Recent reviews
Poses interesting philosophical and contemplative cinematography is ultimately let down by very flat acting, and a poor ending.
"In a deterministic world, everything is deterministic"
"In a deterministic world, everything is deterministic"
Not a wasted scene
Sometimes Kafkaesque, sometimes beautiful, generally human series of films for anyone who can't stand normal Star Wars but loves a good story about bureaucracy.
This was _so_ much fun to watch! Beautiful, intense and inspiring. Such a shame season 2 was cancelled!
A Hundred Memories of Love, Friendship, Pain, Happiness, and Life
What makes «A Hundred Memories» («백번의 추억») stand out is how unbothered it is by trends. It does not chase drama for the sake of it, nor rush to prove a point. It simply unfolds like life itself: unhurried, genuine, and quietly profound. Most series burn too bright too soon, rising fast by episode three, and scramble for closure in the last two. In this series, each episode adds a soft brushstroke—of love, pain, laughter, loss. It builds quietly, steadily, like memory itself—layer after layer until it feels too real to be fiction. The writing was sharp yet tender, the direction deliberate yet unpretentious. The cast delivered performances so grounded that it felt less like acting and more like remembering something long buried in the heart. There were no forced tears, no dramatic twists—only sincerity. It is one of those rare dramas that does not try to be deep. It just is. And the 1980s backdrop? It was captured with care—nostalgic without being indulgent. For its writing, direction, and the sheer honesty of its execution, «A Hundred Memories» («백번의 추억») deserves nothing less than 10 stars. A rare masterpiece that reminds us that stories do not always need twists to be unforgettable. Sometimes, they just need to be true.
What makes «A Hundred Memories» («백번의 추억») stand out is how unbothered it is by trends. It does not chase drama for the sake of it, nor rush to prove a point. It simply unfolds like life itself: unhurried, genuine, and quietly profound. Most series burn too bright too soon, rising fast by episode three, and scramble for closure in the last two. In this series, each episode adds a soft brushstroke—of love, pain, laughter, loss. It builds quietly, steadily, like memory itself—layer after layer until it feels too real to be fiction. The writing was sharp yet tender, the direction deliberate yet unpretentious. The cast delivered performances so grounded that it felt less like acting and more like remembering something long buried in the heart. There were no forced tears, no dramatic twists—only sincerity. It is one of those rare dramas that does not try to be deep. It just is. And the 1980s backdrop? It was captured with care—nostalgic without being indulgent. For its writing, direction, and the sheer honesty of its execution, «A Hundred Memories» («백번의 추억») deserves nothing less than 10 stars. A rare masterpiece that reminds us that stories do not always need twists to be unforgettable. Sometimes, they just need to be true.
Dropped. Last episode watched: 6. I completely lost interest. It started great but halfway through it turned into an entirely different genre. Or, maybe, they set us (or I had) the wrong expectation.
Goes in my personal favorites list. Ostensibly, it's about overly powered, but more down-to-earth than DBZ fighters, including the "strongest high-schooler in the world". It's one of those sleeper hits where they over-analyze the most random topics in the most intense way possible. If you like cheese and watching people nerd out, this is delicious.
Going on my top list of anime. A penniless dungeon party's gotta save their team mate that just got ate up by a dragon, decides to survive off of meals they make from monsters, and it all descends into a grand quest from there.
Going on my top list of anime. What happens to the elf on the DnD party (and the rest of them) when the party's over? A pleasantly melancholy show.
A modern surrealist's take on space travel and the bizarre things one might run into when your corporate ship crash lands on a rock with its own way of life. And then humans bring their drama on to it.
«The Kingdom» (2024): A World Where the Philippines Never Existed
«The Kingdom» (2024) is set in a world where the Republic of the Philippines was never conquered by Western imperialists. Instead, the archipelago stood united under a central monarchy—the "Kingdom of Kalayaan". ("Kalayaan" means freedom in Filipino.) It reimagines a version of history many Filipinos have long dreamed of—a world where our islands successfully repelled foreign invaders, preserving the values that once defined us: equality, equity, compassion, and respect for diversity and neurodiversity. A reality without anti-LGBT prejudice, without slavery, and where divorce is part of societal balance. Traditions and systems that Western colonisers erased or rewrote to fit their own narratives. Now, this is a review, not a spoiler so let's get right into it. Fight Scenes Let's be honest: the fight scenes need serious improvement. Watching them felt like watching a slow-motion training reel rather than a life-or-death clash. Movements lacked weight, and the rhythm was too sluggish to sell the intensity of real combat. The overuse of zoom-in shots did not help either (a common trick to hide the lack of impact by diverting attention to movement instead of connection). This was especially noticeable in the final battle sequence (no spoilers, of course). That said, there is one exception. The second-to-the-last fight was slow for a reason and it worked. It carried a ceremonial tone, almost like a ritual dance between two warriors. That is where the pacing felt purposeful, not awkward. If only the same level of attention was given throughout. A bit more budget and choreography refinement could have turned those duels into something memorable. Spoken Language Now, this part deserves applause. The dialogues were clean, properly structured, and beautifully delivered. The actors used the right words in the right places, avoiding the exaggerated diction often heard in teleserye (Philippine TV series). As someone familiar with many of the older terms used, it was refreshing to hear those nearly forgotten words come alive again. It added authenticity, something rarely achieved in modern Filipino productions. Names and Written Language Here is where things start to so-so a bit. For a film set in a world untouched by Western colonisation, the names and scripts used felt oddly… foreign. Why is there a character named Felipe? Why Dayang Lualhati instead of the native Dayang Luwalhati? And why is Latin script still the dominant writing system? Think of how Korea, Japan, and China maintained their native scripts as cultural anchors. Even Thailand—which was also colonised—still uses its native alphabet proudly. If «The Kingdom» truly envisioned an uncolonised Philippines, it would make sense for Baybayin, or perhaps a modernised 21st-century version of it, to be the national script. That detail alone could have elevated immersion tenfold. It would have grounded the Kingdom of Kalayaan as a civilisation distinctly its own, not just a Southeast Asian monarchy that "looks free" but still borrows its image from foreign cultures. Even the palace design leaned more Thai or Indian than Filipino. Beautiful, yes, but a little detached from what the film's premise promised. The Use of "Mabuhay" This one caught me off-guard. In our real-world Philippines, "Mabuhay" carries deep national sentiment. It is a rallying word born from post-colonial pride, meant to uplift and celebrate Filipino identity. But in a world where colonisation never happened, its symbolic weight would not have evolved in the same way. Hearing it used similarly in the film felt… out-of-place. It is a small detail, but a telling one. It hints at how even this alternate "Philippines" could not quite escape the shadow of our colonised history. Verdict Despite its flaws, «The Kingdom» remains an ambitious and heartfelt piece of alternate history. Its worldbuilding carries the kind of what-if many Filipinos quietly imagine: what if our history went differently? What if we never had to unlearn who we were? For all its imperfections, the film delivers that spark of imagination. 8⭐ out of 10 It is not perfect, but it is meaningful, and that is what makes it worth watching.
«The Kingdom» (2024) is set in a world where the Republic of the Philippines was never conquered by Western imperialists. Instead, the archipelago stood united under a central monarchy—the "Kingdom of Kalayaan". ("Kalayaan" means freedom in Filipino.) It reimagines a version of history many Filipinos have long dreamed of—a world where our islands successfully repelled foreign invaders, preserving the values that once defined us: equality, equity, compassion, and respect for diversity and neurodiversity. A reality without anti-LGBT prejudice, without slavery, and where divorce is part of societal balance. Traditions and systems that Western colonisers erased or rewrote to fit their own narratives. Now, this is a review, not a spoiler so let's get right into it. Fight Scenes Let's be honest: the fight scenes need serious improvement. Watching them felt like watching a slow-motion training reel rather than a life-or-death clash. Movements lacked weight, and the rhythm was too sluggish to sell the intensity of real combat. The overuse of zoom-in shots did not help either (a common trick to hide the lack of impact by diverting attention to movement instead of connection). This was especially noticeable in the final battle sequence (no spoilers, of course). That said, there is one exception. The second-to-the-last fight was slow for a reason and it worked. It carried a ceremonial tone, almost like a ritual dance between two warriors. That is where the pacing felt purposeful, not awkward. If only the same level of attention was given throughout. A bit more budget and choreography refinement could have turned those duels into something memorable. Spoken Language Now, this part deserves applause. The dialogues were clean, properly structured, and beautifully delivered. The actors used the right words in the right places, avoiding the exaggerated diction often heard in teleserye (Philippine TV series). As someone familiar with many of the older terms used, it was refreshing to hear those nearly forgotten words come alive again. It added authenticity, something rarely achieved in modern Filipino productions. Names and Written Language Here is where things start to so-so a bit. For a film set in a world untouched by Western colonisation, the names and scripts used felt oddly… foreign. Why is there a character named Felipe? Why Dayang Lualhati instead of the native Dayang Luwalhati? And why is Latin script still the dominant writing system? Think of how Korea, Japan, and China maintained their native scripts as cultural anchors. Even Thailand—which was also colonised—still uses its native alphabet proudly. If «The Kingdom» truly envisioned an uncolonised Philippines, it would make sense for Baybayin, or perhaps a modernised 21st-century version of it, to be the national script. That detail alone could have elevated immersion tenfold. It would have grounded the Kingdom of Kalayaan as a civilisation distinctly its own, not just a Southeast Asian monarchy that "looks free" but still borrows its image from foreign cultures. Even the palace design leaned more Thai or Indian than Filipino. Beautiful, yes, but a little detached from what the film's premise promised. The Use of "Mabuhay" This one caught me off-guard. In our real-world Philippines, "Mabuhay" carries deep national sentiment. It is a rallying word born from post-colonial pride, meant to uplift and celebrate Filipino identity. But in a world where colonisation never happened, its symbolic weight would not have evolved in the same way. Hearing it used similarly in the film felt… out-of-place. It is a small detail, but a telling one. It hints at how even this alternate "Philippines" could not quite escape the shadow of our colonised history. Verdict Despite its flaws, «The Kingdom» remains an ambitious and heartfelt piece of alternate history. Its worldbuilding carries the kind of what-if many Filipinos quietly imagine: what if our history went differently? What if we never had to unlearn who we were? For all its imperfections, the film delivers that spark of imagination. 8⭐ out of 10 It is not perfect, but it is meaningful, and that is what makes it worth watching.
A good, fun, and lighthearted animēshon. I truly hope there will be sequels for there are more stories to be told.
The Korean film «Omniscient Reader: The Prophecy» («전지적 독자 시점») is an adaptation based on the still-ongoing Korean webtoon «Omniscient Reader» which itself is based on a Korean novel of the same name. (That was a long sentence!)
While many gave it a low rating and were not satisfied, I was very satisfied and gave it a perfect 10 ⭐. Here's why: 1. It's an adaptation of a very long and still on-going serial novel and webtoon. 2. Adaptation writers have literary freedom on how to adapt a work of art in a differeet medium and target audience. 3. Like it or not: budget constraints. Most, if not all, who gave it a low score expected it will cover beyond the plot in the movie. It just is not possible. And if they dod that, they will have to skip a lot of critical moments of the story which will also earn far more negative reviews than what it received for this release. The acting were good. The choice of actors were generally who one would have imagined while reading the novel or the webtoon. I'm not saying I agreed with all the casting but they did well for their respective roles. The special effects and CG passed. It wasn't perfect, there were fight scenes were the different layers (real layer, green/digital layer) were not smooth nor clean, and were obvious. They need to improve their technique and technology if they plan on making a sequel. The chosen parts of the story, I approve of it as well. Last but one of the most complained about, I also approve of the obvious changes. It fits the film format, and the essence of this "chapter" of the story were maintained as it was in the original source material. That is the most important on adaptations. It is not about incorporating every scene, or having the exact likeness for the characters, or making sure the sequence of events remain exactly the same. No, that is just wrong in adaptations. What matters is keeping the essence of it. The feels. The aura. The message. What made the original material popular. That's what a real adaptation is. A perfect 10 ⭐. Now, where's the sequel? The next "chapter" is one of my favourites.
While many gave it a low rating and were not satisfied, I was very satisfied and gave it a perfect 10 ⭐. Here's why: 1. It's an adaptation of a very long and still on-going serial novel and webtoon. 2. Adaptation writers have literary freedom on how to adapt a work of art in a differeet medium and target audience. 3. Like it or not: budget constraints. Most, if not all, who gave it a low score expected it will cover beyond the plot in the movie. It just is not possible. And if they dod that, they will have to skip a lot of critical moments of the story which will also earn far more negative reviews than what it received for this release. The acting were good. The choice of actors were generally who one would have imagined while reading the novel or the webtoon. I'm not saying I agreed with all the casting but they did well for their respective roles. The special effects and CG passed. It wasn't perfect, there were fight scenes were the different layers (real layer, green/digital layer) were not smooth nor clean, and were obvious. They need to improve their technique and technology if they plan on making a sequel. The chosen parts of the story, I approve of it as well. Last but one of the most complained about, I also approve of the obvious changes. It fits the film format, and the essence of this "chapter" of the story were maintained as it was in the original source material. That is the most important on adaptations. It is not about incorporating every scene, or having the exact likeness for the characters, or making sure the sequence of events remain exactly the same. No, that is just wrong in adaptations. What matters is keeping the essence of it. The feels. The aura. The message. What made the original material popular. That's what a real adaptation is. A perfect 10 ⭐. Now, where's the sequel? The next "chapter" is one of my favourites.
I rarely drop shows because once I started something, I'll see through it even if I finish it years later; but when I do, it means it's boring and literally made me sleepy and think "Why am I watching this?"
Apologies to the great talents in the show, I love watching your other projects, but this one failed to pique my interest. It was not the pacing, there just isn't anything in the first two critical episodes to glue an audience. Watching this felt like I time traveled while wearing an invisibility cloak and observing the people of the past go on with their natural daily lives. It's a wasteful use of time travel technology. I'm autistic, I love people-watching, and yet this one doesn't give me the same as what people-watching gives me: curiosity, logic, and satisfaction.
Apologies to the great talents in the show, I love watching your other projects, but this one failed to pique my interest. It was not the pacing, there just isn't anything in the first two critical episodes to glue an audience. Watching this felt like I time traveled while wearing an invisibility cloak and observing the people of the past go on with their natural daily lives. It's a wasteful use of time travel technology. I'm autistic, I love people-watching, and yet this one doesn't give me the same as what people-watching gives me: curiosity, logic, and satisfaction.
Perfectly level of explainability and luckily quickly transcends the potential for gimmickiness.
Maybe I was in the wrong mood but it just felt more like one scene after another than a coherent movie. It is not a bad genre film but I remember the first one feeling a bit more new and soulful
Tense, but could have used more runtime to also deliver the punch of the first half in the second
Based on a short novel by Stephen King, this is a masterpiece that manages to link art, mathematics, dance and loss of the loved one into one coherent, metaphysical piece.
Class actors carry a heartbreaking story, which is not a fiction for thousands if not millions of parents worldwide. A must-see.
