This movie’s central character is not the title character. It’s a lad aged about four named Kun (Moka Kamishiraishi). While it is his journey and growth in maturity the film chiefly follows, his whole family also has to adapt and change and it’s all thanks to their newest member, baby Mirai.
The features from director Mamoru Hosoda and team have been consistently good and occasionally great, and with Mirai Studio Chizu has created a film both for all ages and … (read more)
Space Sweepers is a big budget B movie. A Korean made and led, but globally minded space adventure the likes of which I have not really come across before. Chinese blockbuster The Wandering Earth bears some resemblance in looks, but is very different in feel. Tonally Space Sweepers faintly recalls a variety of animated properties. The crew of the ship Victory work as space janitors, like in Planetes, but it’s a much showier affair that turns tense and meticulous … (read more)
Co-directors Wong Jing and Jason Kwan punched out this thematic, but otherwise unconnected, sequel to their 2017 historical crime drama Chasing the Dragon in two years. It’s not the same breakneck pace of the helter skelter Hong Kong heyday, when Casino Tycoon and its sequel blazed into cinemas in the same year, but for contemporary big budget Chinese blockbusters like this it’s still a quick turnaround.
A couple of clips from Chasing the Dragon, tweaked to look like archival … (read more)
Chin Kar Lok is one of those hard yakka performers the Hong Kong and Chinese film industries have relied on over the years and I have a lot of time for his work. A stunt veteran and background character for much of the 80s and 90s (e.g. Millionaires Express) with an occasional lead role (e.g. The Scorpion King), for the last decade or so he has been more of a character actor (e.g. Cold War). He only … (read more)
South Korea’s zombie train rolls on, as the undead plague continues to spread through pop culture. After Train to Busan went off like box office gangbusters, others were quick to start piling on the potential for a juicy slab of the screen market. Take for instance the hit Netflix series Kingdom, wherein Kim Eun-hee adapted the webcomic Kingdom of the Gods she helped create and which is a strong contender for the genesis of the South Korean strain of … (read more)
Brisbane has been less impacted by the current pandemic than some other state capitals in Australia, so with COVID concerns ever-present, the Sunshine State leg of KOFFIA was able to go ahead. Thus, with a bellyful of food from one of the many Korean restaurants that have sprung up in the city over the past decade or so, I found myself in a well-attended (given the circumstances) cinema on a Saturday evening to watch historical action/drama The Swordsman.
After … (read more)
Co-posted at Still Just Alison
TV drama – 16 episodes
This is the hair shirt and barbed wire pants of K-drama – if you can get through all 16 episodes, you’re a better person than me.
The first kazoo in the dramatic symphony comes early on, when our heroine, after being cruelly dumped by her boyfriend, says plaintively “Am I so unattractive?” I’m sorry sister, but no amount of baggy clothing can convince us that you don’t have men lined … (read more)
Co-posted at Still Just Alison
TV Series – 16 episodes
I really didn’t want to love this so much. I didn’t even want to watch it. Let me explain…
It started with a song. I’d never liked Park Seo-jun, but a friend recommended the series, so I finally watched the ad. And man, that song is powerful – in about 30 seconds it had me half-convinced I wanted to start a bar and take over the world.
So I started … (read more)