未看前篇的《哪吒之魔童降世》就直接看《哪吒之魔瞳闹海》。结果是故事没跟上。整部片我一直是抱着“啊！是如此吗？！。。。哪吒不是与熬丙是对立的吗？！。。。申公豹是妖而非人类？！。。。南极仙翁撞脸无量仙翁？！。。。” 脑子上应该是浮现了无数个问号。
片中每个角色应该是不同组的绘画员负责的吧？第一次看到动画片的画风差异如此之大。这次哪吒的造型与以往的造型相差很大，却又让我第一次没把哪吒与红孩儿混淆。但为何熬丙撞脸素还真？！我一直一直得提醒自己素还真并未从霹雳台穿越之陈塘关。还有还有，有些角色画风怎么挺日系的。。。
故事好像颠覆了哪吒与各个人物的关系。编剧是在借由这部动画传达什么批判吗？觉得好聊斋啊！
《唐探1900》做为2025年春节档的电影我是挺意外的，因为觉得电影的背景时空与议题对于晚清华工后代或许相当沉重。
《唐探1900》剧本采用了不少当时的原型人物，也算是《唐探》系类似乎欲脱离无厘头的故事性？这次好像是搭景拍摄的小屏幕里街景造型若有瑕疵是看不到的，但制作团队的诚意与认真是满分的。
《唐探1900》王宝强的角色人设比起之前的《唐探》系列更多了层次感，挺期待看到王宝强更多变的诠释。我其实觉得有个角色选错演员了。挑了本不是系列演员的演员来诠释剧中举足轻重的角色，而演员对于角色的诠释硬生生地地把系列主角比下去，我边看戏边不断提醒自己主角是哪位。有时候演员之间功力悬殊会把本是主角的演员变得好像个闲角似的。
龙虎武师在香港电影里是个不可或缺的，虽然他们常常不露脸地替大明星们完成各种危险至极的动作场面，使香港动作电影精彩无比。在毫无电脑特效的那个年代，香港动作电影简直是个指标。
2021年上映的《龙虎武师》不是一般的电影也没有纪录片的严谨，却是满满的回忆，算是对武师们的致敬吗？
袁家班、洪家班、成家班在香港电影中占有一席之位，但原来钱嘉乐、甄子丹也曾是武师，董玮、林正英、程小东也出身武师，难怪他们导的动作片拳拳到肉让观众目不暇给。
龙虎武师绝对是危险的职业，早期成龙电影的尾声不也释出惊险的NG片？
也因看了《龙虎武师》解答了我一直以来的疑问》为何演员背对镜头的动作戏身形发型与正面的不一致。原来大明星们不露脸的动作几乎都是武师完成的。
Finally I was able to watch Minority Report in its entirety. Somehow, for some reason, I was never able to watch beyond the part where John Anderton tried to escape whe his name appeared on the red ball. So I never knew how the movie ended exactly.
Sci-fi is always so fascinating, in that when the time actually arrives of what was predicted in the stories, man can compared how far-fetched or realistic the predictions were, and how the stories had influenced the progress of technology and consequently humanity.
Minority Report paints the future 2054 as a futuristic society where homicides no longer occur, thanks to precogs that can 'see' the future and warn of impending homicides. A crime division headed by John Anderton apprehends the 'future' criminals and places them in an artificially induced coma, thus preventing the crime from happening.
Which begs the question. If man can now 'predict' that a crime is going to occur, and the 'criminal' made aware of his 'impending crime', would and can the 'criminal' change his mind/will about commiting the 'crime'. So if Anderton apprehends the 'future' criminals and prevents the 'crimes' from actually taking place, the 'crimes' thus will not happen and the 'criminals' no longer 'criminals', should they have been placed in an artificially induced coma and punished for 'crimes' they did not actually commit? In an oblique manner, this was the question asked by Danny Witwer who came to find 'flaws' with the precrime lab that Anderton heads.
The primary theme of Minority Report is free will versus determinism, and Anderton and Lamar had amply demonstrated that free will can overwrite determinism, thus the entire concept of precrime simply cannot stand.
Minority Report is a fairly old movie from 2002, and the futuristic technology it depicted for 2054 seemed far-fetched and nonsensical in the early 2000s. But I googled and realised that Minority Report was adapted from a 1956 novella, I was quite surprised that the theme of free will versus determinism had existed way back then.
However, having read Brave New World recently, I am now not so surprised by the seemingly incredible dystopian future envisioned by these writers.
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Die Geschichte war ziemlich unglaublich und wenn ich einige der Darsteller nicht erkannt hätte, wäre ich vielleicht nicht versucht gewesen, fast 2 Stunden damit zu verbringen.
Es war interessant, Jo Woo-jin in einer Rolle zu sehen, die sich so sehr von der in Happyness unterscheidet. Shin Hye-suns Charakter war leider etwas langweilig.
Immer noch ein Film, der ausreicht, um sich die Zeit zu vertreiben.
Published in 1957, The Untouchables was adapted into a film of the same name in 1987. I recognized the names of the cast - Sean Connery, Robert De Niro, Kevin Costner and Andy Garcia, but the faces on screen were quite unfamiliar to me until I realised how long ago 1987 was and the actors certainly have aged since, and Andy Garcia looks quite different in 1987 and now.
Still that aside, The Untouchables is a compeling film depicting the eventual capture of the notorious Al Capone during the Prohibition in the 1930s. The level of violence was shocking and I wonder what this film would have been rated today.
2014年公演的电影The Giver虽是部旧片，改编于1993年出版的少年同名小说，我近日第一次看，却相当震撼。
在遥远的未来，从未点名的大灾难重生的世界一切祥和平静。纷争困扰已不再重现。家家和睦。君臣佐使井然有序。这乌托邦似的世界没有七情六欲，没有颜色。功成身退的年长者在隆重仪式后被'released to elsewhere'-实际上是被安乐死。
人类不再拥有对大灾难前的任何记忆，除了一位The Giver。
这年的成人礼上，Jonas被选为下一位The Giver, 受训于The Giver。Jonas通过The Giver感受到了大灾难前人类的七情六欲，不再接受社会的枷锁，誓约解放人类的记忆与七情六欲。最终Jonas成功了。人类从此与他一样，看得到颜色，感受得到七情六欲。
老实说，小说的情节并不新颖。但每每我读了这类小说，还是觉得很震撼。乌托邦的世界这么虚弥不实际，但人类历史上追求各自乌托邦的领导层出不穷，追求乌托邦的过程中人类遭受人为灾难的历史不断以不同形式重演。
哇哇！终于看了《饭戏攻心》，完完全全冲着子华神看的。
原本是2022年的贺岁片拖了几个月才上映，我现在才看也不算太迟吧。
从来不觉得围着饭桌的戏可以很好看，但这饭桌上三兄弟的爱情故事却是出奇的精彩。
三兄弟关系复杂。大哥与三弟同父异母。二哥则完全异父异母。
二哥恋上大哥前女友。大哥被网红倒追。三弟的姐弟恋谈了12年，看似不婚主义，原来计划中的时机未到。
子华神也太神了吧，如何能看起来与张继聪年龄相似？！
スーパー8は2011年のSF映画で、タイトルはかなり誤称です。タイトルは、実際には、映画の登場人物の1人が映画の撮影に使用したSuper8カメラを指しています。
スーパー8は、主演が捕虜と拷問から逃れたエイリアンを発見した子供たちのグループであるSF映画です。エイリアンは最終的に宇宙船を修理して離陸し、それとともに、所有者が手放すことを意味する物理的なアイテムもありました。
また、タイトルがスーパー8で、映画全体を映画の撮影に費やしたため、クレジットロール中に子供たちが撮影した「映画」も上映されました。映画そのものと同じくらい面白いと思いました。
ますますSF映画を楽しみ始めていると思います。
[Updated 15 Dec 2022]
Sageuk losely refers to period dramas or movies in South Korea. They could depict historical figures or periods, or use historical figures and periods as a backdrop while filling up the gaps with fantasy or time travel or soul swaps from the modern era to certain historical periods in Korea.
Recently I came across this website the talking cupboard, which helps explain on korean culture depicted in sageuks. There was a sageuk timeline, which the webmaster last updated on 21 Feb 2021, that lists sageuk according to the timeline of Korean history. I found this really helpful, not being familiar with Korean history and being baffled by the sageuks.
Based on the list, I'm also listing the sageuks [I think they are considered more as fantasy sageuks than serious sageuks] than I've watched so far, to try and make sense chronologically of what had happened during the different periods in Korean history. I'm stopping my list at the Joseon dynasty, and perhaps start another list for sageuks from the Korean Empire.
Across dynasties
Ruler | Title | Drama/Movie | TV station | Year of broadcast | Male and female leads
x | Hotel Del Luna | Drama | TvN | 2019 | Yeo Jin-goo and IU
Goryeo Dynasty
Ruler | Title | Drama/Movie | TV station | Year of broadcast | Male and female leads
x | Guardian: The Lonely & Great God | Drama | TvN | 2016 | Gong Yoo and Kim Go-eun
x | Along with the Gods: The Last 49 Days | Movie | x | 2018 | Ha Jung-woo
Taejo | Moon Lovers: Scarlet Heart Ryeo | Drama | SBS | 2016 | Lee Jong-gi and IU
Joseon Dynasty
Ruler | Title | Drama/Movie | TV station | Year of broadcast | Male and female leads
x | The Moon Embracing the Sun | Drama | MBC | 2012 | Kim Soo-hyun and Han Ga-in
x | Rooftop Prince | Drama | SBS | 2012 | Park Yu-chun and Han Ji-min
x | My Roommate is a Gumiho | Drama | tvN| 2021 | Jang Ki-yong and Lee Hye-ri
x | Poong, the Joseon Psychiatrist | Drama | tvN | 2022 | Kim Min-jae and Kim Hwang-gi
Yeonsangun | The King and the Clown | Movie | x | 2005 | Jeong Jin-yeong and Lee Joon-gi
Jungjong | Monstrum | Movie | x | 2018 | Kim Myung-min and Kim In-kwon
Gwanghaegun | The Tale of Nokdu | Drama | KBS | 2019 | Janf Dong-yoon and Kim So-hyun
Gwanghaegun | Masquerade | Movie | x | 2012 | Lee Byung-hun and Ryu Seung-ryong
Gwanghaegun | The Crowned Clown | Drama | tvN | 2019 | Yeo Jin-goo and Lee Se-young
Sukjong | Queen In-hyun's Man | Drama | tvN | 2012 | Ji Hyun-woo and Yoo In-na
Sunjo | Love in the Moonlight | Drama | KBS | 2016 | Park Bo-gum and Kim Yoo-jung
Jeongjo | The Fatal Encounter | Movie | x | 2014 | Hyun Bin
Jeongjo | Royal Secret Agent | Drama | KBS | 2020 | Sung Yi-gyum and Kwon Na-ra
Cheoljong | Mr Queen | Drama | TvN | 2020 | Shin Hye-sun and Kim Jung-hyun
Well, it does seem like I've watched quite a number of sageuks, most of which are on tvN and of the fantasy genre. I'm still not quite recognizing most of the leads, less so of the actors who acted as court officials (they resemble each other with their bushy beards and mustaches.) Now that I've done some sorting, it makes a bit more sense why the costumes of the actors in Moon Lovers deferred so much from those in Mr Queen - different eras altogether!
There are quite a number of articles on Joseon culture in the talking cupboard. Coupled with the sageuks, I think I might be on my way to learning more about korean history without having to resort to textbooks!
What are the odds that a real movie gets mentioned in a drama?
Well, the 2019 Extreme Job made a cameo in the kdrama A Class of Lies, though not exactly in a very flattering light. Of the 2 students who went to a cinema to watch Extreme Job, 1 fell asleep for more than an hour while the other took the opportunity to snuck away.
Nevertheless, Extreme Job was for me a hilarious campy movie helmed by the talented Rye Seung-yong. There was a fresh-faced Gong Myung and the reliable Oh Jung-se. How the student could have fallen asleep for an hour during Extreme Job is quite beyond me.
Who could envision that detectives sucky at their day job could be successful in a career switch dishing out fried chicken?
I never did used to be fond of sci-fi films, because they seemed too sophisticated and intelligent for me. Thus when 9 was released in 2009, obviously I won't have paid any attention to it, not that I would have understood it anyway then.
Somehow, the lingering pandemic that simply refuses to go away, throwing up new variants or whatever the experts decided to name them, technology that used to be tolerated came right to the forefront, forcing people to interact on the virtual level, whether they like it or not.
With this backdrop, 9 now seem surprisingly relatable for me. 9 relates the story of a small ragdoll (9) who woke up after the destruction of mankind. 9 then searches for other ragdolls like him to understand the cause of the destruction of mankind.
The colour scheme of 9 veered towards duller and darker tones, and there was a frightening machine that sucked the souls of ragdolls. Back in 2009, I would have thought this was absolute nonsense. Ragdolls don't have souls and such frightening machines must have been the imagination of silly adults trying to frighten their children into going to bed early.
Yet now, as mankind hurtles towards artificial intelligence, machine learning and smart-everything, the scenario painted in 9 seems to resonate. A scientist built a smart machine which then gained intelligence (sounds like machine learning, no?) and decided that humans are the weakest link (I hear this plenty of times, especially during seminars where speakers were expounding the virtures of their automated processes and system) and ought to be terminated. Before the scientist was killed, he used alchemy to split his soul into 9 bits and infused them into 9 ragdolls (this part sounds like what Tom Riddle did, no?).
I found it a little difficult to follow the plot of 9, probably because I'm quite unused to such form of story-telling. Nevertheless, it was a good introduction to the sci-fi world for me, and I now look forward to watching more sci-fi.
《遗产五亿元》是邵氏1970年的电影，由日本人井上梅次导演，主演的有邢慧、金峰、汪萍，并在日本取景。 故事为临死富商把三个同父异母从未见面的女儿从香港招致日本，要她们继承他的遗产。三女抵达富商父亲的日本豪宅后怪事连连发生。最终一女死，令两个女儿继承了遗产。
电影虽标榜为悬疑剧，但对于看了欧美日韩的悬疑剧后，已能早早猜到《遗产五亿元》故事里的歹角、结局。或许1970年时，此类剧本真的是悬疑剧，而且拉队到日本拍摄成本应不小，诚意可谓满满。1970年时，金峰42岁，搭配了26岁的邢慧饰演情侣竟然无违和感，让我确实傻眼。
看这部电影时，妈妈突然说“邢慧真可怜，后来精神出问题”，我上网看了看，确实可惜。
邵氏兄弟的电影在CCM台轮着播，迟早会看到。
近日午饭时段CCM台竟播《邪斗邪》。片名这么惊悚，中午看这部片应该还好吧。
片子看下去，发现《邪斗邪》不是什么惊悚片，而是被归类为喜剧片。1980年的港片喜剧竟然如此gag，男一如此多没穿裤子的画面，只能说时代不同，观众能接受的幽默也不同吧。
《邪斗邪》故事概况是某烂赌徒无力偿还赌债，被妻子抛弃后进入一段冥婚后要求冥婚妻帮他在赌档赢钱。
冥婚的呈现方式与《戏说台湾》里稍不同。《邪斗邪》里的父亲用一袋珠宝招婿，《戏说台湾》里则是红包纸。
《邪斗邪》近尾声在赌档的戏对我来说相当新奇。烂赌徒的冥婚妻上了荷官的身让烂赌徒赢钱，赌档老板似乎发现了不寻常换下荷官。顶替的荷官发现椅子湿了，老板于是进入一个房间叫一个名字是八妹的女子出去看看。这个八妹化了大浓妆，露出的双臂上有两条蛇的刺青。在出房间前做了一些仪式，上桌当荷官时好像摆了个什么阵，也做了仪式。不知这八妹的原型是什么样的人物，她的造型与演出的仪式是否为编剧的想象力还是根据眼见做了戏剧化的改编。
另外一点挺好笑的是一段Johnson Baby Powder的桥段。当年的电影是否已经有产品植入的习惯？
演员方面，对我来说几乎都是陌生脸孔。男一是个外貌似混血儿的伊雷。男配角中有个似懒惰眼，不知是否是真懒惰眼还是装斗鸡眼。这男配角印象中曾参与其它戏，形象也是懒惰眼。若是装斗鸡眼，也太累了吧。
The 2016 Kidan Piece of Darkness was adapted from a book and is a seletion of 10 horror stories (out of 99 stories) directed by six directors.
The horror stories are more akin to Japanese urban legends, rather than the typical American horror movies. There is minimal blood and gore, with directors taking slow shots to effect suspension. The stories are presented as letters written by readers, who recount events they experienced. There is usually no explanation as to why the events happen, which is rather typical of Japanese urban legends. Perhaps these stories happen as a coping mechanism for people as they experience the upheaval in their lives when Japan modernized and many traditional beliefs and practices were suspended when people started to leave their hometowns and live in large cities as faceless beings to one another, removed from their familial relationships.
追い越し
Four friends took to checking out rumored haunted places at night after one of them received his driving licence. Driving along a deserted stretch of road one early morning, they saw a long-haired being walking on the side of the road. Despite revving up the engine, the being continued to be visible in the driver's side mirror no matter how fast he drove.
影男
A grandmother woke up to loud banging on her glass doors and was attached by a dark being that mysterious apparated into her house. She then woke up to a ringing phone call and found blood dripping from her nose. Later in the night, both she and her daughter heard loud banging on the glass doors again. Yet this was an one-off incident.
尾けてくる
A high school girl saw a man in workclothes starring at her on her way home. Spooked, she informed her neighbour, who told her to run home while he called the police, as he saw a man in workclothes hanging from a tree. Despite moving to Tokyo for college, the girl occasionally sees the man in workclothes starring at her from a distance.
一緒に見ていた
Two teachers in a school had an affair, in which the male teacher subsequently ignored the female teacher. She then hanged herself in school and continue to cling to him, with him resolutely sweeping her clinging hand off his shoulder.
赤い女
A woman in red (or perhaps blood-soaked clothes?) appeared in a high school and the students avoid her. One student from the school transferred to another school and recounted the tale about the woman to her new classmate, and encouraged her new classmate to recount the tale to her friends. Apparently those who recount the tale would be free from the woman, however, the student forgot that she was listening to the tale when her new classmate recounted it to her friends.
空きチャンネル
A student searching for an educational channel on the radio came across a wavelength which seemingly allowed him to hear the complaints of an increasingly unstable woman.
どこの子
A new teacher was warned by his colleague not to stay alone in school after dark. A girl appeared in the office and he chased her through the school demanding to know who she is.
続きをしよう
A group of children decided to play in the graveyard one day, with an unseen voice saying "Let's play", even as one by one, the children were injured and obviously relieved when they announced that they were injured and heading home. A mysterious child covered with blood appeared saying "Let's play" when the last child was left. The following morning, the group of children walked to school with bandages on their injured body parts, except for the last child who did not speak to anyone for the next few months.
どろぼう
A visibly pregnant woman denied that she was pregnant but merely fat. Her neighbour came across a little boy who claimed that a thief placed him in the drain and he was washed away. The next day, the previously pregnant woman became slim and claimed that she took medication for her ovaries, causing her to slim down.
密閉
An OL discovered that her closet doors were opening by themselves after she threw her cheating boyfriend out. The man finally came to collect his belongings and as he opened a luggage he claimed he picked up, he was pulled into the luggage.
Black Maiden: Chapter Q and Black Maiden: Chapter A were both released in 2019, about 2.5 months apart, where Chapter A was meant to unveil the questions in Chapter Q.
I skipped Chapter Q and directly watched Chapter A - billed as a horror film.
I'm not so sure about Black Maiden being a horror film, the mood, how colour was rendered and the cryptic way characters speak is quite typical of Japanese horror genre so much so that it does not quite feel horrifying much when I'm constantly anticipating what the characters would do/say next.
Even though Black Maiden is a relatively new movie, the way the director handled the colour of the film, the furnishing, the weirdness of one of the female lead somehow believing whole-heartedly a story from a scroll she read makes it seem as if Black Maiden was set in perhaps the Showa era, instead of current times.
As I didn't watch Chapter Q, I'm not sure where Chapter A filled in the gaps of Chapter Q, but if Chapter A was meant to make Chapter Q clearer, I think it raised more questions.
Watching Chapter A as a standalone film, the plot itself was I have to say, rather bizarre and perhaps incomplete.
So there was a little girl who somehow went berserk and killed her mother and her live-in boyfriend (didn't feel like he was her father though) before putting her broken neck together again.
There was another much older girl, adopted by an old man who tried to abuse her inappropriately and locked her up in a shed when she resisted. There, she found a shriveled corpse, the scroll and the two bloody masks that set her off in her twisted mind that she had to kill bad people. Erm, child protection service must be sleeping on their job or are badly corrupted that they would send a teenage girl to be adopted by an old man who lived alone. And how did the corpse, scroll and masks come to be in the shed? That is one question that Chapter A did not answer.
Another question that Chapter A did not answer is what exactly the other girl was. She was able to put her broken neck together again, she didn't seem to die and she could see memories when she touched another person.
Who was the fat lady who came around periodically shouting "Murderer"?
Also, what or who was the child in the red dress wearing a mask that had the power to compel people to do things? It appeared behind a sliding door holding a crying baby after the adopted girl was killed by the other girl.
Erm, and the Otafuku mask depicts a smiling woman who is supposed to bring happiness and good fortune to her husband. Why has the mask taken on such a sinister turn here?
I wonder if there might be another chapter to Black Maiden to clear up these questions or if they are meant to be there for the audience to muse about.
Marrowbone is a 2017 movie described as the story of 4 children who relocated from "one end of the ocean to another" with their mother back to her childhood home. There the family is faced with a sinister presence in the home.
As like many other movies where there is a large house - old and too large with too many rooms for its current occupants who can no longer finance the upkeep of the once grand manor, Marrowbone hinted that it was a supernatural-horror movie. And it did give that idea, when the youngest child was spooked by a large mirror at the top of the stairs.
The large mirror did play quite a crucial role in Marrowbone, and the twist in the story was a little surprising for me, as I was expecting a bump-in-the-night kind of movie, instead of what Marrowbone actually is - a description of a young man suffering from dissociative identity disorder arising from a traumatic incident.
The pace of Marrowbone was rather slow and the colours rendered rather dark, hinting at the despair of the situation. The director of Marrowbone is Spanish. I suppose that explains why I had the feeling that the movie was more European in nature than American, without overt displays of blood and gore.
I am not familiar with the cast of Marrowbone, save for Anya Taylor-Joy - who acted alongside James McAvoy in the 2016 Split - also a movie about a man with dissociative identity disorder. Why Anya Taylor-Joy decided to take up 2 projects with rather similar themes is quite puzzling to me. Though I must say that the decision taken by Anya's character in Marrowbone for Jack does give food for thought.
<君の名は>は2016年にリリースされました。2時間で、スタジオジブリのアニメとはかなり異なり、2006年のパプリカよりも（少なくとも私にとっては）理解しやすいものでした。
<君の名は>の場所の多くは日本の実際の場所に基づいているので、私がそれらの都市にいる場合はそれらをチェックすることができます。
<君の名は>には非常に興味深いひねりがあり、立花と三葉の間の魂の交換は非線形のタイムラインで起こります。したがって、立花の魂がミツハの体にあるとき、魂は肉体が入っているタイムラインに住んでいますが、元の肉体に戻ると、魂も元のタイムラインに戻ります。理解するのは少し複雑です。
<君の名は>のもう一つの興味深い点は、巫女が行う儀式が描かれているところです。神道の儀式に慣れていない視聴者にとって、この部分は理解するのが難しいです。三葉は、巫女の生活を都会での日常生活に残したいと切望しています。
Reuni Zは、2018年のインドネシアのホラーコメディーです。私はインドネシアの映画に精通していません。1.5時間の時点で、Reuni Zは、真剣に考えていないようで、政治的正しさを窓の外に投げ出した映画には少し長いです。
それでも、再会のために卒業してから20年後に高校に集まった高校生のグループについて、すべての似顔絵やギャグで見るのは非常に大変でした。 ReuniZが実際にインドネシアでの通常の慣習を描いているかどうかはわかりません。校舎の外に出て、校外にある道端の屋台で食事をするシーンがありました。映画では説明されていない何らかの理由で、食品販売業者の1人が感染し、それを食べた生徒に感染させてゾンビに変え、学校の再会に来た大人が次々と感染しました。
高校時代に男性で、女性になる過程で手術を受けたキャラクターが登場し、元同級生から手術のことを聞いていたのにはびっくりしました。女性女優によって大げさに演じられたトランスジェンダーのキャラクターを含めることはタブーのようには見えませんでした。
Reuni Zは、雨の多い暗い午後に屋内で立ち往生し、どこにも行けず、映画に期待せずにソファで丸まってしまう場合に時間を過ごすのに悪い方法ではありません。
