TYPE OF REVIEW : GOOD OL’ REVIEW
Full spoilers, but with a warning before it starts in the review.

I absolutely hate Shuriken Sentai Ninninger vs. ToQger the Movie: Ninja in Wonderland !

I hate it because it means that this is the last official time we’ll be seeing our awesome train children. ='(

But as for the movie itself, I think this might be the best Sentai vs. movie in years. (Go-Busters vs. Go-Busters, not included) The last couple of outings have been forgettable and/or repetitive. But Ninninger vs. ToQger felt like it was a more cohesive and engaging story. It used some familiar set-ups, but was able to draw more upon both seasons’ storylines and characters to create a full stand-alone movie.

Now I’ve already expressed my deep love and admiration for ToQger as well as my defense of Ninninger. So when I saw the predictable tweets disparaging both series after the movie was first made available on DVD and now with English subs, I just rolled my eyes and proceeded to excitedly sit down and watch it.

*spoilers begin now!*

The movie starts off with the Ninningers in a very familiar-looking train. They’re on vacation and on their way to Ninja Land. There are still a couple of stops before they arrive, but the cousins suddenly get picked off at each of the stops which turns into strange dream sequences. And in each of those dream sequences, they meet the ToQgers.

Rock star Kinji is saved by pop idol Kagura.

Ninja spies Yakumo, Nagi and Kasumi are saved by the one and only Kendama Detective Hikari.

And finally, Mio runs into the church to stop Tokatti and Fuuka’s wedding.

The dream sequences were a great way to quickly introduce the ToQgers. And each of them touching on character beats from the series was pretty awesome. We saw Kagura the future idol/director and the return of Hikari’s unbeatable kendama. And then we got the continuation of Tokatti and Mio’s OTP-ness. (“I was just carried away. We’re still good, right?”) Be still my shipper heart.

After a great little montage of ToQger‘s most fun and memorable scenes, we have the meeting of the Reds as Right saves Takaharu from the Shadow Line’s newly arrived Doctor Mavro. Right sees himself in Takaharu. They are both selfless, but also sometimes too impulsive and forget about the people who care about them.

The movie sees Doctor Mavro wanting to steal the Ninningers’ Nintality to help spread darkness over the world. And when he is able to take Takaharu’s Nintality and turn it evil, Takaharu slowly begins to disappear. He is fully ready to just die, as long as he will be able to stop the evil plan and save the world and his family.

The situation of course draws a parallel to Right’s own impulsive decision to sacrifice himself to save his best friends. And he himself realizes it. Throughout the movie, we see the story reinforce the idea that it’s better when they’re all together. Whether it’s as a team, as best friends or as family, nothing beats working together rather than carrying a burden all alone.

The scene at the dojomanse of a worried and frightened Tsumuji was one of the best of the movie. It might have been the most emotional one.

And whenever the ToQgers are involved, I expect some emotional sentimentality. Interestingly enough, this movie lacked that usual MaGMCM the ToQgers are ones to provide. But this scene came closest to it for me.

One criticism of Ninninger is the lack of story that supported the family aspect of the characters. I already explained my take on that in my Hindsight Review. And it basically played out again here. You wouldn’t see this kind of emotional gut reaction to a dire situation if the team’s bond wasn’t by blood or close to it (like the ToQgers) or been preceded by a perfectly crafted story.

The final final scene of the movie, when the cousins arrive home to a relieved Tsumuji, illustrates this point very well.

So pairing the ToQgers and Ninningers definitely provided an easy template for a story that would blend both series’ strengths.

Not to mention IMAGINAAAATION being one of the biggest drivers of the story as well.

Back to the story… With some great cameo appearances from General Schwarz, Madame Noire, and the just can’t catch a break with big intros Baron Nero, we get the requisite team-ups from the ToQgers and Ninningers. Each little group of team-ups again worked well to draw upon each character’s personalities as well as provide some fun gags and jokes.

Simultaneously, we saw Takaharu and Right starting the battle against the evil Akaninger and Akira finally arriving to stage an epic battle against Doctor Mavro.

Speaking of, that battle between Akira and Mavro was spectacular. Toei only recently started to increasingly using drones to film their series. And I would not be surprised if they used drones to film this epic fight. (Drones aren’t limited to only aerial shots, of course.) It was an excellently choreographed battle and maybe the most exciting human battle of the movie.

That doesn’t discount the final on-ground morphed battle which was very good as well. Though it hurt to see Noire, Schwarz and Nero get killed all over again (even if just copies), the battle was full of fun action.

But it only got better after that with an incredible mecha battle. Nighttime (or in this case, just regular darkness) mecha battles always present a different, more exciting feel than the usual. And the set design and direction for this final battle was just amazing.

The different, new combos (Ha-Oh ToQ-Dai-Oh!) and weaving the mechas of both the ToQgers an Ninningers together in interesting ways added a great deal to make the movie’s climax well worth it.

As the ToQgers bid farewell to the Ninningers, I was just hoping and hoping that we’d get just even a short glimpse of the amazing younger versions. And right after they passed through the turnstile, we did. I’d say the Ninningers’ reaction to the “ToQgers are kids” reveal was much better than the Kyoryugers’ reaction.

Going back to the rest of the movie, it’s interesting how the ToQgers (who are still kids of course) basically took the lead and came across as more mature than the cousins. Some might point out that puts the Ninningers in a bad light. But then again, the ToQgers went through a much rougher ordeal than the Ninningers. And they did A LOT of growing up during their year. It’ll be something that really sets the ToQgers apart from any other team. They were of course the vets too. But the Ninningers’ story didn’t really have them “grow up” like the ToQgers did. Instead, they acted like they did in the series; as young, teenage cousins who are more carefree than young kids who had to fight evil to get home to their families.

Elsewhere, it was just amazing to hear ToQger‘s excellent grand score playing again. And Ninninger‘s score was able to fit very well too. Doctor Mavro’s design continues the streak of excellent, creative designs from ToQger and the Shadow Line. It really is a shame that Saban Brands, Bandai and Nickelodeon are so dumb and incompetent that they can’t figure out how to get one adaptation a year and make it work instead of skipping seasons.

While it was great to see Ticket again, I’m sad we didn’t get even small cameos from Conductor or at least Wagon. And the Zyuohgers were forcibly shoehorned in again like every next-Sentai team, though not as bad as previous years.

Overall, Shuriken Sentai Ninninger vs. ToQger the Movie: Ninja in Wonderland is the best and most cohesive vs. movie in years. It was able to take the best parts of both seasons to put together a great story, using each characters’ strengths and quirks to full advantage. It definitely made me miss both teams, but of course ToQger more. While the Ninningers still have two more movies to go, this is the last time we’ll see the ToQgers in a full and official capacity. (Unless in 10 years, we get the kid actors and main cast all in one hilarious, fun, crazy and emotional reunion special.) And it was a nice way to say goodbye… that is, “Until next time…” to these wonderful train children.

TYPE OF REVIEW : GOOD OL’ REVIEW
Moderate and HUGE spoilers ahead, but with fair warning before they begin in review.

Thank you Philippine Airlines! If it weren’t for you, then I wouldn’t have discovered a little Taiwanese film entitled Our Times (我的少女時代).

Actually, this film isn’t so little since it has apparently grossed over US$81 million worldwide and is the highest grossing Taiwanese film in mainland China. Regardless, I would have probably never heard of the film had I not been on a transpacific flight, let alone actually watch it.

But I’m so glad I did. Our Times was such a pleasant surprise with a story that appealed to my simplest, yet most satisfying requirements in a film or television series.

Our Times begins with our heroine, Truly Lin (Vivian Sung), as she momentarily escapes her dull office life by listening to an old Andy Lau cassette and reminiscing about simpler times when she was in high school in the 90s.

But we immediately learn Truly’s high school life wasn’t so simple after all. Aside from having to admire her crush, top student and basketball jock Ouyang (Dino Lee) from afar and disappointing her parents with her less than stellar grades, Truly receives a chain letter. One of the people she decides to send it to is Xu Taiyu (Darren Wang), the school’s notorious gang leader, after he almost gets into a scuffle with Ouyang.

Xu Taiyu eventually finds out, after he is hit by a truck, that it was Truly who sent him the letter. But that chain letter would be the beginning of an unlikely alliance between them to break up Ouyang and his secret girlfriend, Minmin (Dewi Chien), the most popular girl in school.

At first, Xu Taiyu treats Truly as his errand girl and she reluctantly goes along with his bossiness to protect her Ouyang. But soon, they both begin to let their guards down and understand each other.

And you might know what happens next.

*MODERATE SPOILERS AHEAD*

Despite using a still photo of Dino Lee’s Ouyang as the film’s representative image in the Philippine Airline magazine and on the on-demand touch screen, it was pretty obvious from their first meeting that Truly and Xu Taiyu would be our OTP couple for this story.

When the romantic endgame is obvious from the start, one would hope the film or drama series is an enjoyable ride to reach it. And thankfully Our Times is exactly that.

The film had equal helpings of nostalgia, romance, drama and teen angst. And it was all set amidst a fantasy and fairy tale-like aura that emphasized those aspects.

There’s a distinct quality in Asian romantic films or series. (The Philippines excluded.) Especially those featuring idol stars or targeted to younger audiences. Having watched dozens of Korean dramas, I could easily see the various aspects of that typical Asian romance story here in Our Times. One common thread: bad boy meets frumpy girl, bad boy softens up while frumpy girl is actually very beautiful.

But Our Times develops organically while being fast paced. And the chemistry and performances of Vivian Sung and Darren Wang greatly help make the journey of Truly and Taiyu from annoyance to love feel very sincere.

There are a series of moments or events that the film seemingly flies through. They all help you reach the point that you are rooting for Truly and Taiyu and want them to end up together. But that feeling is hammered home about one hour and 48 minutes into the two hour, 14 minute film in what may be one of the most heartbreaking, yet beautiful and most satisfying sequences I’ve seen in a film or series like this.

The roughly ten minute sequence that brings everything together is so effective, it’s enjoyably annoying. You reach this point in the film knowing where everything is heading and how everyone’s feeling. Yet actually watching this sequence play out was something else. It was simply, emotionally satisfying. So much so that it was definitely a MaGMCM. I was in tears. On the plane. All because of this surprising film.

*HUGE SPOILER AHEAD*

Following that sequence are a few final scenes back in the present day with Joe Chen returning as Truly. Her trip down memory lane has given her a new burst of energy in life. And it leads to the big meeting between Truly and the guy she’s just been thinking about. Or guys, since she finally gets to meet her idol Andy Lau as well.

Now my experience with Taiwanese entertainment is slightly limited to Meteor Garden, the original F4 and any of those mid-2000s dramas starring Ming Dao and his group 183 Club (including The Frog Prince with Joe Chen!) which aired on KTSF, the local Asian-focused station in the San Francisco Bay Area.

So while seeing Jerry Yan and (belatedly recognizing) Joe Chen at the end was nice, it didn’t really connect with me as much as it might have with other people in the audience. Sure, they’re both big stars. But if it was Barbie Hsu, then I might have fanboyed a little. That would’ve been really cute. It also didn’t help that Jerry Yan does not look like Darren Wang at all.

Thinking about the similarities between this film and many a Korean drama I’ve watched, I imagine a Korean film or even drama adaptation featuring a hugely popular former on-screen couple as the present day Truly and Taiyu. (And this story is ripe for a Korean adaptation with some popular young idols or actors.) Maybe a Lee Min Ho-Goo Hyu Sun from Boys Over Flowers, though they may be too young. More likely a more throwback-ish pair like Rain-Song Hye Kyo from Full House.

Anyway, I definitely understand the final scenes, including that pretty prolonged cameo from Andy Lau. All of that added to the overall nostalgia of the film.

*SPOILERS END*

Speaking of Korean drama, I have greatly enjoyed the recent wave of nostalgia-centric stories set in the not-so-distant past. Even Japan’s Ressha Sentai ToQger successfully used that nostalgia and warm atmosphere to great effect.

There are many reasons Our Times is creatively successful. Nostalgia is my favorite reason. There’s a warm and comforting feeling in thinking about your past, both the good and bad. Especially when today’s world can be crazy and chaotic, remembering simpler times (even if they weren’t actually so simple) can have a calming effect. And that’s certainly true with a good story you watch or read. Our Times uses that sense of nostalgia excellently to highlight the other aspects of the film.

Darren Wang and Vivian Sung have no problem carrying the film. Both their individual performances and their strong chemistry easily help make the story believable and relatable. They also carefully manage their characters and keep them from being unlikeable or hard to root for when a story like this can easily do that to both.

Wang and Sung are also both charming and endearing throughout the film, adding to that essential connection the film needs with the audience.

For Our Times, it isn’t so much where you’re going, but how you get there. And the ride is at times crazy and other times calm and serene. It’s a roller coaster of emotions. You may cheer in excitement. You might cry and be heartbroken. You most certainly will feel giddy and fall in love.

The film and story certainly do not break any new ground and several times dives into romantic drama clichés. But a deftly written screenplay, meticulous direction and a talented cast is the only way all of this can result in a great film.

And a great film Our Times is. Such an awesome pleasant surprise for me. When a random title on a transpacific flight turns out to be an enjoyable, nostalgic, romantic, sweet, funny, heartbreaking, heartwarming film. A sincerely wonderful ride where you just hop on and let go.

TYPE OF REVIEW : GOOD OL’ REVIEW
Minor and HUGE spoilers ahead, but with fair warning before they begin in review.

Sentai V-Cinema Returns movies are always nice little epilogues for each season. Some can add a lot to the previous season’s story while others are just fun little visits with old friends.

Come Back! Shuriken Sentai Ninninger: Ninnin Girls vs. Boys FINAL WARS, however, is a messy though strangely well-intentioned extra chapter to the series. And I’m saying this as someone who actually liked and enjoyed Ninninger the series and did not think it was the Japanese Super Megaforce.

*minor spoilers ahead*

The movie focuses on the Ninningers reuniting after two years to find remnants of the Kibaoni Army still wreaking havoc. Not only that, but Kasumi and Fuuka have become ninja idol stars thanks to the management of none other than Mommy Igasaki!

That’s right. Igasaki Sakurako, Takaharu and Fuuka’s mother and Tsumuji’s wife, returns to the dojomanse. Being a HUGE ninja “freak” and fanatic, she’s made ninja stars all over the world. And now she’s done the same with her daughter and niece.

Obsessed with keeping her girls at the top of the ninja idol game and maintain their popularity, she sets up a globally streamed face-off between them and the boys. And to make the teams equal, the girls are joined by Tsumuji and a newly scouted member, Luna Kokonoe who becomes NinninGreen. That’s much to the surprise of everyone, including the girls, since they know Grandpa meant for Kyuuemon to be MidoNinger.

But a revived Ariake no Kata uses this game to lure the Ninningers into a trap resulting in Mommy Sakurako delivering the immense amount of fear Ariake no Kata needs to revive her disgusting son Mangestsu.

And we all know how the movie ends, of course. Ninningers win, happy ending for the cousins.

*MAJOR spoilers ahead*

Certainly an interesting premise for a movie and an epilogue. But I came out of this movie feeling weirded out and disappointed and slightly confused.

I usually look for something to connect to when I watch my toku. Especially when it’s post-show things like a V-Cinema, I want to feel like I’m jumping back into something I’ve missed for a couple of months or a year.

But with this movie, I felt like I was jumping into something completely brand new. I recognize most of these characters, but I certainly didn’t feel a connection for most of the movie.

I think the biggest reason this movie doesn’t work for me is that the central premise focuses on Takaharu and Fuuka’s mother who (after a quick check) was barely, if at all, mentioned in-series. The only thing I could find from my recaps was one scene early on where Tsumuji compares Fuuka’s being strict with Takaharu and Kinji as reminding him of his wife.

We never really knew if she was dead or alive. Did they separate or something? None of that. And it never really mattered. But in this movie, she was the main catalyst for all the trouble. Not to mention she was a controlling $*%@# most of the movie.

I felt nothing about her reunion with the family or the children. Her leaving Tsumuji because he lost his money Nintality and then reuniting with him when he got it back is so sleazy.

And since I didn’t care or connect with Mommy Igasaki, that meant I didn’t care for most of what was happening in the movie.

That’s a shame since other parts of the movie were great.

Kyuuemon coming back and becoming MidoNinger should’ve absolutely been the main focus of the movie. They could’ve done a great dramatic and emotional epilogue by having the Ninningers surprised and happy to see Kyuuemon return, even if only temporary. Kyuuemon pretending to be Luna and his hinting to Kinji about their connection are the kinds of things I want to see. That’s the kind of stuff that connects me and pulls me into the story.

Especially since the series ended on the idea that Kyuuemon was always looking for a family and that Grandpa was willing to give him that family, this movie should’ve been all about that.

One of the few positives of how the story actually developed in the movie is getting Megumi Han on-screen. Her playing Luna and Kyuuemon-possessing-Luna as well as a cameo by Ariake no Kata’s voice actress Kotono Mitsuishi were two of the best parts.

But everything else in the movie just missed the mark.

The other big subplot was Fuuka building up her confidence and skill and Takaharu acknowledging his little sister’s progress. That too should’ve been a much bigger plot in the movie and done in a way that didn’t need their mother suddenly appearing out of nowhere.

But in turn, that left Kasumi, Yakumo, Nagi and even Kinji with nothing to do. Nagi was just his usual happy-go-lucky maknae/youngest self. And Yakumo and Kasumi’s roles in the movie were basically to further some fantasy incestuous ship between the two.

Speaking of… Bringing back Ariake no Kata was great, but then they had to bring back her disgusting asshole of a son too. Mangetsu was just too disgusting and almost over-the-top in his being complete scum. I’ve never seen a more unredeemable villain in all my toku-watching ever. Bringing back this disgusting misogynist meant dragging Ariake no Kata into the mud by making her a battered mother again. And to top it all off, a battered mother who apparently was in love with her son. WTF.

Me describing the disappointment to the fun highs and concluding with the twisted destruction of Ariake no Kata’s character is a great illustration of the messy clusterfrak and the tonal whiplash this movie had.

For someone like me who actually liked and enjoyed Ninninger the series, it pains me when I actually felt relieved at the goodbye scene in this movie. Relieved that it was over instead of sad and emotional that the cousins and our friends that we’ve come to know for almost 50 episodes are going their separate ways again.

The series wasn’t perfect, but Come Back! Shuriken Sentai Ninninger: Ninnin Girls vs. Boys FINAL WARS majorly dropped the ball. And maybe because I enjoyed the series, I am so harsh with this movie when others actually loved it. Crazy times. But this was definitely a crazy, messy movie that wasted a lot of potential.

TYPE OF REVIEW : GOOD OL’ REVIEW
Basic plot description. Would not consider them spoilers.

It is easy to get lost in the film 5 Centimeters Per Second. Even with a runtime of only 63 minutes, the film written and directed by Makoto Shinkai is a beautifully animated and skillfully told story of life and love.

With a tagline “A chain of short stories about their distance,” the film tells the story of Takaki Tono at three different points in his life.

In the first act, we learn how Takaki meets and bonds with Akari Shinohara in elementary school. Akari soon moves away due to her parents’ jobs, but they keep in touch and plan to meet for the first time since separating. Takaki hopes to confess his feelings to her on this visit.

In the second act, Takaki is now in high school. A classmate of his, Kanae Sumida, is in love with him. This is despite Takaki only seeing her as a good friend and him seemingly writing to someone often on his phone. In the third and final act, we meet Takaki as an adult and learn what’s become of his and Akari’s friendship.

The film is a slice of life story in many ways. First, it is a realistic depiction of love and friendship. Sometimes wonderful and happy, other times lonely and bittersweet. In another way, the film is literally three slices of Takaki’s life. Presented as three distinct vignettes, each short peek into his life is just as engaging as the next.

There is definitely a sense of nostalgia that I’ve enjoyed in many recent television dramas and films I’ve seen. Reminiscing on good and bad or happy and sad times as all part of one’s memory is certainly a relatable and universal feeling.

The beautiful animation helps to emphasize that emotion by providing a certain ethereal quality to affecting scenes, of which the film contains many. Quiet and calm moments in the film speak the loudest in poignancy and sincerity.

While only a little over an hour, the film leaves you both satisfied and wanting more. The realistic and relatable experiences make it easy to jump into this world that Shinkai has created. While at the same time, you just want to stay here and learn and experience more of it.

With excellent animation and writing, 5 Centimeters Per Second is a wonderfully moving and realistic film about life all can understand and relate to, regardless of language.

TYPE OF REVIEW : GOOD OL’ REVIEW
Basic plot description. No spoilers.

I first stumbled upon Keeping Up Appearances sometime in the mid-2000s when channel surfing brought me to my local PBS station on a Saturday evening. And since then, it became the #1 show that defined my 2000s.

I don’t remember ever watching British television before then, but as soon as I met Hyacinth Bucket (pronounced “Bouquet”), I was hooked. I loved it. With I Love Lucy being my favorite television show of all-time, it was easy for me to get into Keeping Up Appearances. It was hilarious physical slapstick with bits of subtle comedy with Patricia Routledge effortless as the snobby, but strangely loveable, social climbing Hyacinth.

So when the BBC ordered the prequel Young Hyacinth, I was both excited and scared. I was excited because it would be awesome to get more of Hyacinth and her sisters and that glimpse into what their young lives might have been like. But I was also scared because sometimes, things like this could go horribly wrong and somehow tarnish the original. Actually, I thought we’d see a Sheridan spin-off first, following him around with Tarquin and seeing the geysers in Iceland.

But now that Young Hyacinth has aired on the BBC, I find myself still with mixed feelings about it.

Written by original creator Roy Clarke, Young Hyacinth takes us back to the 1950s when Hyacinth and sisters Violet, Daisy and Rose are still young women. They are raised by their father, or “Daddy” as he is affectionately called by Hyacinth, in “genteel poverty.”

Daddy’s second job is selling Wonder Brush cleaning supplies while Daisy takes care of his first job at home opening the lock of the canal in front of their home. Violet works as a secretary in town and Rose works on juggling her many male suitors.

Meanwhile, Hyacinth works as a maid for a wealthy couple from whom she picks up words and manners more becoming of people with money rather than the commoners. Hyacinth dreams of a better life for herself and her family and insists they are “upwardly mobile.”

I know Keeping Up Appearances isn’t the most beloved British sitcom of all time, but it’s definitely one of the most popular (and worldwide) and it certainly means a lot to me. So it’s hard not to think about the original series when watching Young Hyacinth.

In General…
First, on its own, Young Hyacinth plays very much like the modern single-camera, laugh track-less comedy series. Far from the broad traditional sitcom that the original was, this series instead goes for a much more dry approach. Instead of successive punch lines and sight gags, Young Hyacinth is more matter of fact and much heavier with the subtlety, almost to the point that it is more a drama rather than a comedy.

In a way, the calmer and less-excitable situations in this half-hour match the more humble overall setting, especially being set almost 60 years ago.

However, there just aren’t as many laugh out loud moments as the original series may have had. This series is almost quaint and whimsical rather than hilarious. It’s not necessarily less enjoyable, it’s just completely different and plays like a drama series with a few sort of witty lines instead of a sitcom, especially for anyone who has seen Keeping Up Appearances.

For some, maybe that’s a good thing. But for me, it only added to my uncertainty with Young Hyacinth.

The series is beautifully filmed though. It is visually appealing and feels like a nostalgic period film. But again, it doesn’t play as a comedy series at all.

As a fan…
Judging Young Hyacinth from a Keeping Up Appearances fan perspective, I saw only vague connections between the two.

One of the few stronger connections is Kerry Howard being very good as Young Hyacinth. She captures a lot of Patricia Routledge’s Hyacinth from voice to mannerisms. Certainly tough shoes to fill, but Howard did well.  She is also able to establish the character as being the “early” and “incomplete” version of the Hyacinth we would come to know in the original series. We get a little tease of just where and how Hyacinth developed some of her more  eventual characteristics.

The rest of the family however feels very different, with the exception of Rose being the same promiscuous Rose. Daisy, Violet and even Daddy shared little to no similarities to the Keeping Up Appearances characters.

For Violet and Daddy, they were only recurring characters on the original series. So that makes them most open to new interpretation. But they just both felt like completely different characters. It isn’t so much the lack of easter eggs. Hyacinth still felt like Hyacinth even without things like memorable quotes or something like that.

Daisy especially felt like a completely different character. Just not a single thing connecting the two except for the line “I’ve got a headache” referring to someone not Daisy’s eventual husband Onslow.

One glaring contradiction visible to any Keeping Up Appearances fan, however, is the fact that Hyacinth and her family not only lived next to a canal waterway, they worked the canal’s lock! That contradicts the memorable series 5 episode “Riparian Entertainments” where Hyacinth had no idea how a canal lock worked.

But that was just one of the things that made this series feel so disconnected as a prequel. Of course, it’s hard to pack a lot into a half hour. But Young Hyacinth lacked a big hook and was really hard to truly get into.

Overall
The one reason I wouldn’t mind the BBC commissioning more episodes is that it would truly be interesting to see how Roy Clarke expands this “world.” Seeing a creative take on how Hyacinth met Richard or Daisy meets Onslow or how Violet eventually got a Mercedes, swimming pool and room for a pony. That would be fun and amusing to see. None of which, however, we saw even hinted on this special/potential pilot. We want to see these origin stories, not see Hyacinth’s random ex-boyfriend or some rich bickering couple’s sexploits.

Kerry Howard was wonderful and the rest of the cast did fine with the material given.  And as you can see in those screencaps above, beautifully filmed.

But on a basic, upfront level, Young Hyacinth was merely okay, sometimes charming, but had little connection to Keeping Up Appearances. It captured little, if any of the original series.  And because of that, it was disappointing. Young Hyacinth worked as a nice little slice-of-life drama. But that’s a little odd considering it’s supposed to be a prequel to comedy series.

TYPE OF REVIEW : GOOD OL’ REVIEW
No spoilers.

You don’t have to be a fan of zombies to enjoy Train to Busan.

The international buzz surrounding this Korean film is well deserved. Train to Busan is an exciting and emotional thriller; a thoughtfully made mainstream action movie that has wide appeal.

Korean heartthrob Gong Yoo stars as Seok-Woo, a Seoul-based fund manager taking his daughter Soo-An (excellently brought to life by young Kim Soo-Ahn) to his estranged wife in Busan for her birthday. But the normally simple two-and-a-half-hour high-speed train ride to the southern port city turns into a fight for survival from what turns out to be the zombie apocalypse.

Riots around South Korea turn out to be people being attacked by and turning into zombies. And one infected person has managed to board the busy train. That’s enough to start turning other passengers into zombies and the fight to survive begins.

We continue to follow our father and daughter, but we also meet several other characters with different backgrounds. A high death count, or rather, zombie count, is expected for a film like this. But director Yeon Sang-ho and writer Park Joo-suk are able to make these characters fully realized instead of just possible zombie fodder.

The cast of talented and experienced actors are definitely able to help bring those fully realized characters to life. Veteran action star Ma Dong-Seok plays the badass, zombie fighting Sang-Hwa with Jung Yu-Mi (I Need Romance 2012) as his pregnant wife Sung-Gyeong.

Singer-turned-actress Ahn Sohee plays “cheerleader” Jin-Hee to college baseball player Young-guk, played by the criminally underrated Choi Woo-Shik. Ye Soo-Jung and Park Myung-Shin are older sisters In-Gil and Jong-Gil. The versatile Choi Gwi-Hwa plays a mysterious homeless man. And Jang Hyuk-Jin is the film’s requisite villain.

For a disaster epic like this, it’s very appealing to still have a character-driven story. It really is the film’s biggest accomplishment. As always, when you are invested in characters, you care what happens to them. That helps with the emotional aspect and makes it all the more affecting.

The characters and actors may be enough to carry the film. But Train to Busan is still a zombie action movie. And it features some truly thrilling action sequences. It helps (the audience) that these zombies are fast runners as opposed to the feet-dragging kind.

The film starts fast and never really lets up. The quieter breaks in between the big action sequences still hold the tension and fear while infusing some genuine emotion and even a few laughs. And those breaks effectively set up the next jump-out-of-your-seat moments which are plentiful.

The cause of the zombie outbreak is touched upon in the film, but it almost felt like the least interesting part. The characters, their actions in response to the crisis and the big action sequences are the highlights and deserved focus of the film.

And this film is just simply great fun and accessible to a wide audience. Thrilling and emotional, Train to Busan is definitely worthwhile.

TYPE OF REVIEW : GOOD OL’ REVIEW
A film review with minor spoilers.

On the eve of the premiere of Destined To Be Yours, Maine Mendoza and Alden Richards’ first primetime teleserye (arguably, a year late), let’s take a quick look at their first headlining project, the film Imagine You & Me.

There’s no need to rehash how Maine Mendoza and Alden Richards’ #AlDub pairing lit up Philippine pop culture. Though it might be important to point out that Imagine You & Me came later than it should have. The film was the pair’s first official headliner outside of Eat Bulaga‘s Kalyeserye. There were high expectations from both their fans and their “haters” (as Eat Bulaga regularly called those who were not swept up in the hashtag fever).

Unfortunately, Imagine You & Me turned out to mostly be unimaginative fluff and a huge waste of potential. It appears the main goal was to merely have Alden and Maine in a feature length movie without any consideration for anything else.

The basic premise of the film (an OFW falls in love in a foreign country) is okay enough. But the treatment felt more like a one-off television anthology episode than a feature film.

It felt too much like an ordinary story overall, yet separate parts worked better on their own.

Specifically, the story of Gara (Mendoza) as a happy, young and hardworking OFW in a foreign country and the story of Andrew (Richards) and his terminally ill ex-girlfriend/almost-fiancé Isay (Jasmine Curtis-Smith) worked much better separately than any overarching love story between Gara and Andrew.

That’s certainly not a good thing when the film is supposed to be a showcase for the chemistry between Mendoza and Richards. Yet they spend half the film apart from each other. And most of the time they are together, it felt more like an extension of Eat Bulaga‘s Kalyeserye instead of an original story.

The film’s main story hinged on the audience already having been invested in Alden and Maine, the loveteam, instead of the characters of Gara and Andrew. And just the mere fact the film exists is probably enough for many fans.

But the film presents a lost opportunity for something greater. Especially when it has a couple of parts that would easily help make that happen.

Not the least of which is Maine Mendoza. She is absolutely charming in the film. While she definitely felt like a rookie when it came to heavy drama situations (of which there are almost far too many), she still came across as natural and bright. For her first lead film role, she was able to translate much of the personality she had already exhibited elsewhere that gained her millions of fans. She also showed that she certainly has a future in the industry, at least based on her talent and room to grow. It is not hard to like and want to root for her when you see her on screen.

Meanwhile, Alden Richards had some opportunity to remind people of his dramatic acting talents that already drew him compliments pre-AlDub. From his breakout role in One True Love to a career performance as Jose Rizal in Ilustrado, Richards was known for his dramatic prowess which has since been pushed to the backburner in favor of a simpler, pa-tweetums image.

He made much more of an impact in the film in the dramatic, emotional moments he shared with Jasmine Curtis-Smith (who was underused, but did great with what she got) than he did in scenes of lip-syncing in the car or cliché dialogue with Mendoza and even cliché stepson, “You’re not my real mother” scenes with Irma Adlawan as his stepmother.

In that sense, the film failed to capture the magic Mendoza and Richards had on television and use that magic to help them take a step forward in showing just what they’re capable of. The last 15-20 minutes of the film, completely contrived and forced, did more of a disservice to both of them than provided that opportunity.

The other aspect that helped lift an otherwise ordinary film was the cinematography and a very solid use of the stunning and picturesque Como, Italy as a location. Quite often in Filipino television series or films, a foreign, non-Philippine location is used as a way to cover or make up for a poor story or poor acting. In a way, that is the case here as well. But the location was at least more integral to the story being told than most other films.

It’s unfortunate that the film had qualities that could’ve made it truly great. Instead it ended up as a fluffy bit of fan service for the dedicated fans around the world that helped turn the AlDub pairing into an internet and cultural phenomenon. Dropping the ball with the story, wasting Mendoza’s natural charm and underusing the dramatic talents of Richards and even Curtis-Smith, Imagine You & Me should’ve been a much better, deeper and fuller film than it was. But in the end, that doesn’t seem to matter one bit.

In looking back at Imagine You & Me, however, one hopes the series Destined To Be You will not suffer the same creative fate.

TYPE OF REVIEW : GOOD OL’ REVIEW
No spoilers.

The KBS Drama Special has been home to some of the most excellent and unique storytelling on Korean television. Basically short films on television, the KBS Drama Special usually touches on stories and concepts that may not be as mainstream as primetime or daily dramas. Or they may take on a familiar concept in fresh and different ways.

My Happy Home and Legendary Lackey are two recent examples of why KBS Drama Special is essential viewing.

And thankfully, both (like all KBS Drama Specials) are available on the KBS World YouTube Channel without restrictions:

First, My Happy Home tells the story of a genius scientist Yoon Sejeong (Son Yeo Eun) and her husband Sungmin (Lee Sang Yeob) who is a cyborg. They live a happy, structured life. But that seemingly perfect life starts to unravel when the truth about how their relationship all began is slowly revealed.

The drama begins almost uncomfortably as we see Sejeong basically programming Sungmin’s every move from the flowers he brings home to the compliments he gives her. But as we learn the truth (or various versions of it), the drama becomes an emotional roller coaster. And it all climaxes with a stunningly affecting finale.

Equal parts shocking and emotional, it is a thought provoking 75 minutes filled with ethical and philosophical questions about life, love and happiness.

The Legendary Lackey, meanwhile, takes a fresh and unexpected approach to the idea of bullying and high school life. Kang Chan (Lee Ji Hoon) transfers from Seoul to a new high school in Busan and he brings with him a reputation for being a tough fighter who apparently took on 17 guys and won. Current top dog of the food chain Jo Taeung (Seo Ji Hoon) decides to befriend Chan in an effort to maintain the existing hierarchy. But the arrival of Seo Jaewu (Kim Jin Wo) from Chan’s same high school threatens that current balance and especially Chan’s own position.

The drama has a few twists throughout the hour, some a little more predictable than the others. And you kind of get an inkling as to what’s happening early on. However, the way the hour develops using lightheartedness, dramatic confrontations and more quiet, serious moments all lead up to a completely satisfying ending.

While it may not be perfect and it missed several opportunities to maybe go deeper and more poignant, The Legendary Lackey nonetheless upends expectations about how a drama about high school life and bullying should be depicted. And it doesn’t in any way lessen the gravity or importance of an issue that Korea doesn’t seem all too comfortable discussing. There might even be a whole other aspect to this story that maybe could be touched upon if it weren’t on a broadcast network.

Ultimately, My Happy Home and The Legendary Lackey are but two of many examples of why the KBS Drama Special has been a home for some of the best genre-defying and boundary-pushing storytelling, not just on Korean television, but maybe on television anywhere.

TYPE OF REVIEW : GOOD OL’ REVIEW
No spoilers.

D5 Studio, the digital studio arm of Philippine network TV5, debuts a new scripted series this weekend in The Complex.

The suspense drama stars Albie Casino as Alex who settles into a Manila apartment complex after moving to the big city from Tacloban. Here he meets the beautiful, but mysterious Anj (Emmanuelle Vera). But she isn’t the only mystery Alex encounters as he begins having vivid nightmares while strange occurrences begin happening at the apartment complex around him.

The Complex consists of 10, roughly five minute episodes. Each of them are packed with a good mix of legitimate tension and suspense and quieter moments that build that rising tension while adding as much depth to the characters as can be done in five minute bursts.

The digital short form format certainly provides an interesting way of presentation, enabling a different way of depicting what may be a familiar plot. But the intriguing elements of the story and its presentation show a lot of potential if further developed, especially as a feature film or even a full-length television series.

Similarly, TV5’s scripted efforts with Digital5 have been well done and creative, also showing great potential if the material or its creators were given a bigger platform. And I’ve definitely long called for TV5 to be that bigger platform for fresh, different and out of the box concepts.

If bingeing on The Complex, it will roughly be around an hour total. And it’s a brisk and truly suspenseful hour that provides a somewhat satisfying ending, while still leaving a lot of questions unanswered, thus the potential for the story to be truly great with a bigger platform.

Still, The Complex is certainly exciting enough for a good hourlong watch. Albie Casino and Emmanuelle Vera do a great job at getting you to care about Alex and Anj, especially in such a short time. And to be sure, you definitely won’t see something like this on traditional, over-the-air Philippine television.

Watch the entire series on Smart Life or on D5 Studio’s official YouTube channel:

TYPE OF REVIEW : GOOD OL’ REVIEW
LOTS of spoilers.

This year’s Kamen Rider Movie War was mostly a fun endeavor with some brutal and bloody battles. But it ends in one of the worst possible ways it could ever end. More on that later.

The annual Movie War crossovers can always be mixed bags, but usually enjoyable in their most basic ways. The more recent films have favored a singular story involving the two Rider seasons over the earlier three act format. And I generally like that one story format more. It helps to make the film a true “event” and a crossover where the characters of both series actually interact with each other.

Kamen Rider Heisei Generations: Dr. Pac-Man vs. Ex-Aid & Ghost with Legend Riders is a unique entry into the annual crossover as it’s part-45th anniversary celebration and a special crossover with the iconic Pac-Man character, also owned by Bandai. In that sense, this film is sort of split into two halves though not in a jarring, abrupt way.

It is a pleasant surprise to see how well Kamen Rider and Pac-Man were woven together for what is essentially the first half of the film. Though seemingly random at first, the combination fits with Ex-Aid‘s video game theme and it provided for some spectacular action extravaganzas. Certainly not as much of a clusterfrak of explosions and CGI as previous films, the Pac-Man scenes, including the decisive battle in a 3-D Pac-Man environment, were very well done. And the fact that “ghosts” are Pac-Man’s ultimate opponents worked with Takeru and Ghost as the other main Rider season of the film.

The second half of the film focuses more on the Next Genome Institute, the main antagonist Michihiko Zaizen, their involvement in Emu’s operation six years ago and the race to cure Takeru and Akari of their advanced Game Disease before they die.

Michihiko Zaizen used Pac-Man merely to find a host (young game developer Togo) of a specific Bugster virus necessary to his plan to revive and continue his research into evolving to a new, powerful lifeform. This was after he and his team was sucked into the game world when Parado emerged from Emu during the operation.

Emu, Takeru and the rest of the gang race to stop the mad doctor and eventually receive help from familiar faces Shinnosuke, Haruto and godKota.

Of the non-headlining Riders, Shinnosuke was integrated the best into the overall plot. Having that relationship with Takeru helped. But this was also more police work for him than most Drive episodes. The call to pregnant wifey Kiriko also drove home a nice point about the risks of working in law enforcement. Any of the films involving Shinnosuke and Drive have really done a better job at highlighting and depicting those aspects of his character (police work, relationship with Kiriko) than the series, to be quite honest.

Haruto’s introduction wasn’t the most seamless, but being the “oldest” veteran Rider helped make his return welcome and fun. While we saw some epilogue-ish bites for Shinnosuke, we didn’t get any of that with Haruto, which is a shame. He was almost just here to provide that extra help. But at the same time, his appearance served as a reminder that maybe Wizard is the most well-rounded one of the non-apocalyptic recent Rider seasons. Drive and Ghost suffered from plenty of missed potential and dropped balls. Wizard did as well, but I felt very satisfied with its finale which is a lot more than I could say with the two most recent seasons.

And speaking of the apocalyptic recent season, it’s a shame they apparently couldn’t get Gaku Sano to come back for even a cameo at the end or just doing the voice acting instead of recycling old lines. Though it would have been interesting to see what they would have done with Kota had they been able to get Gaku Sano since Haruto barely had much to do anyway. What more if Kota actually got more time than he did.

For the Ghost portions of the film, it did feel very repetitive. The entire cast showed up, but barely had anything to do. They were all there to basically stand by Akari’s bedside. Even Makoto-niichan and Alain, literally, got tossed aside.

And of course, as I mentioned right at the start of this review. The final scene was just bad. Takeru dying for the 100th time?! It almost felt like a running joke or gag: Kill Takeru and bring him back to life. That final scene should’ve had some emotional weight to it, especially using it to give Emu some doctoring to do. But it fell completely flat.

Everything was going perfectly fine for most of the film. Takeru and Akari on the verge of death would’ve been enough without that contrived ending. It was so bad, it almost tainted my pretty positive response to the movie up until that point. They should’ve just left well enough alone and went straight to the epilogue scenes.

The film though basically introduces backstory for Ex-Aid which was hinted at in-series and merely glossed over. The film does help provide a bit more context and reference points for Emu’s backstory as well as Kuroto and Parado’s shadowy actions in the early part of the season. This is in spite of more than a few continuity errors between the contemporary events in the film and the series.

At the same time, the rest of the Ex-Aid cast, other than Poppysuna, also had little to do. Parado didn’t even show up until the end.

Still, the film was enjoyable. I think my favorite aspect is just how brutal and bloody it was. Sentai and (especially) Kamen Rider theatrical releases and V-Cinemas are usually a little more violent and gory. (Hello Kamen Rider Chaser!) But everyone had it rough this movie. The Riders were all bloodied and bruised. Akari had giant blocks fall on her. And of course that opening massacre was just insane.

The big battle scenes were also all very well done. Some nice, fresh choreography and special effects. Most of the film was fight and battle sequences. And interestingly, I had no problem with that. It was all cool to watch, though of course more solid writing would’ve been great too.

Overall, Kamen Rider Heisei Generations: Dr. Pac-Man vs. Ex-Aid & Ghost with Legend Riders was a fun, mostly enjoyable outing. Maybe a little above average in terms of entertainment compared to recent Movie wars, for me. And seeing Haruto and Shinnosuke, in person, again was a nice, simple treat.

TYPE OF REVIEW : GOOD OL’ REVIEW
No spoilers.

Koe no Katachi/映画 聲の形 (A Silent Voice) is a beautifully affecting work from director Naoko Yamada. Based on the manga of the same name by Yoshitoki Oima and adapted by Reiko Yoshida, the film uses stunning visuals and impactful auditory cues to bring a heavy, sometimes dark, but important story to life on screen.

Koe no Katachi begins by immediately introducing us to high school student Shoya Ishida as he prepares to commit suicide by jumping off a bridge. His attempt is interrupted and we flashback to his elementary school days to learn that he quite viciously bullied transfer student Shoko Nishimiya who is deaf. The other classmates soon become irritated by Shoko and some join in the bullying, while the rest (including the teacher) sit and watch without ever intervening. This is in spite of Shoko’s sincere attempts to befriend her classmates, using a notebook to express herself and communicate with them.

Soon, the bullying goes too far and Shoko transfers to another school. But Shoya’s classmates deny any involvement and all point the finger to him alone which turns him into an outcast.

His reputation and isolation continue into high school. Shoya’s guilt also causes him anxiety around his classmates, unable to look any of them in the eye. He chooses to shut them out, as illustrated by large “X”s on their faces. But one day, Shoya decides to return Shoko’s notebook to her in an effort to atone for his sins and maybe redeem himself, even if only a little.

This begins Shoya and Shoko’s new relationship with Shoya slowly opening himself up to others as well, including former friends and elementary school classmates. But Shoya continues to be haunted by his past actions, hindering his efforts. This is while Shoko’s own personal and inner struggles quickly begin to surface as well.

Koe no Katachi continues from there, told from Shoya’s point of view. The film is very much a coming of age story centered around Shoya and Shoko with a supporting cast of characters consisting of their families, current and former classmates and “friends” (whose definition is one of the running plot threads in the story). But more importantly, the film shows how it is possible for both the bully and victim to have lingering emotional scars.

The very real, but heavier topics of bullying, depression and suicide are paired with the usual stories of adolescent life; the politics of high school, friendships and the pressure of being a teenager. They former are certainly not easy topics to watch, but Yamada is able to use that discomfort to highlight the issues while avoiding being preachy and condescending. That is a major accomplishment in and of itself.

The stunningly ethereal visuals, a hallmark of many recent Japanese animated films with similar young protagonists, are joined by purposely included auditory cues to further solidify the affecting nature of the film.

There is a delicate and careful presentation throughout which is regularly punctuated by distinct events that almost act as steps leading up to the climax of the film. Despite the heavier material, the film manages to sneak in well-placed and welcome scenes of lighter, even funny, moments. That balance is part of that careful presentation and in turn makes the film realistic and more true-to-life.

Shoya and Shoko are, rightly, always the focus of the story. It is an engaging journey from the elementary school days of bullying to the final scene which leaves a lingering effect on the viewer.

No doubt the film will draw comparisons to a recent, popular TV series which deals with similar topics. However, Koe no Katachi is able to deliver a more resonant story and message within its robust 129-minute runtime. The characters, their motivations and their struggles are all relatable. Even if one may not feel the extremes that Shoya or Shoko feel or even if one can’t imagine being in their situations and circumstances, their story still feels universal and accessible.

And because of that, the story and its message resonate much stronger. You come away with a greater understanding, even if it is not a complete picture, of people suffering and the challenges they may face.

The film is not perfect. It has a few flaws that may stem from having to adapt a longer form manga to a two-hour film. But every minute of the two-hour plus film is used well to give depth to both the characters and the story itself. The film has a hopeful ending, but that does not in any way diminish the difficult journey and struggles Shoya and Shoko have gone through. Nor does it assure an easy future either.

Writing about the Koe no Katachi truly does not give the film’s story justice. But rest assured, this film is worthy of your time. It is a major accomplishment for Yamada and her team to have brought to life an important and meaningful story that resonates. Along with skillful direction and stunning visuals, Koe no Katachi proves once again just how much Japanese animation can deliver and exceed what other genres and forms of the medium can only dream to achieve.

TYPE OF REVIEW : GOOD OL’ REVIEW
No spoilers.

Japanese director Makoto Shinkai has proven what a talented filmmaker and storyteller he is. From his acclaimed 5 Centimeters per Second to his recent blockbuster Your Name.

5 Centimeters per Second was my first Makoto Shinkai experience and I loved it. I immediately followed it up with The Place Promised in Our Early Days (which I must write a review of soon). And then Your Name captivated the world and myself.

Next on my list was Shinkai’s Children Who Chase Lost Voices (星を追う子ども /Journey to Agartha). In looking for more of Shinkai’s work, I’d read a lot about this film. But in going into it, I tried not to think about any of that and tried to only use my previous three (positive) encounters with Shinkai’s work to guide my experience.

Children Who Chase Lost Voices is about a young girl named Asuna who finds herself on a journey to the underground world of Agartha. She is accompanied by her substitute teacher (and government agent?) Morisaki who wants to bring his dead wife back to life by reaching the Gate of Life and Death located in Agartha.

That’s about as simple as you can get with a plot summary without basically relating the entire film. And on one hand, that’s one of my biggest problems with it.

The film is undoubtedly ambitious. It has an epic scope both narratively and visually. Shinkai’s animation here is a mix of his quieter romantic films (5 Centimeters, Place Promised) that came before and a maybe more mainstream look and feel.

But the story itself feels very much like a mix of several different plots and movies all thrown together without much of a sense of continuity.

Going back to what I had read before watching the film, a recurring comment I saw about it was that this was basically an homage and tribute to the classics of Hayao Miyazaki. And indeed, I could spot many qualities and story beats that would feel right at home in a Miyazaki or Studio Ghibli film.

If that really was Shinkai’s intention, then I think it ended up being a detriment to a film and story with enormous potential.

It was almost as if the film merely checked off the boxes:
✓ Asuna is the likeable heroine who must overcome personal, emotional challenges while also falling for the cute guy from the strange world.
✓ A dashing and heroic young man (in this case two in Shun and Shin) for our heroine to fall for.
✓ Fantastical monsters.
✓ Magical stones.
✓ An emotional and a literal, physical journey.
✓ Cute animal sidekicks.
✓ Death!
✓ Moral dilemmas
✓ Visits with interesting locals.

There were times when the film’s starts and stops seemed to indicate the need to check off those boxes. At almost two hours, the film is definitely filled with many events. But there is a lack of cohesion to those events that it is hard not to feel disconnect throughout the film.

Shinkai really has proven his talent in both filmmaking and storytelling. There certainly is a great epic hidden somewhere here. The visuals are there, but Children Who Chase Lost Voices feels both incomplete and overstuffed. And that may be surprising to anyone who has followed or experienced Shinkai’s recent works.

TYPE OF REVIEW : GOOD OL’ REVIEW
MAJOR spoilers.

I have been thoroughly enjoying Uchu Sentai Kyuranger. At this point, it’s probably, at the very least, number 3 on my all-time Sentai list. It has rarely, if ever, really disappointed me this season. But, that changes now after watching The V-cinema release Episode of Stinger.

Ouch!

I really had high hopes for this special. For one, I was really looking forward to seeing more of Stinger and Champ’s adventures from when they walked into the sunset together. There’s certainly a lot of material there for some crazy and exciting adventures. Also, of all the Kyurangers, I think Stinger is probably the most interesting and has the most readily available foundation for his or her own movie.

However, Episode of Stinger has to be the first time this season that I’ve been left underwhelmed and even a little disappointed.

Episode of Stinger begins with the Kyurangers on the planet Sleeby. It continues on from the special High School Wars minisodes. But the focus quickly shifts to Stinger and Champ as they are thrown off a cliff by who apparently is a familiar foe. The two of them then flashback to what is implied to be the one and only adventure that Stinger and Champ encountered while on their journey together.

They encounter a small community of human Jark Matter refugees who are apparently being tormented by a strange woman with a grotesque arm. She is assumed to be some kind of Jark Matter alien/assassin. And is thus driven away from the colony by the people who want nothing to do with her. Stinger and Champ arrive just as she vows to kill them all in the name of Jark Matter. But Stinger doesn’t readily believe the locals after the woman, who is named Mika, says that she only seeks power. Those words make Stinger remember his own brother’s wish which he said before he murdered their entire Village.

The rest of the movie involves Stinger trying to understand where Mika is coming from. She reveals that she had been ostracized, quite violently, by the locals for being half-human/half-alien. That drove her to join Jark Matter, seduced by Daikaan Thunderbird/Zandabarudo.

Despite Stinger’s attempts to get Mika to see the light, she ends up murdering every single person in the refugee colony as revenge for the way they treated her. But she is also killed when eventually it is revealed that Thunderbird had merely set everything in motion, pitting the humans against each other until they killed each other. That apparently delighted Don Armage to the point that Thunderbird was promoted to Karo.

Of course, at the end of the movie and back in the present day, an enraged Stinger, with the help of all the other “human” Kyurangers, defeat Thunderbird. (This is also while Champ is conveniently berserk.)

The movie is almost an hour long, but the story never felt like it needed an entire hour to be told. A large chunk of the movie was merely an excuse to have Yosuke Kishi show off his excellent singing voice.

Most of the rest of the movie was filled with some violent and gory action. Now Sentai and Kamen Rider V-cinemas are usually much more gory and violent than the series and even the theatrical releases. But this movie has to take the cake. People were being slaughtered left and right. And it wasn’t just colorful zaps and lasers and camera trickery. People were getting stabbed and gorged to death. And I don’t seem to remember any V-cinema that I’ve watched that involved mass graves.

That brutality would have been pretty powerful if it had been accompanied by an equally heavy story. But the movie really lacked the depth that the series itself has been able to do on a regular basis.

As I mentioned earlier, I was looking forward to lots of different adventures with Stinger and Champ as they searched for Scorpio. But it did seem like the events of this movie were really the only interesting thing that happened to them. And that is quite a shame. Even if there had only been one adventure, at the very least it should have been big and epic. But if all that happened was what we saw in this movie, then that is very disappointing.

The overall premise of this movie is not bad in and of itself. The idea that Don Armage has one of his Daikaan pit humans against each other in some kind of Most Dangerous Game/Zyuohger-Ginis type of situation is very terrifying. That’s a level of evil and brutality from Jark Matter and Don Armage that we haven’t seen yet. Being a V-Cinema release, the movie could’ve done a lot with the idea of discrimination and really, racism as well.

But you didn’t really feel that sense of gravity in the situation.

It wasn’t even fun since most of the movie was depressing, having people kill each other over what is basically racial tensions in the Intergalactic sense. And we got basically what we already had in-series of how Stinger and Champ’s relationship grew and developed.

Yosuke Kishi definitely deserved a much better showcase than this movie. It was definitely all flashbang with no substance.

I mean, you can definitely see what they were trying to do with it. The sepia tone aimed to give the whole thing this gritty sort of atmosphere. It aimed to really highlight just the sheer brutality of (at the end) Don Armage, but during the film, the brutality of Mika and the locals. And this experience overall seemed to try and provide more basis for Stinger’ s actions when he finally came face-to-face with his brother.

As we saw in-series, Stinger held out hope that he could save his brother. But he was heartbroken in the worst way. Not only did Scorpio attempt to play Stinger one more time, he would have killed Stinger had it not been pardner Champ stepping in front of the attack.

Stinger wanting to be the noble hero is certainly in his character. But the movie really only made it seem like he wanted to save Mika because she was hot and cute.

There’s definitely a great movie hidden somewhere in this movie’s premise. But compared to how well the show has been written and how it has dealt with heavy plots, this movie definitely fell short. If this movie had been done for any other season even, I think I wouldn’t see it as harshly. But my expectations for Kyuranger are pretty high. And unfortunately, Episode of Stinger just didn’t seem to come together as well as the series has been.

TYPE OF REVIEW : GOOD OL’ REVIEW
Very minor spoilers.

Let Us Meet, Joo Oh is the first KBS Drama Special I watched this season. And it was definitely a great one to start off with.

Let Us Meet (만나게 해, 주오) is a little more lighthearted than the ones I would watch immediately after. But it wasn’t any less enjoyable or exciting.

Son Ho Joon plays matchmaker Cha Joo Oh in 1930s Gyeongseong, the capital of Japanese-occupied Korea. He meets countrygirl Lee Soo Ji (Jo Bo Ah) who comes to the big city hoping to find the man of her dreams. She meets Joo Oh and gets him to take her on as a client and help her find someone who will be good husband-material.

Son Ho Joon and Jo Bo Ah’s amazing chemistry tells us early on that maybe they are each other’s best match. So that is not a surprise. But their chemistry just carries the episode, getting the us to root for them immediately and gladly hopping along for the hour-long journey to both characters’ realization of that.

With the backdrop of the Japanese occupation, the story is lighthearted yet engaging. With a little bit of comedy thrown in, Let Us Meet is a sweet romantic journey as well as a little glimpse into this era of Korean history that has certainly been depicted many times in various forms and genres before.

There is a sort of whimsical nature to the direction of the episode that helps keep things light. And again, the performances and chemistry of our two leads really carries the episode. But Let Us Meet is a sincerely enjoyable and fun story and a refreshing alternative to the usual longer-length Korean dramas other might be more used to.

TYPE OF REVIEW : GOOD OL’ REVIEW
Very minor spoilers.

The KBS Drama Special You Are Closer Than I Think (당신은 생각보다 가까이에 있다) is the biggest surprise of the four episodes I watched from this season so far.

Starting off telling the story of Ujin (Lee Sang Yeob) being left at the altar by his bride-to-be Seoyeon (Kim So Eun), it moves into an almost supernatural-kind of vibe. In trying to find the reason why Seoyeon would become a runaway bride, we are immediately presented with a logical supernatural explanation. (Interestingly enough.) And KBS Drama Specials have certainly presented a few fantastical stories in the past.

But what was most interesting and enjoyable was the twist that this isn’t supernatural or fantastical at all. And that instead there is a very real explanation for what happened and what is going on. We then are plunged into a relatively intricate chess game of emotions that includes some fascinating emotional and moral dilemmas.

You Are Closer Than I Think is really a romantic thriller. The story developed and unfolded in a perfectly paced way where every new development and twist made sense and was impactful in shifting the story forward.

Our four lead actors in Lee Sang Yeob, Kim So Eun, Im Hwa Young and Kwak Hee Sung all turn in some great performances that really helped solidify the basis for such an intricate story.

Now, it was a happy ending for all. But if you were fully invested in the story and the characters leading up to the climactic reveal, then the ending is more than justified.

You Are Closer Than I Think is representative of how KBS Drama Specials can present unique, fresh and engaging takes on some common and sometimes overused Korean drama plots. It is a story that is definitely more than you think when you first approach it. And it leaves you very satisfied once it’s over.

TYPE OF REVIEW : GOOD OL’ REVIEW
Very minor spoilers.

The KBS Drama Special If We Were a Season (우리가 계절이라면) is a wonderfully realistic fairy tale of a love story.

The excellent chemistry of Chae Soo Bin as Hae Rim and Jang Dong Yoon as Ki Suk really add so much to bring the story of two friends since birth to life. They grow up as friends and neighbors with windows opposite each other, connected by a string phone. But as they prepare to step into adulthood and maybe come to admit their true feelings for each other, a handsome new guy (Jung Jinyoung as Dong Kyung) threatens to come in between them.

If We Were a Season is a very relatable story. Not relatable so much that I have personally experienced such a friendship/romantic relationship like Hae Rim and Dong Yoon’s. But relatable in that it is a very affecting romantic story, accessible without being cheesy or corny. It is a full and well-developed story that is simple, yet very meaningful.

One of the best aspects of the story is that the characters all felt very real. They weren’t stylized or stereotypical depictions of today’s youth. They were realistic, from their emotions to their personalities and everyday actions.

The episode has an almost ethereal aura to it. I honestly felt like I was watching a live-action Makoto Shinkai film. The final scene especially was just pitch perfect.

The fairy tale-like atmosphere gives it a sense of being some kind of epic love story. And that works in an interesting way as it, again, presents a realistic and really a slice of life story with a touch of romantic grandeur. A feeling, certainly, that the two main characters would feel in real life. (If only we could all be so lucky to experience such a relationship! lol)

Powered by excellent performances by Jin Young and especially our two rising leads Chae Soo Bin and Jang Dong Yoon, If We Were a Season is really a wonderfully romantic and emotional episode.

TYPE OF REVIEW : GOOD OL’ REVIEW
Very minor spoilers.

KBS Drama Specials usually feature some of the boldest storytelling on all of Korean television. But none have ever been as striking as Slow (슬로우).

Slow stars Kwak Dong Yeon as high school baseball player Lee Jiwon. He’s is an above average player, but has not been playing well as of late.

It is evident early on that Jiwon is suffering from some sort of mental disorder. He has severe anxiety that can paralyze him at times, but he also gets strange sensations of things feeling faster than they really are. Both (and possibly other) conditions have hindered his playing ability as well as social interactions at school.

Others point this out, rather bluntly, to him and passively tell him to see a doctor. And in one of the tensest confrontations of the hour, some of his teammates call him “crazy” and a “lunatic.” In that same scene, there is mention of a “razor blade” as well.

That scene and a sequence of him taking a bus to the countryside are made significant by the fact that most of the hour has very little dialogue and almost no scoring (which only kicks in during that countryside scene). Music also appears at moments where Jiwon recalls the cello playing of classmate Kim Jung Yun (Jung Soo Ji) who seems to be the only comforting force for him.

There is a sort of minimalism in the storytelling and direction of the hour that you are definitely not going to see anywhere else on Korean television. But it more than works here, giving Jiwon’s story a kind of urgent attention that is definitely contrary to how Korean society sees mental health.

Now I’m certainly no expert on mental health. But it was clear to me from the beginning of Slow that Jiwon was struggling with something that wasn’t going to be easily solved or cured.

That’s why it was very disheartening to read the comments on the official KBS World YouTube channel upload of Slow saying this episode was a “waste of time,” “weird” and “boring” and that they “regret” watching it. Other comments seem to be from people coming to the episode hoping for some kind of K-pop love story.

In a way, these reactions and obviously, the reactions of the people around Jiwon in the episode mirror Korean society’s general feelings towards mental health. And it’s certainly not exclusive to Korea as well. There is a lack of empathy and understanding, but also of knowledge that sadly keeps people who suffer from any of the wide array of mental illnesses from getting the help and support they need.

Slow presents a deep story of one of these people in a truly striking and affecting way. A unique presentation that so effectively depicts the confusing and sometimes scary world someone like Jiwon might be suffering in. And Kwak Dong Yeon, as usual, gives a powerful performance.

TYPE OF REVIEW : GOOD OL’ REVIEW
Very minor spoilers.

Dancing the Waltz Alone (혼자 추는 왈츠) is the next episode in my marathon of the most recent season of KBS Drama Special. And let me just say right off the bat, what a painfully heartbreaking yet unfortunately realistic slice of life portrait of today, all told in a beautifully presented hour.

Dancing the Waltz Alone tells the story of Gunhui and Minseon, both in their 20s, who struggle to make their way in the real world. It’s the very definition of adulting. Despite their skills, talent and other qualifications that they may possess, the real world is as harsh as it’s ever been. Where pressures from work, friends, colleagues and family weigh on your mind.

And in Korea, unfortunately, as we’ve seen many times before, this is the kind of pressure that weighs so heavily on people that tragedy can happen. People hide their true feelings so as not to draw the ire and mocking of others while also not wanting to put a burden on their loved ones. Even though sometimes your loved ones are the ones putting the burden on you.

That’s why Dancing the Waltz Alone is so heartbreaking and painful to watch. It’s all too realistic. An accurate and hard-hitting portrayal of what it’s like to be a young adult in today’s world. And it isn’t only in Korea or the United States. It can be anywhere. That’s what makes this story that much more sad and heartbreaking to watch. That it is so relatable that it can happen anywhere, makes this so effective.

Moon Ga Young and Yeo Hoe Hyun give excellent performances as Minseon and Gunhui. They bring this truly difficult, yet heartbreakingly real human story to life in the most beautiful way possible.

The waltz of the title as we see in the beginning and end of the episode are such a beautiful and graceful contrasts to the dark, sometimes upsetting and cold world that both Gunhui and Minseon have to navigate together and apart. The waltz is almost also like a representation of what a lot of us feel all the time. Trying to think of simpler times when we were younger, when things weren’t so complicated. Less responsibilities, less pressure, a time when all we had to think about was that specific moment. That moment in time that we all look back on and wish, “If only we could go back to that time, even for one day.”

And that’s what makes Dancing the Waltz Alone just so heartbreaking yet beautiful at the same time. Amazing performances from our leads and just an emotionally affecting, human story that is so relatable regardless of class, race or ethnicity.

TYPE OF REVIEW : GOOD OL’ REVIEW
Very minor spoilers.

Madam Jeong’s One Last Week (정마담의 마지막 일주일) is a fun, quirky but touching KBS Drama Special entry. But more importantly, it is an excellent showcase of Ra Mi Ran’s exceptional talent.

The hour starts off as we meet Madam Jeong (Ra Mi Ran), a hostess, as she escapes from a mob boss in Busan. But as she runs away she stumbles upon a huge bag of cash and she uses that cash to go into hiding for 7 years to allow the statute of limitations to pass on her charge of theft. She hides in a small basement apartment in Seoul, never leaving that apartment while having all her necessities delivered to her. But with one week left before she’s free and clear to travel to her dream destination of Canada, everything is thrown into chaos when she meets little girl park Eunmi.

Their interactions are sort of a cute, Odd Couple kind of vibe until we learn about Eunmi’s abusive stepfather and Madam Jeong’s own painful past.

The hour develops from being such a fun and amusing back and forth before developing into a dramatic and emotional fight for survival, basically, for our two main characters.

Shin Rin Ah was great as Eunmi, getting us to feel for her situation immediately. But it is definitely Ra Mi Ran who absolutely owns the hour and proves once again just what an incredible talent she is. It is wonderful to see her getting so many excellent projects and perfect roles that allow her to showcase that.

Though this episode was a little bit lighter compared to the KBS Drama Specials that I’ve watched so far from this season, Madam Jeong’s One Last Week still continues the streak of great, enjoyable and refreshing stories on Korean television. And this one is special for having a lot of heart.

TYPE OF REVIEW : GOOD OL’ REVIEW
Very minor spoilers.

Slice of life stories can be as engaging and exciting as high concept adventures. And The Reason We Can’t Sleep (우리가 못자는 이유) is definitely one of those.

This episode of the KBS Drama Special stars Im Ji Kyu and Im Se Mi as Youngjae and Yoojung. They are approaching 30, yet neither seems to have found their place in life. They both have what they love to do, but both are far from being stable in their careers and their future. This is highlighted by the fact that neither can get any sleep.

Their similar hardship is what first connects them and that same hardship threatens to drive them apart.

What is so engaging about this hour is that it is a romantic comedy that is very grounded. It doesn’t present a stylized, idealistic view of a couple meeting cute for the first. But it is also a dramatic and realistic portrayal of just how hard it is to make it in the real world today. Neither are new concepts of course. But together here, it is a story that truly engages throughout the hour until its satisfying conclusion.

There is a simple, yet profound message in this episode: Things might not work out… but they might. Basically, give it a shot until you succeed. Never give up. Don’t be discouraged. And that is true in one’s career or lovelife or just life in general. And The Reason We Can’t Sleep depicts that excellently.

Veteran actor Lee Dae Yeon is wonderful as Yoojung’s father and he and Im Se Mi share a wonderfully poignant scene in the middle of the hour. But Im Se Mi and Im Ji Kyu really deliver in their realistic and grounded performances that make you feel like Yoojung and Youngjare are real people you can meet in your own neighborhood.

Mixing in a little bit of magic, The Reason We Can’t Sleep is a wonderful and engaging slice of life story about life and love and shows us that you just have to keep going. It might just work out.