often misinterpreted as a simple ghost story, this film is, in fact, a profound commentary on the isolating effects of modern technology.

Set in an era when the internet was just beginning to weave its web around our lives, Pulse portrays a chilling reality where technology, intended to connect us, instead amplifies our deepest loneliness. The "ghosts" that haunt the characters are not traditional supernatural beings but metaphors for the overwhelming isolation brought about by the digital world.

The film follows two interwoven storylines: Michi, a young woman dealing with the mysterious suicide of her friend, and Kawashima, a university student who becomes obsessed with a disturbing website. As their lives intersect, they uncover the haunting truth: the internet is not just a tool but a trap, drawing people into an abyss of despair.

The use of red tape to seal off certain rooms is a powerful symbol in the film. It represents the characters' desperate attempts to contain the emotional and psychological harm caused by their digital interactions. These taped doors are warnings, marking spaces where the boundary between the living and the dead—or, more accurately, between connected and isolated—has been irreversibly breached.

One of the most poignant elements of Pulse is the haunting shadows left behind by those who vanish. These shadows symbolize the lingering despair and the unfulfilled cries for help from those who succumb to the isolation. They are not just remnants of the departed but stark reminders of the emotional void that technology can create.

The message is clear: the internet, while promising connection, often leaves us feeling more alone than ever. The film's characters, overwhelmed by loneliness, are driven to desperate acts, highlighting the devastating impact of a world where true human interaction is increasingly scarce.

Pulse is a hauntingly beautiful film that resonates deeply with the challenges of our time. It serves as a poignant reminder of the importance of genuine human connections and the emotional dangers lurking within our digital dependencies. For anyone seeking a deeper understanding of the psychological impacts of technology, Pulse is a must-watch.

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Brilliant fun

A bizarre concoction of comedy, martial arts, and spaghetti western action, The Stranger and The Gunfighter is hard to fault in terms of sheer entertainment value, one that works because, unlike other Shaw Brothers collaborations, ergo Legend of the 7 Golden Vampires, it doesn't take itself too seriously. Most of the comedy is daft, but there are a few inspired jokes littered throughout, even with the rather repetitive script the film never wastes too much time in one spot, leading the two heroes from one fantastic set piece to another with an admirable pace. The film makes the best of the opposition between the polite, dutiful Easterner and the selfish, roguish Westerner, but without making any serious socio-cultural statements. It helps enormously that both Lo Lieh and Lee Van Cleef are the leads, Cleef is especially funny in the film which makes a nice change from his roles as the villains and stoic characters in his earlier spaghetti westerns while Lieh is just as awesome as he always is. Antonio Margheriti's direction is pretty great but the unfortunate grotty transfers this film has been confined to do his work a major injustice at points as his photography of the Almeria locations gives the film a paramount look which works exceptionally well with Carlo Savina's fun score. A well-balanced mix of exploitation comedy, The Stranger and The Gunfighter is well worth a look for aficionados of either genre.

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Good but more soft pay gorn instead!

I've been watching this and it's great movie i can tell. The actor is giving me intense vibes that it's like a real. I barely understand what they talking about because the sub is unclear and probably kinda wrong tho but honestly is best soft pay gorn movie i ever watch. The tension, the feeling they gave, the expression between main lead is so generous and genuine, love it. I just think that this movie is so short so it cannot delivering meaning of this movie( especially they focused on s3x or intimate scene ). It's pretty good and i do enjoy it, the main lead also had nice body features and act like actual one when do intimate scene, so it's really interest me a lot. Hopefully they make the full series so that the story is clever and clear ...

That's it, 9/10 from me!!

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Heartbreaking and painful watch

This short movie of about 31 min. was quite heartbreaking and painful to watch. It was not bad for sure and it made me emotional in a kind of angsty and melancholic way. The "what could have been" thought and "timing is everything" life lesson are the key points of the story.

It is very unlikely that I will rewatch it as it was not that enjoyable "per se" but it was evocative and thought provocative while depicting a somewhat very classical melodramatic and romantic story. The ending scene was brutal and gut wrenching.

The cast did an overall good job. Nothing really outstanding, as there were almost no dialog, I wish they had pushed even more the gazes and silent acting work. But it was suitable enough to get the feelings across.

I would recommend this to people that are looking for a short movie featuring a rather melodramatic story in a library setting. Personally I found it quite painful to watch but well done for what it is trying to say.

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A Double-Edged Exposure

Double Exposure (이중노출) is a Korean BL film released on October 18, 2024, on Heavenly, written and directed by Kim Min-wook and starring No Ji Hun as Myeong Seon, alongside Kim Sung Kyung as Gi Jun and Jeong Hyeon. The story revolves around Myung Seon, a photographer who crosses professional lines with his assistant’s boyfriend, Gi Jun, only to later encounter Jung Hyun, a man who bears an uncanny resemblance to Gi Jun but has a starkly different personality. This meeting leads Myung Seon to wonder whether Gi Jun ever really left his life.

The premise is intriguing, but after watching Double Exposure multiple times, I found myself struggling to grasp the film’s underlying message. It seemed to be pushing for something profound, yet it often felt more confusing than deep. When it wasn't relying on explicit scenes, it shifted to dialogue that aimed to be meaningful but came off as dull and repetitive. It could’ve been a straightforward, sensual film, but it seemed compelled to inject an "artsy" significance, which fell flat.

One striking example is the film’s fixation on hands. When Myeong Seon first meets Gi Jun, they have an oddly philosophical exchange about hands, and Myeong Seon even compares Gi Jun’s hands to those in a da Vinci painting. From there, hands become a central motif—close-ups of hands unclenching, fidgeting, and being directed in stiff poses during the photoshoot. By the end, we're hit over the head with a close-up of the Mona Lisa's hands, underscoring this metaphor that felt overused and, frankly, unnecessary.

The characters themselves feel underdeveloped. Myeong Seon, aloof and distant, is well aware of his own cruelty but seems detached from the consequences of his actions. He chooses to treat Gi Jun as a fleeting muse, disregarding their affair’s moral complications. And yet, when he encounters Jung Hyun, Gi Jun’s stronger-willed doppelgänger, there’s a palpable shift. Suddenly, Myeong Seon abandons his polished professional camera for a rawer 35mm film camera and even a Polaroid, capturing Jung Hyun in unguarded, candid shots. The perspective changes subtly as he finds himself drawn closer to this version of Gi Jun.

Despite the intrigue around the “are they or aren’t they the same person” mystery, the weak plot and lack of character development overshadowed it for me. The film seemed bogged down by monotonous dialogue, leaving little space for meaningful growth.

That said, I can understand the appeal for some viewers. For those who appreciate a raw, artistic exploration of sensuality, it might feel refreshing. There's a sense of Japanese gay cinema’s influence throughout, and the natural portrayal of the male leads is unique for Korean film. It does take courage to create something with such unfiltered intimacy.

The twist was decent, and perhaps with more development, it could’ve packed a stronger punch. Nonetheless, if you’re curious, give it a go; you might find something in it that resonates more with you than it did with me.

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Romanticisation at a cruel cost

The credits roll and my first thought is: What is the Filipino take on all this?

But we’ll get to that shortly.

The film Onoda is the fictionalised story of Hiroo Onoda, one of the last Japanese soldiers to surrender after the end of WWII. He was a ‘holdout’ on the Filipino island of Lubang until 1974. He survives in the jungle in denial of the war's end, losing his compatriots one by one. The story is fictionalised in more ways than one, but we’ll get to that shortly too.

At face value, the movie is surprisingly engaging given its long run time. There are also some pretty landscape shots. But that’s about all the positives I have for this piece of cinema. Buckle yourself in, folks!

Let’s start with a simple point. For a story so embedded in its Filipino geography, the decision to shoot in Cambodia feels off. And there’s good reason.

It’s a European production…with a French director…about a Japanese soldier…in the Philippines. Yes, that should raise an eyebrow.

“If you add up all those nationalities [who worked on the film], it makes the film from nowhere,” director Arthur Harari says in an interview with Asian Movie Pulse.

Yet, Cambodia was the destination of choice because Harari wanted a French-speaking film crew. Cambodia is a former French colony. It's certainly not “nowhere”. Neither is Lubang. The shoot location is only one of the ways in which colonial politics seeps into this cinematic production.

Many a filmmaker has simped for the romantic man-survives-jungle trope and Harari is no different, citing the likes of Joseph Conrad as original inspo for this movie. But it comes at cruel cost to the Filipino characters and their real-life counterparts.

I agree with James Lattimer’s assessment that the Filipino characters are used as “little more than cannon fodder”. Harari’s avoidance of the Filipino side – in terms of both geography and narrative – is a result of wilful ignorance. That is because he relies on Onoda the myth, not Onoda the man.

In true à la française style, Harari projects some kind of universalist reading of human experience onto Onoda’s story.

“I didn’t read historical books about Japan or the war,” he admits in an interview, “because the fact is that everything about Onoda’s story can be understood even if you don’t really know the general situation of the war, the Pacific War, or the history of Japan.”

In fact, Harari only read one book about Onoda, written by two Frenchmen: ‘Onoda: Seul en guerre dans la jungle’. As far as I can tell, the text seems sympathetic to Onoda’s side of the story, describing Onoda as a “prisoner of that island, of that oppressive jungle” (own translation). Heart of Darkness much? Either way, Harari mostly upholds the romantic hero image of Onoda in the film, an image which Onoda himself first established when he published his autobiography.

But even a little bit of reading about Japan or the war reveals how the Filipino people were cruelly caught in colonial crossfire. Their lives and land were used as military props and staging by the Japanese (and, of course, the Spanish and the Americans before that).

Onoda’s autobiography omits Onoda’s many gruesome murders of Lubang’s residents. Tsuda Shin, ghost-writer of Onoda’s autobiography, revealed this much when he wrote his own exposé on Onoda a couple of years after the autobiography came out.

Even now, it’s Harari’s cinematic project that receives the funding and the spotlight. Meanwhile, the Filipino side of the story struggles to see the light of day. Mia Stewart has set out to correct the record via documentary making. Her maternal relatives lived – and still live – in Lubang and experienced first-hand Onoda’s violent atrocities.

“They weren't just shootings, there were very violent killings that involved beheadings and mutilating bodies,” Stewart says in an interview with SBS.

Lack of funding means her documentary still hasn’t been released. But it’s a good cause. A myth like Onoda’s needs interrogation.

“We will never really know if Onoda knew the war was over or not. Regardless, he killed civilians. While I can't undo those deaths, I can change how we tell the story,” Stewart says.

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Stewart’s forthcoming documentary, ‘Searching for Onoda’: https://searchforonoda.com/

Stewart’s interview with SBS: https://www.sbs.com.au/news/article/mias-uncle-bled-to-death-she-wants-to-set-the-record-straight-about-why/qig3whkdb

Insights on Harari’s approach come from this excellent A. E Hart piece: https://www.documentary.org/online-feature/domitable-myth-three-depictions-japanese-holdout-soldier-hiroo-onoda

James Lattimer’s review: https://www.bfi.org.uk/sight-and-sound/reviews/onoda-10000-nights-jungle-lost-filipino-wilds

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