Mother

A.k.a Madeo

Genre: Drama, Thriller
Starring:
* Kim Hye-ja
김혜자
As
Mother
(Do-joon's mother)##마더〔도준 모〕
* Won Bin (원빈)
Won Bin
원빈
As
Yoon Do-joon
(윤도준)
* Jin Goo (진구)
Jin Goo
진구
As
Jin-tae
(진태)
* Yoon Je-moon (윤제문)
Yoon Je-moon
윤제문
As
Je-moon
(제문)
* Jeon Mi-seon (전미선)
Jeon Mi-seon
전미선
As
Mi-seon
(미선)
* Song Sae-byeok (송새벽)
Song Sae-byeok
송새벽
As
Sepaktakraw detective
(세팍타크로 형사)


Release year: 2009
Language: Korean
Subtitle: English

SYNOPSIS:


RATING: ?/10

REVIEW:
" The most curious aspect of Bong's cinematic world, set aside all the obvious factors which turned him into that rare combination of wild mainstream acceptance and cult status amongst the "non-philistine," has always been the sudden, ingenuous whims of a twelve year old film buff pulsating inside the skeleton of a master filmmaker. Most of Bong Joon-Ho's films start from curious, at times even childish little slices of life, moments that perhaps only cinema can fully explain. In Mother's case, it was an excursion to Mt. Odae during Bong's youth. You know, the whole ordeal: elders, dried squid, rivers of soju, loud trot music pumping inside the bus all the way to their destination. But the funny thing was that these senior citizens (mostly those infamous ajumma) kept dancing even when the bus had reached the mountain pass' entrance. For one hour straight. Bong thought it was just an embarrassment back then - a lousy, noisy parade of old farts and nothing more. But now he seems to understand what that moment meant, enough that he made a film about it.

Sure enough, two of Mother's highlights are pretty much a recreation of those moments: the first quite abstract, almost surreal, madly eccentric but also strangely sexy and with an eclectic aftertaste which keeps caressing your eyes and ears even days after the film is consigned to the dark meanders of your mind. The second, well, by now you can guess it has to do with a bus and dancing housewives. They're like two solitary artistic flourishes, set at polar opposites of what is a delicious exercise in economy and minimalism. Of course this doesn't mean that the film doesn't look good. Far from it. DP Hong Kyung-Pyo's first partnership with Bong on his first cinemascope affair shows moments of pure visual and technical brilliance, but they're always smartly buried inside the storytelling, as is Lee Byung-Woo's irresistibly subtle score. They don't become a character on their own, like they would in a Lee Myung-Se film. The minimalism here refers more to Bong's sense of pacing, his editing choices and the way he envelops this story around its thematic consciousness. If you take those two virtuoso moments out of the equation, then it's all a rather matter-of-fact affair, with nary a wasted scene, not a second spent indulging on a character's reaction or a certain mood, to generate feelings on cue. It's all so eerily smooth and nonchalantly immersive that only once you're removed from a genre-based storytelling approach (i.e. whodunit tropes) you can start to really look at the exquisite details and narrative tapestry on display.

What has changed and made Bong's film hit even harder, then, is Mother's strongly introspective themes. 플란다스의 개 (Barking Dogs Never Bite), 살인의 추억 (Memories of Murder) and 괴물 (The Host) all basked in political and social satire and were influenced by external narrative antagonists (such as, obviously, the cute little monster). But Mother's pathos is almost completely resolved introspectively. There seems to be no more time for pungent satire, as what we get is bleak reality treated with Bong's usual irony, which in turn mirrors today's social climate in Korea. Call it "2009 Lost Memories," if you will - a bad pun on a pretty silly blockbuster of a few years past whose title sadly fits today's Korean psyche like a glove, as it seems like letting bad memories evaporate into the alluring fumes of oblivion is the new calling card for a people tired of living in distress, even when the price to pay for so-called "emotional prosperity" is a little decadence, along with the gradual erosion of freedom and diversity. Still, despite the slightly darker tones of Mother compared to Bong's past works, what once again transpires is how effectively a period's smell, sights and sounds can ooze from his works.

If we got 수사반장 (Chief Inspector) reruns, violent underground questioning and the endearing ineptitude of the 80s Jeon Du-Hwan junta-based Memories of Murder, and the off-kilter, post-IMF crisis family mores of The Host, what Mother serves us with is a dose of 2000s pungent scent, specifically of Lee Myung-Bak's Korea. It's peculiar how all the similarities between this film and Memories of Murder based on their respective time periods sort of mirror some of the political and social developments which are dominating today's Korean society. What is different, though, is that there are no ordinary heroes anymore, just beasts laid bare by the system; beasts who try to survive and protect what they cherish, at the cost of letting all that ethical maelstrom ravage their souls. If Memories of Murder brimmed with chaotic violence borne out of the "glorious" 80s, the invisible violence against the weak displayed in Mother is all the more painful - perhaps because many people are living it as we speak. As subtle as the social commentary in the film might be, those elements emerge with impressive resonance.

I've nearly only spoken about Bong Joon-Ho so far, but this film belongs to one fantastic performer first and foremost: Kim Hye-Ja. Sure, Won Bin gives a surprisingly multi-layered performance, and the rest of the cast is an exercise in restraint and savoring every chance you are given, from Yoon Je-Moon to the animal-like panache of Jin Gu. But it was for Kim Hye-Ja that Bong made this film, trying to convince her ever since Memories of Murder wrapped up. It's a shame that a lot of the aura Kim projects in this film will be lost on the International audience, because the last thirty years of her career have mostly been spent on TV, playing the quintessential mother figure for weekend drama queens like Kim Soo-Hyun, Kim Jung-Soo and Park Jung-Ran, so the contrast will be less explicit.

What was so frustrating about Kim, whose last film appearance was alongside the late Choi Jin-Shil in 1999's 마요네즈 (Mayonnaise), is that her career was sort of commoditized by the same factors which brought her fame. First with 전원일기 (Country Diaries) throughout the 80s, then 1992's monster hit 사랑이 뭐길래 (What is Love) and countless other "mothers," her talent was slowly and inexorably watered down by the same old characters (albeit played with the same playful verve). Frustrating because if you've seen her rare escapades into non-mother territory, such as her guest starring as a killer straight out of a Melville flick in an episode of Chief Inspector during the late 1970s, you'll see what kind of largely untested potential she always had.

We're dealing with one of the most beloved and respected icons in the industry, someone who projected a gentle, laid-back image for decades, and who is notorious for her involvement with charities over the years, so perhaps it was going to be a challenge to see the other side of the coin, at least on cinematic terms. The image of the "Korean mother" Kim Soo-Hyun and Kim Jung-Soo have created along with her acting over the decades was that of someone still tied by traditional (patriarchal and Confucian-based) social mores, but escaping from that glass ceiling from time to time with some pungent sparks of energy -- particularly memorable were her sudden tirades against hubbies Lee Soon-Jae in What is Love and Kim Seong-Gyeom in 1999's 장미와 콩나물 (Roses & Beansprouts). Perhaps that's what intrigued Bong, beyond all the respect and admiration he had for Kim. The challenge of bringing out all the fire that she had to conceal for decades. The results are, simply put, astounding.

Think of the scene where she tries to convince the family of the victim that her son is innocent. As she looks at them in the eyes and mutters a gentle "my son could never do something like that," hell fire and brimstone explode inside those pupils, as if a dormant dragon was freed from captivity after unnerving decades of silence. It's just riveting to watch her go from over-possessive mother to the peculiar, quasi-incestuous nuances she oozes, not to mention that final moment of liberation. As good as 박쥐 (Thirst) and a few other films might (turn out to) be, if we see a better performance than this before 2009 is over, then I'm afraid we've got some serious pills of greatness awaiting for us, because Kim Hye-Ja is just majestic here.

Mother is many things which remind of Bong's older exploits, but also shows the possibility of a new direction, elements which could seriously come into play in a few years, when his insanely promising 설국열차 (Le Transperceneige) hits theaters. Memories of Murder might still be his flagbearer and the high point of Korean cinema's renaissance, but this young director has built such tremendously diverse and accomplished body of work after only a few films that I'd be inclined to even use that trite old cliche: the sky is the limit. Can Bong Joon-Ho do no wrong? He probably can. Who knows, maybe one day he even will.

But today? Oh mother, today's not that day. Not by a long shot...."

Source: Twitchfilm.net

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Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - Part 08 - Part 09 - Part 10 - Part 11 - Part 12 - Part 13 - Part 14

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Love Exposure

Genre: Comedy, Drama, Action, Romance
Starring: Takahiro Nishijima, Hikari Mitsushima, Sakura Ando, Makiko Watanabe, Atsuro Watabe
Release year: 2009
Language: Japanese
Subtitle: English (hard sub)

SYNOPSIS:

"Love Exposure" tells an epic tale of love, family, religion, and sex.

Yu Tsunoda and Yoko meet under the most unusual of circumstances. After Yu loses a bet with his friends he agrees to go into the city dressed as a woman and kiss the first woman he sees. When they go into the city Yu and his friends comes across a young teenage girl named Yoko who is surrounded by a group of thugs. Yu, still dressed as a woman, then helps Yoko beat up the gang of thugs. Afterwards Yu kisses Yoko and runs away. Yu for the first time falls in love with a girl, but Yoko falls in love with the woman in drag known only as Miss Scorpion.

Meanwhile, Yu is being followed by Aya Koike, a member of the cult group "Zero Church." Aya Koike devises a plan to bring Yu's entire family into the "Zero Church," but first she will gain the favor of Yoko by masquerading as Miss Scorpion. (Asianmediawiki.com)

RATING: 10/10
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REVIEW:


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More Than Blue

Genre: Drama, Romance
Starring: Kwon Sang-Woo, Lee Bo-Young, Lee Beom-Su
Release year: 2009
Language: Korean
Subtitle: English

SYNOPSIS:
Kay, a radio producer who loves Cream, is told that he has only a few months left to live. Because he knows that her biggest fear is to be left alone, he keeps his secret and makes a hard decision to urge her to marry a healthy, goodhearted man, Ju-hwan. Even though his heart breaks when she announces that she has fallen in love with the man, he never expresses his true love so not to be an obstacle in her life.

RATING: 10/10
NOTE: YUP! This movie deserves a 10/10 from me.

REVIEW:
" More Than Blue is a film which truly wears its heart on its sleeve, and is all the better for it. By wisely getting the cancer admission out of the way at the very start, Won is free to spend his time on more interesting aspects of the story, primarily character development and motivation. By actually putting in the effort to make the viewer care about K and Cream, he not only makes the film more moving, but more importantly, more believable. This is definitely to the film's considerable benefit, as the plot itself is rather shaky, basically revolving around never-ending yearning, odd schemes and two people who are very clearly in love and who should very obviously be together, for no matter how short a time. Of course, herein lies the tragedy, and the film is indeed very sad, especially towards the end as K's plan nears fruition and Cream looks set to end up with Joo Hwan. Some of these scenes do have an awkward note, no doubt intentionally so, since the viewer inevitably is rooting for K, and since Joo Hwan is a far more one note figure, and rather stiff and distant. Won does throw in a number of twists during the last act which, although not exactly unpredictable do have the desired effect of making things even more emotional.

Thankfully, the film is sad without being either cheap or melodramatic, with the well written script and characters meaning that its tears are hard earned and justified. By sign posting the ending from the start, Won lays his cards on the table rather than relying upon sudden last act realisations of love, and as a result the film has a winning sense of honesty to its relationships. This is thanks in no small part to a pair of great performances from Kwon Sang Woo and Lee Bo Young, who help to further lift their characters from being generic figures. The two have a real charisma, and are very natural in the scenes together, coming across very much as a real couple who are entirely comfortable together, and indeed who belong together. Needless to say, this only makes things even sadder.

Since this is exactly what Won intends, and since it is exactly what fans of the form will no doubt be looking for, it really is hard to fault More Than Blue. A well made, well intentioned, ne plus ultra tragic love story, it certainly stands among the best genre offerings of recent years, and wins points for shying away from the worst excesses of its peers and for showing considerably more substance. "

Source: James Mudge - BeyondHollywood.com

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Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - Part 08 - Part 09 - Part 10 - Part 11 - Part 12 - Part 13 - Part 14
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My 11th Mother

Genre: Drama, Family
Starring:
Kim Hye-Su
Kim Young-Chan
Ryu Seung-Ryong
Kim Ji-Young
Release year: 2007
Language: Korean
Subtitle: English

SYNOPSIS:
A woman suddenly appears at Jae-su's house. Nothing in her hands, nowhere to go, the woman's empty eyes meet with round eyes of the eleven year-old boy. He regards the woman as another person who'll leave and does not put any effort into getting to know her. Every chance he finds, the boy scolds the woman, saying she eats too much, sleeps like a pig and uses up all of the utilities. The two of them are neck and neck with complaints until she learns of the boy's sad history and he discovers her diabetes. The boy has already had 10 stepmothers in the past. Out of the blue the boy's father shows up and begins beating the boy. She tries to stop him and they find themselves on common ground. A warm relationship between the two begins to build up slowly, not aware of the eventual separation that is just around the corner.

RATING: 9/10
NOTE: What the heck with the critics. I cried DAMN IT! Thanks to the guy who ask me to get this movie. It's a touching movie!

REVIEW:
" ...Of course, the bonding between son and surrogate mother is pretty much inevitable, and certainly “My Eleventh Mother” is not the kind of film that should be watched for unexpected narrative twists and turns, with the plot being predictable and entirely formulaic as is usually the case with melodramas. However, what sets it apart from ever growing pack of similarly themed efforts are the richly developed characters and the hard edge which director Kim brings to the drama. To a large extent the film works thanks to a couple of great lead performances, both from Kim Hye Su, who is excellent and wholly believable as the wretched, washed up bargirl, and Kim Young Chan as the unfortunate little tyke, whose role is far more substantial than the usual cute kid sympathy magnets who tend to populate this kind of material.

The relationship between the two builds in an unconventional and touching manner, from their early misunderstandings, battles over food and petty one-upmanship through to their hesitant affection. As a result of the time spent on character development, their small steps towards happiness and trust are genuinely moving and are certainly well deserved. It goes without saying that the film does settle into the inevitable mother-son dynamic for the last act, complete with declarations of love and devotion, though at least in this case the scenes of over the top emotion have been earned and don’t suddenly appear from nowhere.

The film also benefits from being quite gritty and grounded, especially during the first hour, which is relatively free of sentimental montages and teary scenes, focusing mainly on the two characters and their harsh lives in the run down shack of a home. The budget was obviously quite low, and Kim’s direction is pleasantly naturalistic without ever being too intrusive, even during some of the more obviously orchestrated moments. This gives the film a certain believability and a credible emotional core to build from, which again helps during the last act dive into true melodrama.

Sadly, the tragedy heaped on during the final half hour is a little unnecessary, and Kim goes too far in trying to coach a few extra tears from the viewer, when perhaps a steady hand and sticking to the film’s earlier realism would have served better. Certainly, by this point it already would be hard not to feel sorry for the two, not least since actor Ryu Seung Ryong makes for a truly monstrous figure, a drunken, seemingly irredeemable brute of a crook who lurches in and out of the story, beating and cursing them both, and who is constantly threatening to split them up by selling her as a prostitute. This makes for a certain amount of tension, as whenever he appears the viewer cringes, waiting for the fists to start flying. Unpleasant though these scenes are, they are arguably more valuable to the overall effect of the film, both in terms of keeping it harshly convincing, and in providing a further motivation for the bond that develops between boy and woman.

It is the resulting feeling that “My Eleventh Mother” takes place in the real world rather than some sentimental dreamland that makes it a superior example of the form, and whilst unlikely to win over any viewers whose skin crawls
at the mere thought of melodrama, it should be enjoyed by both devotees and casual film fans. This is largely due to the excellent performance from Kim Hye Su, who manages to elevate the film from tawdry sentiment to being a genuine slice of character driven drama, and who again shows why she is considered one of Korea’s most talented actresses. "

Source: BeyondHollywood

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Fireball

a.k.a Muay Thai Dunk

Genre: Action, Martial Art
Starring: Preeti ‘Bank’ Barameeanant, 9 Million Sam, Anuwat ‘Earth’ Jeg, Kumpanat ‘Johnny’ Ungsoongnern, Karnnut ‘Bas’ Samerjai, Kanutra ‘Eam’ Chuchuaysuwan, Arusha ‘A’ Tosawas, Putarit Prohmbrundarn
Release year: 2009
Language: Thai
Subtitle: English

SYNOPSIS:
Tai is released from prison to discover his twin brother Tan has been in a coma for the past year. Tan has entered the world of Fireball, a violent game based on the sport of basketball that is hosted by underground criminal gangs. Apparently, Tan entered the Fireball matches so as to raise money for Tai’s early release.

However, Tan was brutally beaten by another player, Tun. Tai agrees to join Den’s team so that he can track down the man who injured his brother.

Tai is befriended by his teammates: Singh, a Thai-boxing champion who simply wants to prove that he is the best; Muk, a Thai-African who needs money to support his family; IQ, a cheerful soul who only wants to help his mother; and K, an old friend of Tan who has a mysterious past… Tai and his teammates must risk their lives and fight their way to the final round of the deadly Fireball championships so that Tai can avenge his brother on the court, where murder is legal.

RATING: 9/10

REVIEW:
" If the Chinese can mix kung fu with basketball (i.e. Jay Chou’s Kung Fu Dunk), so too can the Thais mix their own brand of martial arts with the sport. The result is something called Fireball, a brutal, no-holds-barred game where two teams of five players each fight it out Muay Thai-style on the court to be the first to get that basketball into the hoop.

Since this is an underground sport, the rules are few and simple. Weapons are allowed. Killings are permitted. If no one gets the ball into the hoop, then the team with the last man standing (yes, literally standing) wins the game. In this competition, you don’t have to be a good basketball player to win. No, you’re better off practising your punches and kicks than your hoop shooting and ball passing.

And by that measure, this is a film not for basketball fans, but for fans of Muay Thai. There’s very little by way of good game skills on display; rather, it’s an all-out bloody fistcuffs and high kicks fight to the finish. If that’s what you’re looking for, you’ll find plenty to delight in this movie. Filmed gritty-style in Bangkok’s ghetto areas, this is no glamorous sport but one’s that as vicious and violent as it can get.

There’s no question that the fight sequences are the highlight of this movie and they surely do not disappoint. Each game is as gripping as the next thanks to the Tony Jaa-like brand of real and realistic martial arts that’s a fixture of the new wave of Thailand action films. Credit must be given to the production team for designing each match differently from the other- there’s a game where one of the teams wields steel bars, another fought in the rain, and the climactic fight set in an abandoned shipyard with stacks of wooden timbers like an obstacle course- so you won’t get bored with just more of the same.

Unfortunately, when the action stops, that’s when the movie stalls. The story of Tai, an ex-con released from prison to find his twin brother Tan lying in a coma at the hospital, and subsequently joins the underground sport to avenge him is hardly original. Worse still, it is here drenched in melodramatic excesses. Ditto for the feeble, half-hearted attempts at crafting a back-story for each of the other characters on Tai’s team- each turns out just as lacklustre as the other at trying to milk some sympathy.

At least the fresh, young cast still look credible in their roles- rock singer Preeti “Bank” Barameeanant, real-life professional boxer 9 Million Sam, ex-pro basketball player Anuwat Saejao, rising star basketball player Kannut Samerjai and and ex-national goalkeeper Kumpanat Ungsoongnern. In particular, 9 Million Sam (yes, what an intriguing name) steals the show- and also the thunder- by proving himself to be one agile fighter despite his slightly diminutive build, his round kicks particularly impressive.

One year was how long the actors trained for their roles in this movie, according to director and co-screenwriter Thanakorn Pongsuwan, and certainly, the hard work has paid off. So too the effort into making this a hardcore action film- the fights without a doubt intense and captivating. Pity the story though, which could have used a lot more work to make the characters more engaging. As it is, Fireball is only good for its action and nothing more. "

Source: MovieXclusive

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MU:
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - Part 08 - Part 09 - Part 10 - Part 11 - SUB

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Tracing Shadow

Genre: Action, Martial Art, Comedy
Starring: Jaycee Chan Cho Ming, Pace Wu Pei Ci, Wang Bao Qiang, Francis Ng Chun Yu
Release year: 2009
Language: Mandarin
Subtitle: English

SYNOPSIS:
At the end of the Ming Dynasty, the country is in turmoil and the Manchurians are poised to advance upon the capital of Beijing. The city is in a chaos, with martial arts masters from royal guards to local bandits gathering in the city vying for the map of Taizu Emperor Treasure. Foreign warriors including Yehe Changgong and Ninja woman Mingyue Xin from Okinawa also joins the race. In search of the map, fighters stay in the town and disguise themselves as civilians. Yehe and Mingyue Xin pretend to be a couple and run an inn, while others open various businesses as a disguise. They suffer humiliation from young landlord Xu Sanguan for housing rent and debt. What's worse, Xu begins to pursue Mingyue Xin's adopted daughter Tang; while town chief Gu falls for the beautiful Ninja woman. As the fighters feel trapped in the mundane life of the small town, the map is found.

RATING: 7.5/10

REVIEW:
" TRACING SHADOW is first and foremost a comedy, much of which is very broad and very specifically aimed at a Hong Kong audience. While there are generous helpings of universally appreciated slapstick there is also a fair amount of anachronistic humour, not helped by slang-filled English subtitles, which might be lost on international audiences. That said, however, the film is crammed full of in-jokes and knowing references to literally dozens of wuxia classics and I knew only too well that for every gag I spotted, half a dozen were slipping by me.

There is running gag that the three thieves bear an uncanny resemblance to Jackie Chan, Andy Lau and Jet Li. Francis Ng, who co-directs (with Marko Mak) as well as stars, joked that he couldn't afford the real action heavyweight actors so had to fake it. When word gets out about the treasure and Sideroad Town fills up with bandits and chancers, Ng takes the opportunity to extend the gag, with more look-alikes arriving, including doppelgangers of Nicholas Tse, Ritchie Ren and a whole gang of Jay Chou clones. TRACING SHADOW must have been a casting nightmare.

Hong Kong has a proud heritage of exactly this kind of kung fu comedy and Ng wears his influences on his sleeve. TRACING SHADOW is a light hearted and at times uneven affair, but crucially it gets the action right, with some beautifully staged fight sequences displaying a plethora of different kung fu disciplines. There is some CGI here and there, but for the most part Ng sticks to wirework and good old-fashioned proficiency for the fights and the difference is instantly evident.

TRACING SHADOW is by no means a perfect film, the story is conventional and the acting certainly isn't going to win any awards, but it harks back to a much-loved genre and succeeds in the same way that a film like PAINTED SKIN failed. There was a wuxia ghost story that wanted to be a romance instead of a film about demons eating people's hearts. In a martial arts comedy, the audience wants to see martial arts and they want to see comedy. This movie isn't interested in being historically accurate as much as it is with simply having a good time. The jokes might sometimes get lost in translation but TRACING SHADOW still manages to display a wit, skill and artistic flair that have been sorely missed in recent Hong Kong Cinema. "

Source: Twitchfilm

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Eternal Beloved

Genre: Fantasy, Drama, Romance
Starring: Feihong Yu, Yihong Duan, Lu Yao, Jia Li, Songyan Tu
Release year: 2009
Language: Mandarin
Subtitle: English

SYNOPSIS:
A Jiu and A Ming, two lovers from two enemy families make a pledge to continue their forbidden love in their next life. A Jiu quickly gets reborn but her lover misses his own chance and becomes a homeless ghost. 50 years later, right before A Ming’s next change for rebirth, A Jiu finally shows up. She has become a happily married housewife and has no memory of her previous life…

RATING: ?/10



PREVIEW:
THANKS TO "ANONYMOUS"


RELATED LINKS:
MU:
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - SUB

SS:
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - SUB


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Naked Kitchen

Genre: Drama, Comedy,Romance
Starring:
Min-a Shin - Mo-rae Ahn
Tae-woo Kim - Sang-in Han
Ji-hun Ju - Du-re Park
Sang-hun Park - Ju-hyeok Kwon
Hye-jin Jeon - Seon-woo Kim
Release year: 2008
Language: Korean
Subtitle: English

Synopsis:
Today is Mo-rae and Sang-in’s one-year wedding anniversary. After a busy morning preparing for the celebration, Mo-rae goes to an art gallery to find a gift for Sang-in. At the gallery, she meets a complete stranger and the two unexpectedly have sex. Mo-rae returns home feeling anxious and guilty about the incident and cannot help but confess it to Sang-in. That night, a visitor arrives at their house; Du-rae, who came from Paris to help Sang-in with his new business. To Mo-rae’s shock, he is the man from the gallery. He temporarily lives with the couple in their house and a risky love triangle begins.

Rating: 7/10
User Rating:

Preview:

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Online Streaming: MySoju
MU:
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Invitation Only

Genre: Crime, Horror, Mystery, Thriller

Starring:

Kristian Brodie
Bryant Chang
Vivi Ho
Jerry Huang
Joseph Ma

Release year: 2009

Language: Mandarin and English

Subtitle: English

Synopsis:
Ordinary young men and women often dream of the unreachable life of the worlds idle rich. Wade, Richard, Hitomi, Holly and Lin certainly do. They have all received an invitation to an exclusive party held by a group of rich & famous people,obviously addressed to them by mistake.But all the same, they attend. It is the best party ever, a wishing game takes place where their deepest desires materialize. But when they find Richards body brutally killed, the wishing game turns into a killing game in which they are the tortured victims and a rich audience the sadistic spectators. To escape from the party and survive is now their only dream.

Rating: 7/10
User Rating:

Preview:

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MU:
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Blood - The Last Vampire

Genre: Action, Horror, Thriller
Starring:
Jun Ji-hyun
Allison Miller
Masiela Lusha
JJ Feild
Koyuki
Liam Cunningham
Release year: 2009
Language: English/Japanese
Subtitle: English

SYNOPSIS:
On the surface, Saya is a stunning 16-year-old, but that youthful exterior hides the tormented soul of a 400-year-old "halfling." Born to a human father and a vampire mother, she has for centuries been a loner obsessed with using her samurai skills to rid the world of vampires, all the while knowing that she herself can survive only on blood like those she hunts. When she is sent onto an American military base in Tokyo by the clandestine organization she works for, Saya immediately senses that this may be her opportunity to finally destroy Onigen, the evil patriarch of all vampires. Using her superhman strength and her sword, she begins to rid the base of its evil infestation in a series of spectacular and elaborate showdowns. However, it is not until she forms her first human friendship in centuries with the young daughter of the base's general that Saya learns of her greatest power over Onigen may well be her ability for human connection...


RATING: 7/10
USER RATING:

REVIEW:
" Not that I want to blame everything wrong with BLOOD: THE LAST VAMPIRE on the computer-generated imagery – there is plenty of blame to go around. The source material -a piece of Japanese anime – is an over-rated technical exercise with a couple of cool scenes but little in the way of story or characterization. The director of the live-action remake doesn’t know what to do except string one repetitious action scene together after another. And the screenplay is almost a parody of cliched movie writing.

In fact, let’s play a little game about the script. You folks at home, answer these questions:

1. When our vampire-slaying heroine Saya (Gianna Jun) appears to make a mistake (it looks as if she has killed a human instead of a vampire), (A) it leads to a major plot crisis, recriminations, guilt, and soul searcing; or (B) our heroine is never wrong.
2. After a heated face off with guns drawn, the leader of the secret organization for whom Saya works will (A) disarm his rogue partner or (B) turn his back on said rogue partner, allowing himself to be shot like an idiot who is too stupid to live.
3. It is (A) necessary to provide exposition explaining why the “vampires” in the film turn into bad computer-generated gargoyles like something in a Sci Fi Channel movie or (B) who cares?
4. It is (A) necessary to explain how to kill these bad CGI gargoyles or (B) who cares as long as Gianna Jun looks hot in her school girl uniform while killing them?
5. When Saya finally confronts Onegin (the “Last Vampire” of the title, played by Koyuki), the script should (A) provide some new twist on the confrontation or (B) borrow the ending of THE EMPIRE STRIKES BACK.

If you answered (A) to any of the above, you are not yet ready to write BLOOD: THE LAST VAMPIRE.

To its credit, the screenplay does fill in Saya’s back story, adding a personal motivation for her quest to slay vampires, along with a nemesis in the form of the Onegin character – which combine to give the live-action feature a dramatic conclusion that the anime version of BLOOD: THE LAST VAMPIRE lacked.

There is also an attempt to soften up the Saya character, giving her an American high-school student as a friend so that we can see her relating to someone on a human level. Korean actress Gianna Jun (a.k.a., Jun Ji-hyun, also spelled Jeon Ji-hyeon) has the right soulful look to imply some humanity lurking beneath the cold-hearted vampire-killing exterior, but the decision to film BLOOD: THE LAST VAMPIRE almost entirely in English renders her vocal performance somewhat akward. The same holds true for Japanese actress Koyuki, who otherwise cuts a visually striking figure as Onegin. (The anime film used English for scenes set upon an American airbase in Japan; the live-action version uses English for almost all scenes except flashbacks to Saya’s past.)

The rest of the cast is unremarkable except for Liam Cunningham, who is reasonably convincing as Saya’s boss until the script forces him to make a stupid, fatal mistake.

Taken on their own, the action scenes are flashy and fun, but they grow repetitious faster than the flash of Saya’s blade. It doesn’t help that there is no special way of killing vampires: Saya doesn’t have to hit a particular weak spot, impale their hearts, or cut off their heads; she just has to hack and slash away – which makes it all seem too easy, even when she is taking on dozens of attackers at once. The scene is obviously meant to compare with Bruce Lee’s battle in ENTER THE DRAGON, but the sheer numbers are not enough; the extensive wire work and fight choreography are mitigated by the use of computer-generated imagery, which puts that unnatural sheen on the action, robbing the scenes of the visceral impact, catchy editing rhythms, and ballet-like quality that mark the best Fant-Asia fantasy films.

The one exception is the final face-off between vampire and vampire hunter. Here, the digital effects are used to craft the flowing robes of silk from Onegin’s gown, which reach out like tentacles to ensare Saya. There is a poetic beauty to this battle that lifts it above the earlier sword-fights, with their crude bloodshed. Too bad the script had to weight the scene down with the big dramatic “revelation.” If there is one thing I never want to see in another movie, it’s a scene wherein the villain tells the hero “You’re really one of us,” while extending an invitation to the Dark Side.

Another thing I would never like to see again is half-breed vampire killers. We’ve seen it all before with characters like Blade, Vampire Hunter D, and Sonja Blue (in the Nancy Collins novels starting with Sunglasses After Dark): they’re half-human and half-vampire; their vampire side gives them the power they need to hunt other vampires, but they fear succumbing to the blood lust and losing their humanity. Despite her Japanese origin, Saya is less in common with Vampire Hunter D than with Sonja Blue, who is also an ageless young girl hunting her own kind; the difference is that Sonya has a more interesting back story, and her inner conflict plays out in a more dramatic way throughout the novels, instead of being played like a weak trump card at the climax. (This is not an element of the animated BLOOD: THE LAST VAMPIRE, which hinted that Saya was the last “original” vampire, hunting down some kind of mutant strain of the species.)

The live-action rendition of BLOOD: THE LAST VAMPIRE will probably please fans of the anime short subject, but more general audiences and even fans of Asian horror and Fant-Asia flicks will grow restless with the endless swordplay’s mind-numbing lack of variation. The funny thing is that, pulled out of context and viewed on their own, the scenes are not bad, which is why the film looks so cool when viewed in short clips online. With a plot that serves mostly to string the set-pieces along, BLOOD THE LAST VAMPIRE might be a project that would have worked better as a series of high-octane webisodes, rather than a full-length feature film. "

Source: cinefantastiqueonline

PREVIEW:

RELATED LINKS:
MU:
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - SUB

SS: Interchangeable
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - SUB
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My Girlfriend Is An Agent

A.K.A 7th Grade Civil Servant

Genre: Comedy, Action, Romance
Starring: Na-neul Kim, Ji-hwan Kang, Yeong-nam Jang, Seung-yong Ryoo, Shin-il Kang, Yu-su Lee, Seung-hun Kim, Seung-mok Yu
Release year: 2009
Language: Korean
Subtitle: English

SYNOPSIS:
Su-ji:
Disguised as a travel agent, Su-ji is a government spy with six years’ experience who can’t reveal her career to her boyfriend Jae-joon. After she lies again, her boyfriend breaks up with her and leaves without notice, leaving her struggling alone with her sadness. Three years later, while chasing an industrial spy and in disguise as a cleaning lady, she happens to run into Jae-joon. He’s become an international certified accountant, and seeing him throws her feelings into doubt.

Jar-joon:
Jae-joon has become tired of his girlfriend’s constant and suspicious lies. In one phone call, he tells her he’s leaving Korea to study in Russia. Three years later, disguised as a distinguished international accountant, he enters the NIS (National Intelligence Service) as an agent in its overseas branch. He’s a newbie who got a late start, but he’s highly motivated and takes off on his first field mission, chasing a Russian crime organization, when he runs into Su-ji. It’s shocking to see her now as a hotel cleaning lady, but his affections for her are as strong as ever…

Lying is part of the job, secrecy is the name of the game in "My Girlfriend is an Agent".

RATING: 9/10
USER RATING:

REVIEW:
"NOT AVAILABLE YET"

Why don't you want to be the first one writing review for this flick?

Source:

PREVIEW:

FEATURED CLIPS:
Yoon Eun Hye [Premiere] - "My Girlfriend Is An Agent"

MAKING OF:

RELATED LINKS:
MU:
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07

Part 08 - Part 09 - Part 10 - Part 11 - Part 12 - Part 13 - Part 14


SS: (interchangeable with MU links)
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07

Part 08 - Part 09 - Part 10 - Part 11 - Part 12 - Part 13 - Part 14

MF: (interchangeable)Link for part 7,9 and 14 are updated on 09/23/09

Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07

Part 08 - Part 09 - Part 10 - Part 11 - Part 12 - Part 13 - Part 14


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Written By

Genre: Fantansy, Drama, Thriller
Starring: Ching Wan Lau, Kelly Lin, Mia Yam
Release year: 2009
Language: Cantonese
Subtitle: English

SYNOPSIS:
Lau Ching-wan plays a lawyer who dies in a car accident, leaving his daughter, Melody, blind and making his wife a widow. To cheer up her mom, Melody writes a book in which the family died but dad survived. And in her book, to cheer himself up, dad decides to write a book in which he died in the accident but his wife and daughter survived....and so it goes in an endlessly recursive loop as the dead are resurrected in fiction, which bleeds into reality, which turns into tragedy which sends the story spinning off into greater and grander realms of fantasy as mourning children and their parents attempt to have one more minute, just another thirty seconds, with their departed loved ones.

RATING: ?/10
USER RATING:

REVIEW:

" Wai Ka-Fai's fantasy-drama is a winning Hong Kong film that pushes emotions and ideas over artifice and complete coherence. The resulting film won't win over all, but those who roll with it may be particularly charmed. Having Lau Ching-Wan as your lead doesn't hurt, either. One of the more special films this year."



A message about living wrapped in numerous self-referential layers, Written By is about dealing with pain by writing a story about writing a story about writing a story. Got that? Wai Ka-Fai's bittersweet fantasy-drama features characters who cope with grief by writing an alternate reality, and the film becomes so steeped in its own layers of character-created fiction that it simply begs discussion. Stepping back a bit, screenwriters in the real world actually did write Written By's story, so one has to ask: were co-writers Wai and Au Kin-Yee exorcising some personal demons when they wrote their story about writing a story? Is this a metafilm about the catharsis of creativity? Or is this just a creative movie that's head and shoulders above most recent Hong Kong films? It's unknown if Written By is all of the above, but upon immediate reflection, it easily qualifies for that last one.

Also directed by Wai Ka-Fai, Written By tells the tale of Melody (Mia Yam of the Ronald Cheng film It's a Wonderful Life) who as a child was rendered blind in the same car accident that took the life of her father Tony (Lau Ching-Wan). Her mother Mandy (Kelly Lin) and younger brother Oscar (Chung Ying-Kit) also survived, but their loss holds sway even ten years after the accident. Now a young adult, Melody decides to ease her mother's grief by writing a story that diverges from reality. In Melody's fantasy, her father is now the lone survivor of the family's car crash. Now blind, Tony has only a Filipino maid named Maria (Yeung Shuk-Man) for company, and he's still hurting at the loss of his family. How, then, does this lone blind man cope with his day-to-day grief? Simple: he writes his own story supposing that his family survived. That's a story within a story within a story – and Wai Ka-Fai is just getting started. Before long, the characters start to write over unexpected new tragedies, with their stories crisscrossing and getting seriously meta for the characters as well as the characters in the stories written by the other characters. Still following this?

Hopefully you are, because if you aren't then you're out of luck. Written By is creative to a fault, playfully mixing up reality and fantasy until it all jumbles into one large, hard-to-completely-follow tangle. Total understanding is not necessary, however; Wai renders his characters and their situations so deftly that by the time the plot gets tangled he's already earned goodwill. Melody's fantasy allows Tony the chance for reunion with his departed wife and children, and Wai successfully uses many of his previous techniques and themes to tell his could-be maudlin tale. His characters know things that they can't discuss openly, act on their emotions instead of voicing them out, and play pretend in order to maintain the illusion of happiness. This type of character-through-action has been used by Wai before (in Yesterday Once More, Love For All Seasons, and even Shopaholics, to name a few), and Wai wields his devices well, achieving a mixture that's part satire, part fantasy, and ultimately quite touching. Given his work in Written By, it's easy to see that the warmth and emotional surprise of the previous Johnnie To-Wai Ka-Fai collaborations came from Wai.

Despite Wai's creativity, the film does hit some turbulence. At a certain point, reality and fantasy collide and the film grows a bit tired, mixing timelines and storylines in a fast-paced and increasingly confusing manner. It's all rather entertaining but also a bit too much; like in his protracted ending to Shopaholics, Wai Ka-Fai can go too far with his dizzy pacing, threatening to lose or alienate the audience with his breathless reversals. That exhaustion can easily happen here, as the film rarely takes the time to explain what it's doing, and many of the narrative's twists don't seem to amount to more than cleverness for the sake of cleverness. The film's narrative is a large puzzle, and it would be charitable to say that it follows a cohesive and completely understandable thread when unraveled. Not aiding matters is lead actress Mia Yam, who's wooden and somewhat distant. Next to Lau Ching-Wan or even Kelly Lin, she's way out of her depth. Written By has its holes, and those who insist on pointing them out may have a right to.

However, those willing to suspend disbelief may find Written By to be quite rewarding. The film manages to entertain and surprise, delivering affecting emotions while also seeming genuine about them. Written By feels very much like a Hong Kong film - a grateful thing, given the local industry's lack of output and concentration on foreign markets. The production values are suspect with the frequent visual effects proving particularly unconvincing, but that low-tech quality is also a plus. This isn't a movie that asks the audience to be engaged because someone paid the special effects house a ton of cash. Written By relies on a unique concept, innately sympathetic situations, a charismatic lead actor and Wai Ka-Fai's creative, abstruse and ultimately winning way of revealing his characters and their emotions. The message he delivers is not revolutionary, but it's felt and appropriate, and carries a surprising weight. The cultural details are very fun too, with the characters' revisionist writing eventually extending all the way to the Buddhist afterlife. There's surprise and invention in Written By, as well as meaning and emotion that never seems pretentious. It may not be the best Hong Kong film of the year, but Written By easily qualifies as one of the most special.

Source: LoveHKFIlm

PREVIEW:

RELATED LINKS:
MU:
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - Part 08

SS: Interchangeable
Part 01 - Part 02 - Part 03 - Part 04 - Part 05 - Part 06 - Part 07 - Part 08


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I'm sorry

I'm back and I'm sorry
I'm sorry for not loving you
I'm sorry for not being there for you
I'm sorry for making you cry
I'm sorry for breaking your precious heart
I'm sorry for not believing in you
I'm sorry for never giving you my ears
I'm sorry for not holding you when needed to be held
I'm sorry for sharing my nakedness with another
I'm sorry for not expressing myself to you
I'm sorry for denying you
I'm sorry for lying to you
I'm sorry for breaking my vows
I'm sorry for not fight with you
I'm sorry for me being sorry
I'm sorry for my mistakes.....
I'm sorry, I'm sorry, babe I'm sorry.......

Well, actually I want to say sorry for being absence on this site for so long and don't really know where I should start. Anyway, I come back and beg for your forgiving. This is a new start! :) READ MORE.....

Saikano (She The Ultimate Weapon)

Genre: Sci-fi, Drama, Romance
Starring: Aki Maeda, Kanji Tsuda, Kiyohiko Shibukawa, Masato Ibu, Ryou Kimura, Shihori Kanjiya
Release year: 2006
Language: Japanese
Subtitle: English (hard sub)

SYNOPSIS:
The movie version from the popular Manga and Anime series.

RATING: 7/10
USER RATING:

REVIEW:
" ...--- REVIEW ---... "


PREVIEW:

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DDL: 01 - 02 - 03 - 04 - 05 - 06 - 07 - 08

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READ MORE.....