kcla Reviews

Belgravia (2020)

Grab a drink

[6/10 · 3 January 2024]

It starts off well enough. The first two episodes is classic Fellowes, efficient exposition with just the right dash of melodrama and romance. But then it sputters out. Half of the remaining dialogue in the series seems to be a variation of 'who is/why charles pope'. It gets a bit tedious especially as there's only one B-plot to fill up the time.

The acting is... interesting. Harriet Walter is appropriately grand-dameish and there are a few credible turns but nothing great and there are also just some laughably hammy/camp performances especially from the villain. It's a bit surprising how bad the acting is overall given the budget and Fellowes involvement. I mean the writing is also terrible but the acting from some of the cast is soap opera level.

It is mercifully short, though; a brisk 6 epsiodes. With some better acting and writing they could have probably stretched the story for another episode or two, but as is, it at least doesn't overstay it's welcome and it's a fun diversion for costume melodrama fans.

Extraordinary Attorney Woo (2022)

Strong chemistry and acting overcomes uneven writing

[8/10 · 5 June 2023]

As everyone has said, Park Eun-bin gives an incredible performance. I can't imagine how taxing it was for her, physically and mentally. I do think that the portrayal is exaggerated, and the show infantilizes Woo Young-woo in way it never fully reconciles, but that's more of a writer and director decision.

Another standout was Kang Tae-Oh as her love interest. This was a tricky part. Frankly, the character is underwritten and the show glosses over the dicey dynamics of their relationship for a 'love overcomes all' message. But KTO brings a real warmth in a finely calibrated performance. As written, he could have made no impact or been incredibly cringe, luckily the director and actor, as well as the strong chemistry between the leads, was able to make him feel like a possible person. Albeit one, who seemingly only exists to make Young-woo happy.

The rest of the supporting cast was also very strong and better than most K-dramas. Kang Ki-young, a longtime second-lead comedic lead, gives a more mellow performance as Woo Young-woo's mentor. Both actresses playing Young-woo's friends are great comedically. Powerful performances from the actors playing Young-woo's parents. The director really did a terrific job working with the actors.

Each episode is a new legal case a la Law and Order, and the format allows for some great showings by seasoned Korean character actors. I'm not a fan of the legal scenes though. Maybe it's because i work in a legal environment, but it was hard for me to suspend my disbelief at all the 'lawyer' shenanigans.

The show has apparently been renewed for a second season and my wish is it will focus less on the courtroom stuff (unlikely given the show title) and more on the relationships. There were several interesting storylines involving Young-woo's personal life that just seemed to fizzle out and go unresolved.

The Blue Dahlia (1946)

Solid movie with very good performances

[6/10 · 18 February 2017]

Better than average performances from Alan Ladd and Howard da Silva, and solid performances from the supporting cast keep this film noir afloat.

Plot-wise there's a bit too much coincidence. Ladd's character, Johnny Morrison, is on the run as a suspect in the murder of his wife. He gets picked up by Veronica Lake, who coincidentally happens to be married to Ladd's wife's lover. Neither of them realizes until after they've fallen in love, even though Ladd could have figured it out easily if he had bothered to ask her full name.

It's a bit much...and while, their spouses were no saints. It seems a bit cavalier that neither Ladd nor Lake seem to be upset about their dead spouses at the end.

We can somewhat see a character because the acting is good but there's no character development in the writing.I read that they rushed the filming because Ladd was entering the Army. Plus, the ending was changed from Buzz being the killer to 'Dad' Newell due to the Navy's concerns that a veteran would be portrayed as a killer. It does show in the movie. Some extra time could have fleshed out the characters more. And, the original ending would have held more emotional weight.

It's a shame, the movie is solid but would have been better if the actors had more to work with.

Belle (2013)

Lacks Sparkle

[6/10 · 18 January 2015]

This is a fine film based on an amazing true story. It is hampered by a pallid lead performance and an over-emphasis on the (mostly fictional) romance between Belle and John Davenier.

There is a standout performance by Sarah Gadon, as Dido's sister- cousin. Tom Felton, James Norton, and Miranda Richardson also provide much needed spark.

Little is known about Dido Belle, most of our impressions is based on the famous painting. However, the film's characterization fails to convey the charm and playfulness of the woman in the portrait. Instead, the lead actress is left to make 'serious' faces with furrowed brows, watery eyes, and heavy corset-breathing.

Oddly, it is the romantic lead which is the catalyst. John Davenier opens Dido's eyes to the iniquities of the slave trade and her status, which is historically inaccurate and a disservice to the real- life individuals. The film seems more concerned with the romantic life of the heroine than exploring the relationship between her and her family. Dido was an unusual woman, but so was her family. It was her relationship with her uncle and his historic decisions which abolished slavery in Britain that makes her story relevant.

The writer does a good job though, of portraying all the inequalities of Britain. Dido may be hindered by her race, but her cousin and others are no less hindered by their poverty and gender. And the film does a good job of exploring the complexities and difficulties of Dido's relationship with society.

Love on Sunday (2006)

Likable coming of age story

[7/10 · 5 August 2008]

The beginning and end of Love on Sunday is nearly perfect. The director has a real talent for creating realistic teenage relationships in a world suffused with catchy Japanese pop rock music. Yet the middle chunk of the movie, while compelling, is an uncomfortable blend of realism and melodrama.

The story is simple enough. Teenage Akira is about to move to Tokyo but before she goes she wants confess her love to best friend Nao. He is not only oblivious but is in love with popular girl Tamaki, who is still in love with ex-boyfriend Gaku, who is in turn in love with Akira. There are multiple twists and turns as each of the boys and girls compete for the affections of their crush. The melodramatic tendencies of this kind of story is tempered somewhat by the uniformly excellent performances of the young actors who make the cliché romantic dialog and somewhat unrealistic situations mostly believable. The use of rock music, and in some shots music video closeups though, belies the more realist aesthetic of the movie with its silent long shots. I left it slightly confused as to whether this was a mass-market film with an indie sensibility or an indie film with mass-market aspirations.

The youthful energy of the film though is obvious. The actors look like they are the same age as the characters they are portraying. They have good chemistry and create a love quadrangle that is likely to make the film compelling to watch, regardless of its flaws.

Sky of Love (2007)

Bland and pretty

[4/10 · 16 June 2008]

Koizoro starts out pleasant enough, seeming to be a gentle coming-of-age romance. The two leads are attractive and surprisingly young (both were teenagers when the movie was made) Japanese idols, with charisma and ease in front of the camera. Unfortunately neither of them can emote, despite the soap-opera/Lifetime movie melodramatics Koizoro cycles through. What started out as a possibly understated romance where high school freshmen good-girl Mika and bad-boy Hiro fall in love, degenerates into a second-rate tearjerker within half an hour, as Mika (Aragaki Yu) is gang-raped by a group of boys paid by Hiro's ex-gf, becomes pregnant, miscarries, and dumped. Mika eventually meets another guy totally different from Hiro but of course plot devices contrive to draw the two former lovers together.

Even though this movie has been described as a tearjerker, I didn't really cry at all because the lead actors did not give any pathos to the roles. Aragaki Yu and Miura Haruma are still superficial actors, they're pretty to look at but they have no facial expressions, particularly Miura. The cheesy lines the male actor has to say don't help. Surprisingly, Koide Keisuke, as Mika's second love, also seems to be phoning it in. Keisuke is one of those young actors that seems to pop up in a background role in a lot of the popular Japanese movies. He's talented and usually gives a strong performance even in minor roles, but here he seems bored by the material, as was I.

The director doesn't let scenes play themselves out. Plot devices are introduced and resolved without giving time for the material to make an impact. Compared to other Japanese movies of this genre, the film is more frank about teenage sexuality but it has incredibly inept depictions of issues, like rape, divorce, cancer, etc.

Despite the plot flaws, it was hard for me to outright hate this movie. The cinematography is beautiful to look at. There are better films of this genre out there, though this is probably one of the better looking ones. Despite being set in the countryside, the high school students look like they stepped out the pages of Seventeen magazine. And the pacing does keep things moving, so you don't have to dwell on how awful a scene as at least.

Hotaru no Hikari: It's Only A Little Light in My Life (2007–2011)

One of the better ones

[8/10 · 23 March 2008]

Amemiya Hotaru is a diligent office assistant. Cheerful, polite, and conscientious one would never think she is a himono-onna. But her shameful secret is discovered one day when her boss, Takano Seiichi walks into her house and sees her sleeping underneath some newspapers. Turns out her boss is the son of the man whose house she is essentially squatting in. Recently separated from his wife, he's come back to his parents' house to do some soul-searching, only to find his employee squatting there. Neither of them is willing to leave the house so in the best rom-com tradition they decide to live together (while keeping it a secret from their co-workers). The term himono-onna refers to a woman who's very put together at the office but is a slob at home with no interest in dating. Hotaru is such a woman. Her motto is 'lazing around rather than fooling around'. But this changes when she meets hunky Teshima Makoto, a new colleague.

Hotaru no Hikari is mostly a romantic comedy in the Eliza Doolittle vein, where an unsophisticated girl gets schooled in the ways of womanhood by a man. For some viewers it may be hard to understand just what is so objectionable about Hotaru. She's a gorgeous woman, who prefers to sit at home in sweatpants with a beer rather than going out. Nevertheless, in the world of this drama, she must never let anyone know this shameful secret of hers.

Ayame Haruka is fantastic as Hotaru. She's gorgeous, but is incredibly believable as a childish slob, and has awesome comedic timing. The drama's manga origins are very obvious in her character's manic expressions. Ayame does a great job of conveying the enthusiasm found in mangas while still keeping Hotaru believable. As her boss Takano, Fujiki Naohito is a bit stiff. He has lately been cast as boring, nice guys and the role of neat-freak Takano is a nice variation. But there are times when you can see he doesn't fully commit to the more exaggerated aspects of his role, but otherwise he is very good. He and Ayame have good chemistry. Kato Kazuki is a bit weak as Hotaru's love interest, but he's still cute. As is the cast with Japanese dramas, the supporting cast is strong.

There are multiple love triangles among the co-workers sprinkled throughout the series. But these are all resolved quickly. Hotaru's immaturity becomes a bit annoying during some parts but the drama never feels draggy. The script keeps the tone comedic and the pace brisk. The rest of the series isn't as laugh-out-loud funny as the first episode, but even for those going through Asian drama fatigue, as I was, Hotaru no Hikari is very enjoyable.

Yi ge mo sheng nu ren de lai xin (2004)

Sounded better on paper

[6/10 · 26 January 2008]

On a wintry night in 1940s China, a writer gets a letter from an unnamed woman who has just lost her son. He doesn't remember her. They've met three times in their lives, and every time he doesn't remember her, so unimportant she is to him. Now after their son's death, she is about to commit suicide but not before she tells him her story. With her voice-over narrating the contents, she describes their first meeting, their ill-fated affair, and the son borne from it.

We get a flashback to the 1930s when the couple first meets. She's a girl about 13-14 who's fascinated by the famous writer who has decided to take the apartment across from hers. Although they've never spoken to each other, she develops a crush and falls headlong in love with him. To her dismay, though, she finds out that she will have to move to another city and cannot see him anymore. The director accurately captures the boredom and ordinariness of the girl's life before the dashing writer comes into it. Once the writer appears, though, the film deflates a little. For me the actor cast as the writer doesn't seem to physically represent what is expected of the character. Instead of handsome, he's genially middle-aged. It was hard to imagine that a thirteen year old girl would take one look at him and fall head-over-heels in love. He's apparently a well-respected actor in China so maybe Chinese audiences will understand the appeal, but as a viewer who has never heard of him I was stumped.

The second time they meet is about 6 years later. The girl has returned to Beijing for college. The character is now played by actress Xu Jinglei (who's also the director). She rents an apartment near the writer's to be closer to him. To her excitement, he takes a liking to her and they begin an affair. He doesn't recognize her at all since she's grown up and she doesn't tell him they've met before. She thinks this is love only to be heartbroken when he breaks it off abruptly.

She takes it surprisingly well though. Pregnant with his child, she's not angry with him. Doesn't even bother him for child support. Instead she raises the child on her own, while working as an escort. They meet again for a third time several years later. But he still doesn't recognize her, even though he gets a feeling of deja vu. Still she doesn't tell him.

Now this is where the film may lose viewers, it's hard to imagine a man so forgetful or prolifically promiscuous that he doesn't realize he has already slept with that woman. And it may be hard for modern audiences to accept a woman who effaces herself so willingly to that man. The film with its tragic story, period setting, and span of several years seems to aspire to be an old-fashioned melodrama, yet the directing and acting style is understated. The feature ends up coming off rather anemic. Although it's a sad story, both the writer and the unknown woman get no characterization so it's hard to summon up much emotion for them.

Xu Jinglei as the unknown woman is quite good, especially at the end. This is her directing debut and it's ably made, even if there isn't any excitement to be had. Die-hard romantics may like this film, but I don't think it's worth looking at otherwise.

ShakespeaRe-Told: The Taming of the Shrew (2005) Season 1, Episode 3

It's crazy but it works

[9/10 · 23 January 2008]

In this retelling of Shakespeare's play, Katherine (Shirley Henderson) is an abrasive and loathsome Parliament member in line to become the PM. But she won't get there unless she softens her public image. Friends and family gently suggest marriage, which she scoffs at. Then she gets stuck in an elevator with Petruchio (Rufus Sewell), a bankrupt and feckless earl who just happens to be in need of a rich wife. To everyone's surprise they actually fall in love.

The real gem of this adaptation is in the full-on, guns blazing performances of the lead actors. Shirley Henderson and Rufus Sewell are actually playing up types they've played before. Henderson is known for playing quirky, outsider leading lady types, while Sewell has been somewhat typecast in noblemen roles. Here they have taken those familiar caricatures and raised the lunacy level up about ten notches. What's surprising is just how well it works.

Henderson is great, as expected. Her physical diminutiveness is a nice contrast to her Katherine's venomous tongue and quicksilver temper. But it is Sewell who impresses most. Here Henderson's portrayal is over-the-top, full of hisses and snarls. It could be quite challenging to create chemistry with and a lesser actor may have been steamrolled by the ferocity. But here the writer makes Sewell's Petruchio delightfully unhinged. Played charmingly by Sewell, he may even be more socially challenged than Katherine. Together he and Henderson have a demented chemistry that works. Just watch the elevator scene where they first meet.

The supporting cast is of course excellent. With special mentions to Twiggy (the former model) and Jaime Murray, playing Katherine's mother and sister respectively, for bringing life and humor to what may have otherwise been bland characters.

Operetta tanuki goten (2005)

I'm still not sure what to make of it

[4/10 · 18 January 2008]

This movie starts off promisingly enough, but it gets a little to convoluted and caught up in its stylistic charm. The set designs, costumes, and music were wonderful- as close to perfect as one can get. But the more I got into the movie, the more I felt like all this effort was for the director's entertainment, not the audience. Although, I loved looking at it, except for a few brief musical scenes, I can't say I enjoyed it. The director shows enormous imagination, but if he had fun with this film, he failed to share that with the audience, or at least with me. I didn't get a sense of whimsy and I didn't get sucked into this universe.

A big cause of this was (surprisingly) Zhang Ziyi. You can tell she's trying very hard, but she seems to have been so miscast that she comes off almost amateurish. She's a capable actress but she has her limitations. I've noticed in her acting, that she has yet to truly react to her fellow co-stars, a flaw that creates a void of chemistry. The language barrier in this film seems to have only exacerbate matters. She and Odagiri act as if they're on separate planets. She's also not a very good singer which made me cringe every time she sang, but thankfully there weren't too many scenes of that. Odagiri was OK but doesn't make much of an impression.

I didn't even care for the characters separately. There really is a sore lack of characterization. The only reason to care about them seems to be that they're good-looking royalty. Without the compelling love story at the center of the film though, it's hard to care what happens. The film also takes detours into minor scenes that added nothing to the story and was actually distracting. I had to rewind because after going into a subplot I couldn't remember what the heck they we're doing in the main storyline. There were also scenes where it was hard to tell what the action occurring was because it was so stylized.

Mostly I'm just disappointed because I really like the concept behind this and there are a lot of things I do like. The music and dance choreography are really great.The supporting performances are uniformly excellent, fantastic in both the acting aspect and the singing. It's just too bad the lead actors were so bland.

Hatsukoi (2006)

watch for the actors but not for the plot

[8/10 · 17 January 2008]

Misuzu is a lonely high schooler abandoned by her family. One day her long-lost brother contacts her. She joins his counter-culture group of friends. Falling in love one of them, Kishi, the intellectual son of a government official. Together they plan the biggest heist in Japanese history.

The first half of the film moves slowly. Yet not much information is conveyed, it's almost as if it were a mood piece on the enervation of strung out rebels. Although these supposed counter-culturists never really do much rebelling I didn't get bored. The actors were charismatic enough to keep my attention. Though considerably lacking in tension, I liked the actors enough that I didn't notice until I saw the reviews here.

Aoi Miyazaki, as Misuzu, is one of the few young actresses able to convey actual depth without using words. this isn't her best work but she still draws you in. Her real-life brother, Masaru Miyazaki, playing her on-screen brother is also quite talented. But the most surprising was Keisuke Koide, as Kishi. I've seen him on Nodame cantabile, a Japanese television series, in which he played the comic relief. Here he turns in a straight performance, showing good versatility.

The director tries but fails to capture the excitement of the 1960s. Misuzu and her brother's friends don't seem to be passionate or knowledgeable about politics or anything for that matter. Although all the friends are introduced in the beginning, one wonders why the director even bothered, as the film doesn't develop them any further. Still each of the actors make surprisingly strong impressions; it's just a shame the director didn't bother to make better use of them and to create a better sense of camaraderie. The second half of the film picks up some speed as it gets into the actual heist. But still there is an odd lack of tension, and the actual event is almost laughingly simple. I didn't mind it but viewers expecting a heist film will.

Run Away Home (2004)

Stilted and amateurish

[4/10 · 28 December 2007]

Tamara Anderson and her family are moving once again, as her itinerant painter father chases his next landscape. Fifteen years old, she is in her rebellious stage. Already angry at her father for their frequent relocations, her anger is exacerbated when her mother is suddenly confined to a sanatorium for tuberculosis. Her mother's absence causes Tamara to lash out at her father and seek comfort in religion, the boy next door, Rusty, as well as the spirit of the dead teenager who used to live in her rented house.

The story is modest to a fault. It's oddly paced, and even during its emotional scenes there isn't any tension. The actors portraying the parents are fine. Alberta Watson is incredibly charismatic as the sick mother, and Maria Ricossa is particularly effective as the guilt-ridden mother of the dead teenager. But Katie Boland, as Tamara, is too amateurish to carry the movie. The dialog is very natural and Boland can't quite pull it off. She has her moments and when she hits them she can be good but there were too many times when she came off awkward. One can see her thinking 'ok this is what my line is and this is the face i'm supposed to make' rather than actually reacting to the other actors. She's not the only one, Kevin Zegers as Rusty and Megan Park as his sister Brenda also suffer from stilted delivery but at least they're in fewer scenes.

If done right, the screenplay could have made her an affecting movie. And it has it moments but much of it is bogged down with an amateurish lead performance and flat directing.

I Like (2005)

Simply heartbreaking

[8/10 · 11 May 2007]

Yu has a crush on her classmate Yosuke, a jock who has recently decided to quit baseball to devote himself to music. They meet everyday after school at the floodgates in town. Yosuke strums his guitar, playing the same song over and over again, while Yu sits nearby unendingly entertained by this as only a lovestruck girl can be. Often they say nothing...there's a mutual attraction, but inexperienced in love neither of them knows how to initiate it. It's this silence that makes the movie so beautiful (though I know many others may be bored to death by it). But to me it feels so realistic, bringing back all those awkward torturous moments one spent with a crush trying to gather the courage to say something but coming up with nothing or too scared to say anything.

The first half of the film is told from Yu's perspective. Aoi Miyazaki, is wonderful as young Yu. A girl who's every emotion is shown on her face. Eita as young Yosuke, isn't given as much room to shine. Since it is from Yu's point of view, he's often slightly out of focus, while the camera zooms in on Miyazaki. But he's good looking enough and he gives off a rebellious vibe that makes it understandable why Yu would be attracted to him. Both portrayals are incredibly realistic, in that they look and move like real teenagers, hard for me to describe how, it just rang true. The cinematography is dreary, an overcast of grays and muted greens. We don't see them interact with really anyone else but each other, creating a sense of loneliness. But the inanity of their conversations and the small smiles they give each other gives the movie levity. And their youth gives a sense of hope that if not today, maybe tomorrow they'll be able to express their feelings.

The second half is told from Yosuke's perspective. He hasn't seen Yu in 17 years. They didn't have a grand love affair and he hasn't become a musician, and is obviously disappointed with life. Coincidentally, one of his biggest regrets, Yu, comes back into his life, giving him a second chance. Yeah, it's a contrived plot point, but it's done well and the scene where they recognize each other after all those years is cute. This second half wasn't as strong for me as the first. Oddly because they talk more here, taking away some of the tension that the silences created in the first half. Yet it's an interesting contrast to the first half. Here they are older, more experienced with the rules of romantic flirtation. There's a boldness in the way they question each other, knowing what they didn't know then, that there won't always be a next time. They delve deeper into each other's psyches, there isn't the silliness of their teenage conversations. Yet despite this they still don't talk about what is perhaps the most important to them. It's obvious that after all these years they still have feelings for one another but are still too scared to admit it.

Overall the film is beautiful. There isn't much plot or action or dialog...but this isn't a detriment to it. Instead it makes all those small moments, the sidelong glances they give each other, the way they seem to be afraid to look directly at each other, much more meaningful, taking on an angst-ridden quality that restrainedly doesn't descend into tragedy. For all it's moodiness, this is still a film that believe there's hope in love.

Heavenly Forest (2006)

Charming Japanese romance

[9/10 · 29 April 2007]

This is one of those light movies that is so charming and enjoyable you can't even begrudge its slightly sappy ending. Hiroshi Tamaki stars as Segawa Makoto, a university student who shies away from people because of an unknown illness. He's interested in photography and one day while taking pictures in the woods he runs into Satonaka Shizuru, a quirky waif and classmate, adorably played by Aoi Miyazaki. The normally shy Makoto feels strangely relaxed with the energetic Shizuru, and the two form a friendship. Complications arise from Shizuru being not-so-secretly in love with the oblivious Segawa, who's instead in love with another classmate, the beautiful Miyuki, as well as Shizuru's illness.

Both leads are good, though frankly this is a movie which they don't really have to do much besides act cute. Still I have to praise Aoi Miyazaki, who stole the movie. I'll be honest, I'm one of those grinches who usually can't stand the relentlessly cute and cheerful, squeaky-voiced female protagonists popular in Asian romances. But Aoi Miyazaki completely charmed me with her exuberant performance, which seemed natural despite its childishness. It took me a little while to get used to Hiroshi's Tamaki's performance, I felt he overplayed the awkwardness of his character in the beginning. But he and Miyazaki have a really nice and easygoing chemistry, and they form a realistic couple you want to root for. Supporting characters aren't annoying (if you've watched Asian dramas, you'll know what I mean).

Thinking back, I'm struck by how perfectly balanced the cuteness and unforced emotion was in the movie. Too many romantic dramedies tend to overdo the former, in my opinion, and sacrifice the latter to get a tear, by setting up melodrama. Not to say that this movie doesn't do that. The ending is the cliché melodramatic ending we've see again and again in Asian romances. Yet it works because the movie has engendered so much good will along the way and it shows just enough restraint.

The cinematography is adequate. I feel it didn't quite utilize the full beauty of the title forest(there was perhaps a little too much light in the scenes). That perhaps speaks for the movie as a whole. It's a little too fluffy to be substantial, there have been more original and sensitive versions of its basic plot line. But I recommend it, mostly because of the performance of the female lead.

Brother Beat (2005– )

affable family comedy

[6/10 · 26 December 2006]

An incredibly appealing, broad comedy "Brother Beat" is a Jdrama that follows the romantic and familial trials of 3 brothers (Tatsuya, Riku, Junpei) and their widowed mother (Haru). After the death of their father, the 3 brothers grow up to be very disparate but nevertheless incredibly close people.

The oldest brother, Tetsuya, is very hardworking and responsible. He tries hard to be the man of the house and take of his family, though most of the time he just comes off as bossy. Although handsome he's inept with women and is still in love with his ex-girlfriend, even though they broke up 2 years ago. One day while hurrying to work he bumps into Chisato (played by the adorable Ryoko Kuninaka). She falls instantly in love with her though he's still hung up on his ex. Chisato is coincidentally, the new manager at the market where his mother, Haru, works. When Haru discovers Chisato's feelings toward Tetsuya, she conspires to get them together, though Tetsuya's ex and Chisato's strict father stands in the way. This was my favorite storyline, Tamayama Tetsuji is the best actor out of all the brothers. Equally adept at both the comedic and dramatic moments, he made Tetsuya my favorite character, second to Chisato, who's patient and cute temperament is irresistible. Their sweet and tenuous relationship was a tearjerker.

The second brother, Riku, is the opposite of Tetsuya. A ladykiller he seems to be content with working part-time jobs for the rest of his life. He and Tetsuya are always fighting but you know they are just trying to look out for each other. He drifts aimlessly until he loses his job. Realizing that he has to start gaining focus, he takes over the defunct laundromat, that their father used to own. Hayami Mokomichi has good screen presence as Riku. Although I think he's not the best crier, he has charisma.

Third brother, Junpei, is naive and caring. He does most of the housework and is always trying to take care of others. Because of his kind nature, girls use him. But he remains good-natured throughout and eventually he falls in love with his classmate. Complications arise from the fact that she is pregnant with another guy's baby, but Junpei, kind as he is decides to take care of the baby as his own.

Their mother, Haru. isn't the typical mom. She lets her kids call her by her first name, she doesn't do any of the housework (Junpei does that), she's argumentative, and she often acts like a kid. Nevertheless she's fiercely protective of her sons and is willing to do nearly anything to make them happy. This character annoyed me half the time, but she was the catalyst for much of the plot, pushing her sons to do what was best for them when they were at a lost.

Although a comedy, I didn't really find "Brother Beat" funny, the humor being too broad for my taste. But others may like it and it is very appealing, I smiled a lot watching it. The dramatic moments worked the best for me, especially the ones bet. Tetsuya and chisato. "Brother Beat" is ably acted all around. I didn't really feel there was much of a brotherly connection among the actors but the brothers' individual story lines were entertaining enough to distract me from that. There were far too many 'family spats' that were unfunny, though towards the end of the series these got better as the writers were able to add some pathos to them. Overall, "Brother Beat" isn't one of the best, but if you have some free time it's worth seeing.

Il Mare (2000)

good quiet romance, tho bland

[6/10 · 25 June 2006]

Il Mare is a Korean romance about two lonely singles who have a romance through letters. The catch is that they are separated by two years in time (he is in 1998 while she resides in the year 2000) and the only way they can contact each other is through a magical mailbox at Il Mare, the oceanside house both reside in in their respective time periods.

I've heard a lot of hype about this movie...especially about the time-travel aspect in the plot. I was expecting it to be flashy instead I found a quiet steady drama yet it wasn't original or particularly moving. Its strength lies in its restraint.

Many commenters have noted the ingenuity of the time-travel aspect...but I was less impressed with that having seen it used before in another movie with a couple that had more chemistry (The Love Letter starring Campbell Scott and Jennifer Jason Leigh). The lack of chemistry and character development is the fatal flaw of the movie. We see that Eun-ju and Sung-hyun are lonely people but besides that we don't really get a sense of who they are. Given the plot they cannot interact really except for a couple of scenes, such as when Sung-hyun meets Eun-ju at a train station in the year 1998 when she has no idea who he is. These scenes should have had a bittersweet tenderness, yet they merely fall flat. In a movie like this, the leads do not need to have crackling chemistry but we need to be able to see that they belong together.

Individually the performances are good, if a bit bland. The dialogue is...not as sappy as some movies, but not at all witty or innovative. despite its plot gimmick, il mare is nothing but a traditional romance who's only notable point is its austerity. The film doesn't force the romance on us, it takes its pace unfolding it..first as a friendship only near the end indulging in the sapfests. But in being so restrained about it, the film also doesn't really give the audience something to root for. If you don't really expect much from this kinda genre you might enjoy it but if you want to be swept off your feet and moved to tears this isn't the film for you.

Pride & Prejudice (2005)

you'll love it...if you haven't read the book or seen the bbc version

[6/10 · 25 February 2006]

i really wanted to like this film...and it is good but not quite satisfying. rosamund pike is radiant as jane bennett. while most of the casts gives a slightly more human take on the characters. Mr. darcy in this version isn't really proud but shy. and tom hollander's Mr. collins is perfect, we may mock him but not without a bit of sympathy. the cinematography is stunning, the director takes a very modern, realistic approach to the camera movements and the stunning photography of the British landscape elevates the film. yet at the same time, wright also resorts to contrived mtv-inspired shots. these are meant to create tension and to let us see more deeply into the characters minds, but just came off as cheesy. this was forgivable, what's not is keira knightley's performance. i've never seen her act but have obviously heard of her and read articles praising her talent. but she has a tomboyish quality that just doesn't translate to the requisite grace required for the role. her performance deprives the movie of what it needed most, a heart. this pride and prejudice is very lovely to look at but it doesn't steal your heart.

The Days (2004)

promising

[16 August 2004]

This summer series from ABC focuses on the melodramas of the Day family. In Episode 1, the mother and daughter learn that they are both pregnant. Meanwhile, the dad quits his job as a corporate lawyer and the youngest son suffers from panic attacks. Sarcastic, observant middle son Cooper narrates his family's soap opera travails.

It is this wry observation that saves the show, often an incredibly trite scene is saved by a quick one-liner from the characters. These people may be stereotypical television characters (how many times have we seen a pregnant teenage girl on television? We get it- sex has consequences. Bizarrely, STDs which are actually on the rise among teenagers as opposed to pregnancy which is in decline among teenagers is rarely dealt with seriously on any network show.) but the writers are smart enough to know that and have the characters skewer their own archetypes. And as the series progresses, these characters become somewhat endearing and real.

Still, the show often fails to maintain the delicate balance between drama and comedy as well as the balance between family fare and edgy topical material. The parents were surprisingly accepting about Natalie's pregnancy, even seemed kind of glad about it, eventually- which in t.v. land means 2 episodes. In the most recent episode, daughter Natalie decides to get an abortion. She'll probably change her mind in the last minute as these writers or the network probably isn't brave enough to actually have a main character have an abortion. It may be a choice but not one that can depicted without being seen as shameful by many viewers, which is unfortunate since this is a real decision many people make.

The acting is mostly marginal, they actors mostly don't know how to infuse there characters with pathos and overplay the comedic scenes. Evan Peters is pretty good as middle son Cooper, but his voice is sometimes monotonous- whether he's trying to intentionally depict his character's weariness with conventional standards I'm not sure. The Days are witty enough to keep one entertained but despite the melodrama and middle son Cooper's belief that his family is crazy, they aren't that unique. Still, for a network summer series it's pretty good and the series gets better with each episode- there's a chance it could become truly compelling in the future, if only it would become more daring. Better than a lot of the junk on network TV but hasn't quite found its footing yet.

The Jury (2004)

one of my new favorites

[2 July 2004]

I missed the first couple of episodes but was nevertheless immediately caught up in this series. While other shows focus on the cops and crime scene investigators who solve the cases and the district attorneys prosecuting the criminals, it's refreshing to see one that focuses on the jury; after all justice isn't served when the lab results come back and they are basically the final arbitrators of justice. Each episode starts with the jury starting deliberations with flashbacks employed to show us the trial; the actual events of what happened, whether or not the defendants are guilty are shown to the viewers at the end of the episode.

Although I was intrigued by the concept, I was initially hesitant about this show because the "jury" changes each week; I like watching "Law & Order" or "CSI", but the quality of the guest stars are sometimes atrocious and can really affect the dramatic impact of an episode. Luckily, "The Jury" has so far seemed to avoid that sand trap. The actors playing the jury for the most part are very good- not great- but their not bad(and surprisingly recognizable from guest-starring roles on other shows). The actors playing the attorneys and court staff don't fare so well, though. Adam Busch is the comic relief and is quite adorable and funny, but his character seems out of place in a serious courtroom drama and I have no idea what his character's job is; the flirtation between him and Cote de Pablo's character is awkward (intentionally?). The judge (I can't remember his name) is okay but you can why he's not an actor. Anna Friel, a British actress, and Jeff Hephner take some getting used to but they become more likable each week. There are several more actors playing lawyers but the episodes showcasing them have not aired yet.

The acting of the may not be the greatest. But watching the jury deliberate is riveting as they and the viewer try to weave through the evidence, trying to determine the truth of the case. The dialogue is realistic abounding with the lame jokes, bad grammar, and banter of average folks stuck together for hours. The jurors always disagree about something and that's when the show gets really exciting, when two or more jurors give us their different perspectives of what they think happened, showing how "evidence" can always be interpreted in myriad ways and how difficult it is for real juries to come to a decision given that fact.

Some may argue that showing what really happens at the end of the show ruins the naturalness of it, since real juries never know the guilt or non-guilt of the defendants neither should the viewers. While that's true, I still feel it's a good idea, after going through the roller-coaster ride of emotions and ideas of a jury deliberation, finding out the true guilt or innocence of a defendant brings a certain sense of closure and emotional catharsis of relief or sadness when the viewer sees what really happened compared to the defendant's ultimate fate. Sometimes the defendants get away with murder and sometimes an innocent man is imprisoned; the show reenforces the fact that the court system isn't always right and that justice is a truly human creation.

Bus Stop (1956)

OK but obnoxious

[5/10 · 13 June 2004]

The movie is based on a play that I haven't read so maybe I'm missing some of the subtext but as pure entertainment I wouldn't recommend this movie. The characters aren't well-defined and are little more than stereotypes, e.g. Grace, the sassy diner waitress, Cherie, the showgirl with a heart of gold. Marilyn Monroe plays the same type of character that she more or less played for her entire career, but she does it very well; she and Hope Lange provide the only good performances. Don Murray's unsophisticated cowboy was so obnoxious he practically ruined any enjoyment to be had from the movie. The supporting players are decent but that's all. It's a shame, this movie could have been pretty good if they had made one or two different casting decisions.