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dilebe06 · 1 year
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My Top Female Characters 2022
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gabrielokun · 9 months
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somanykdramas · 2 months
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MY DEMON
GENRES: Supernatural, Romance
SUMMARY: A cold-hearted Demon remembers what it’s like to be human after falling in love with the one who stole his powers.
THIS SHOW HAS EVERYTHING: Supportive PR employees, diabolical chaebols, powerful skinship, sham marriages, best friend butlers, sword dancing, Joseon flashbacks, tattoos, cropped suit jackets, cakes, clocks, disguised deities, full moon transformations, and the joy of just letting go and listening to your heart.
HOT TAKE: I didn't really love the start of this show, but its themes of loss and love really pulled on my heartstrings throughout. I didn't really love the ending either, but hey, its a love story and you get what you get. I will say though, Song Kang and Kim Yoo Jung win the award for 'Couple with the Smoothest Skin I've Ever Seen in a Kdrama.'
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thedetectivessay · 5 months
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5 Kids, 3 Chairs chart: Season 1 Culprits edition
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stuff-diary · 2 months
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My Demon
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TV Shows/Dramas watched in 2024
My Demon (2023/24, South Korea)
Director: Kim Jang Han
Writer: Choi Ah Il
Mini-review:
Look, I'm not gonna lie. I started this drama for a very superficial reason: Kim Yoo Jung and Song Kang are one of the most gorgeous couples I've ever seen. And tbh, that's one of the things that kept me watching until the end. The first half was pretty fun, thanks to their will-they-won't-they dynamic and some really funny supporting characters and recurring gags. Unfortunately, it began to drag around the middle part, and then it got more and more boring with each passing episode. By the time the final episode came out, I no longer cared about the plot, the characters or anything else (although the ending itself was quite nice). With all that in mind, I can't help but think My Demon would have worked much better as a movie.
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passionforfiction · 12 days
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Death's Game
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Started it today and ended it today. This 8 episode long series is too intense to leave it for later. I binged watched it like I haven't done so in a while. It is the kind of series that is best to go into it without knowing much, unless you read the webtoon. I haven't read it yet, but it's a really short webtoon so I think I will probably read it.
Anyway, this series is not for the fainted heart. It has a lot of triggers and it can be gruesome and gory in some points. However, if you don't mind it, watch it. It is really good. It keeps the audience in suspense and it makes us cry.
The cast did an amazing job! Each person felt like it was Yi Jae.
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ohwhatajoy · 1 year
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WTWIF KISS COMPILATION
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may8chan · 1 year
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Believer - Hae Young Lee 2018
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lamiaprigione · 2 years
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Memories of murder (2003)
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anhed-nia · 1 year
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BLOGTOBER 10/12/2022: THIRST (2009)
As I have a healthy respect for Park Chan-wook, I was embarrassed to realize that I couldn't really remember very much about this movie. Even when I've found his movies less successful emotionally or narratively speaking, they usually leave a stamp with their images and atmosphere. In my attempt to rectify the gap I had with THIRST, I remembered that there is just something about the whole movie and its motivations that eludes me. This may or may not be my fault.
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Park Chan-wook's adaptation of the oft-adapted Emile Zola novel Thérèse Raquin, which he wrote for the screen with frequent collaborator Jeong Seo-kyeong, concerns a Catholic priest whose drive toward martyrdom accidentally renders him a vampire. Beset by ennui, Sang-hyun (the great Song Kang-ho) subverts his suicidal impulses into a more noble-sounding act of self-sacrifice, participating in an experimental vaccine test for the treatment of an Ebola-like virus. This nearly kills him, but he suddenly revives when he receives a blood transfusion—and thereafter he learns with horror that he has to keep drinking blood to continue staving off the virus. Though Sang-hyun feeds only on comatose hospital patients to avoid terrorizing or killing anyone, this doesn't totally cure him of his guilt, and he feels worse still when his "miraculous" recovery makes him into an involuntary faith healer with a powerful psychosomatic effect on his congregation. One of his new "patients" is an old friend, Kang-woo (Shin Ha-kyun), who lives with his overbearing mother Mrs. Ra (Kim Hae-sook) and his wife, the sullen, seductive Tae-ju. Soon, Tae-ju tells Sang-hyun that she was adopted as an orphan by Mrs. Ra, and she has been treated like a slave by the family all her life—especially by the sickly and feeble-minded Kang-woo, who does all sorts of perverted, sadistic things to her. With Sang-hyun and Tae-ju's inevitable affair comes the revelation that he is a vampire, and when Tae-ju witnesses his supernatural strength, she convinces him to kill her husband. The traumatic experience of the murder weakens the couple's bond, and Sang-hyun tries to resolve this by turning Tae-ju into a vampire, but this changes her into a remorseless monster—though perhaps she already was, as it turns out Kang-woo had never victimized her at all.
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So that's a mouthful right there. On the one hand, THIRST is a familiar story about the moral conflicts of the vampire, wherein the monster clings to his humanity by "rescuing" his lover from her torment, and feeding in what he considers to be the least harmful way. There, Catholicism is leveraged to emphasize the guilt felt by the sinful creature that was once a man. On the other hand, we have a tawdry melodrama about a pair of selfish lovers who sacrifice another person to their forbidden affair, only to realize that their relationship can't bear the weight of their crime. There are connective threads throughout the piece: Intermittently, someone opines bluntly that suicidal ideation and ambitions of martyrdom are essentially the same. Occasionally, characters debate each other about whether an afterlife is possible, or whether death is the end. In the beginning, Sang-hyun notes the psychosomatic reactions of the faithful who beg him for healings, and then after the murder, he and Tae-ju struggle to convince themselves that the mocking apparition of Kang-woo that ruins their sex life is all in their minds. However, repetition of ideas doesn't always equal coherence, and I'm not sure all of these various philosophical musings really add up to a unified statement about anything.
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While these diverse themes compete for dominance, the most consistent thing about THIRST is that it is intensely repulsive. In a way, this is refreshing for the vampire subgenre, which is so often sexy and elegant. Diseased blisters, peeling fingernails, bloody vomit, gnarly acts of flagellation, the snot-smeared Kang-woo sweating and farting and humping air, and even Sang-hyun's relatively sanitary method of feeding all make for an extremely queasy two hours and thirteen minutes. Sure there's a lot of steamy sex in the middle, but somehow, this tends to make the experience all the more noxious. Maybe that's part of the director's point—that we're supposed to participate in Sang-hyun's guilt (however wavering that guilt may be), that moral revulsion is the main mood here. But still, it was hard for this viewer to determine who she is meant to care about, and what she's supposed to hope will happen to them. Sang-hyun is a pious fop and a hypocrite who condemns others for their suicidal thoughts, while using the loophole of martyrdom to justify his own self-destructive urges. Tae-ju is at once infantile, and also cold and cruel, which we forgive when we think she's being abused—though that delusion is soon dispelled, and we're just left wondering what her problem is.
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The Zola novel on which this is based met with disgust upon its debut, being called "putrid" by one prominent critic, so maybe all this ickiness is an appropriate way to honor the source material. Still, I'm not sure what Park Chan-wook is driving at, if THIRST isn't just a grand demonstration of abject cynicism. The moral conflict that he explores so deftly in his Vengeance trilogy seems to be replaced here by pure disillusionment. Familial love is rotten and incestuous, romantic love is just selfish ego-stroking, self-sacrifice is an act of vanity, and the body that gives and gets orgasms also produces pus, blood, mucus, and gas, while taking sustenance from the suffering of other living creatures. Sure, the movie is beautiful and inventive visually, aided by great performances from the ensemble, but I'm not sure what it ultimately wants from me. It's funny, sometimes when I see a movie that is populated by unlikable cretins and fueled by misanthropy, those things are exactly what I love about it. Other times, I can't tell what I'm supposed to get out of all that bitterness and loathing. THIRST, despite its creative pedigree, falls into the latter category.
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rookie-critic · 1 year
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Memories of Murder (2003, dir. Bong Joon-ho) - review by Rookie-Critic
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Prior to 2019 (really 2020, if we want to get really specific) there probably weren't a lot of people in the States who could tell you who Bong Joon-ho is if pressed. Nowadays, after Bong's historic first non-English language Best Picture win for Parasite, most people would at least identify the name as familiar, and for good reason. Parasite is undoubtedly amazing; its message is both regionless and timeless, it has superb acting and brilliant cinematography, it is one of the best films of the modern era, if not any era. However, prior to Parasite, back in the days when Bong's fanbase outside of his native South Korea was limited to foreign film lovers and people who really liked Snowpiercer, most people would probably point to his breakout film, Memories of Murder, as his best work, and for a lot of the same reasons that people point to Parasite as his best now.
I'm not entirely sure why it has taken me so long to sit down and watch this considering how much I've enjoyed the other films of his that I've seen, but I'm glad I finally did. Following the true story of the detectives that investigated the Hwaseong serial murders of the mid-80s to the mid-90s, the film works as both a gripping crime thriller and a social satire of the failings of the legal system and the corrupt nature of a lot of its employees. One of our protagonists, Detective Park Doo-man (played brilliantly as always be Song Kang-ho) as well as his partner Detective Cho Yong-koo, are horrible police officers. They fake evidence, they torture victims until they'll confess to anything to make it stop, and they scoff at real investigative discoveries and excuse them as the other detectives "watching too many crime movies" (which in and of itself is an amazing line that both pokes fun at and winks a respectful eye towards the crime films that it follows in the legacy of); all they care about is putting someone away, regardless of if the person is actually guilty of the crime they're accused of committing or not. You can watch the film purely from a plot perspective and be entertained and engrossed, but much like Parasite, the true genius of it lies within this satirical commentary.
The knowledge that maybe the killer could have been stopped, victims could have been saved, if more resources had been poured into actually searching for the real killer instead of trying to put away people who obviously had nothing to do with it is maddening, but somehow Bong is able to inject humor throughout the film that makes all of these frustrating people and darker moments have a brief sense of levity without taking away from the nature of the subject matter. It's truly amazing the way he is able to craft stories that are not only interesting from a surface level perspective, but that contain darker themes and complex social commentary that even casual moviegoers can pick up on and appreciate, and then even with all of that blend comedy and drama so seamlessly you rarely notice the change. Another element of the film that I personally found brilliant, and that I briefly mentioned above, is the way that it seems to be a love letter to the crime dramas/thrillers that came before it and a criticism of them at the same time. If you've been following my reviews for awhile, you'll know how deeply I appreciate films that are able to strike that balance (Scream, Nope, etc.). The ability to acknowledge the problems with a genre without completely dismissing the films that portray those flaws as lesser or bad is something that just appeals to me on such a core level. This may just sound like a meeting of the Bong Joon-ho Fan Club, but it is truly awe-inspiring that he can make a film that has something for everyone in it, and can make everyone enjoy the other bits that, in any other movie, they may not have.
Now, Memories of Murder isn't perfect, it is only Bong's second film and some of those early film maker pitfalls exist here. A lot of the first half of the movie tends to drag a bit, and there may be certain scenes that could have cut or sequences that could have been re-edited to keep that sense of urgency (or maybe even the lack thereof on the part of the detectives) a little more present and flowing. Also, and I know I just got done ranting about how great this exact quality was, but sometimes the injection of humor could overtake the film a little too much. It doesn't happen but maybe once or twice, but I did take note of those moments as something that stood out to me, at least. Outside of these few kinks, Memories of Murder just further proves that Bong Joon-ho just knows what he's doing, and I can safely add another film to the "great" column of his filmography, and hopefully soon I can finish out watching the rest of them.
Score: 9/10
Currently streaming on Hulu.
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blackramhall · 1 year
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살인의 추억 - Memories of Murder Bong Joon-ho (2003)
val3n_roig
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gabrielokun · 9 months
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Black Dog 7
Story: 8
Acting: 10
Chemistry: 10
Comparable to: Hot Stove League (kdrama) ;
The drama really focuses on the backgrounds of what hardships teachers may have to go through and face. Mainly dealing with the pressure from the parents, students, faculty, and board so dealing with all this and with a struggling school trying to get back on its feet, It makes an enjoyable storyline. Acting is top notch throughout the cast as well. There are some small drawbacks where the storyline did feel uneven sometimes and draggy towards the middle late half. Also some situations did feel a bit far fetched, but overall still very much watchable.
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olivierdemangeon · 2 years
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EMERGENCY DECLARATION (2022) ★★★★☆
EMERGENCY DECLARATION (2022) ★★★★☆
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jiaminying · 2 years
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Long Series Kdrama Review My Man’s Secret
Long Series Kdrama Review My Man’s Secret
Have a lot of backlog for Long Series Kdrama Reviews haha. Updated the Long Series Korean Dramas page recently. Doing this review by memory. Watched it some time ago. My Man’s Secret (2017) 我男人的秘密 Episodes: 100 starring Song Chang Eui as Kang Jae Wook / Han Ji Sub, Kang Se Jung as Ki Seo Ra / Jin Yeo Rim, Park Jung Ah as Jin Hae Rim, Kim Da Hyun as Kang In Wook, Bae Jung Hwa as Yang Mi Ryung,…
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