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Small Things Like These (2024)
A story half told
This film is focused on the courage it must have taken to stand against the power of the catholic church (and associated cultural norms) over the many years it mistreated girls in Ireland. That focus provides an explanation for how such behaviour can continue for decades.
On the other hand, it means that this story is only half told. Finding the courage to make a stand is one thing. Having the grit to see it through in the face of community pressure for year after year is quite another. How would his family respond? What about the girl's family? What pressure does the church bring to bear? Does his community ostracise or support him?
So many unanswered questions.
All of which makes this both a rewarding watch and a frustrating one.
Kartini (2017)
A privilege to watch
I did not realise just how moved I was by this film until my wife came home as it finished and I had a catch in my throat as I explained the story.
It must have taken incredible courage and determination to rebel against the entrenched traditions that hemmed Kartini in. And she didn't only do it for herself, battling too for the right of poor girls to be educated.
Her achievements put most of us to shame. Today she is a recognised Hero of Indonesia, with a national holiday in her name. Incredible for someone who died at the age of 25.
It was a privilege to watch this film and discover a true story I knew nothing about.
Yeon-in (2023)
Joins the ranks of perfect kdramas
This joins the ranks of perfect kdramas, scoring 10/10.
Opening episodes offer light-hearted romantic comedy, little suggesting the intensity of feeling and drama to come. Then the Qing invade and the world is turned upside down.
At this stage it is the journey of Ahn Eun-jin's character as she flees the invaders that grabs you. She finds herself protecting a group of women from the "barbarians", discovering reserves of fortitude and courage far beyond any expectation.
Later it is the trials of Min Nam-koong's character that come to the fore, as he struggles to save his countrymen and win the heart of Ahn Eun-jin.
In the middle is a sequence of episodes that hit such emotional and dramatic intensity as to be "unputdownable". Ahn Eun-jin suffers humiliation and savagery. Her only hope is Min Nam-koong, who is unaware of her plight.
This is story-telling on a truly epic scale. At its heart is a love between two complex characters, struggling to find a path through tumultuous events and mutual misunderstanding. The two actors make you care deeply for their pain and their joy. I will watch it again.
Il Commissario Ricciardi (2021)
Tolerate the niggles and this is worthwhile
I cannot quite make up my mind as to how to score this series, so I am hoping that writing this review will help.
First, the strengths of the series. The whodunnit plots are generally sufficiently puzzling to hold your interest. The historical backdrop allows other layers of engagement, with the fascists' becoming ever more present in the stories. The production values are pretty high, so that time and place are convincingly presented. Lastly, Naples affords stunning views and architecture.
Amidst all that good stuff are a couple of niggles. Firstly, you have to get used to the fact that ghosts feature in every episode. Secondly, the love story (or stories) central to Inspector Ricciardi's travails does not always ring true.
Now, I did learn to accommodate the ghosts. I also gradually bought in to their effect on his ability to love. If I had not done so I probably would not have continued watching. But because I did I was able to continue to appreciate the strengths listed above through two series. I would even watch a third if it is made.
Naemsaereul Boneun Sonyeo (2015)
Only just kept me watching
The unusual premise got me interested, the mystery at the core of the plot kept me going through the first half and the villain kept me watching through the second.
Without those "hooks" I might not have persevered. In fact I got frustrated with the self-indulgence of the story after the villain's disappearance and almost stopped watching before the end.
I liked Shin Se-Kyung in Rookie Historian, but in everything I have seen her in since she has failed to engage me. The stand out actor here is
Min Nam-koong as the villain, who actually brings some drive and energy to the plot.
This might have scraped a score of 6, as I did keep watching, if it had not been for that final episode.
Angmapansa (2021)
Kim Min-jung gives us a masterclass in nuanced acting
When I first started watching this my enjoyment was constrained by the preposterous plot: a government of imbeciles decide to create a TV court which gives citizens the power to vote on judgement and sentence.
Gradually this barrier got forgotten as the story became more pertinent and the characters developed.
For me the story gained resonance as a warning against populism, with an unscrupulous cabal seeking to usurp the political process and exploit their citizens for personal gain.
The actors give it their all. The two males leads give us powerful performances that drive the plot. But it's the female actors that provide emotional ballast. Jeon Chae-eun and Park Gyuyoung deliver sympathetic characters whose relationships with the male leads are always tantalising.
But it is Kim Min-jung that is the stand-out star of this series. She was great in Mr Sunshine and she is even better here. Somehow she portrays a she-devil knee deep in nasty machinations and blood-letting without ever losing our sympathy. It's a masterclass in nuanced acting, with every whisper dripping with threatening malevolence and every tear betraying heart-rending vulnerability.
Jeon, Ran (2024)
Light weight action fest
There are good things to enjoy about this. The action is well realised, the plot provides some pace and the actors make their characters come to life.
So if all that adds up to a film you might enjoy then give this a go.
However, much of it fails to ring true, meaning I never got beyond knowing this was a story made up in an attempt to entertain me. At no point were my emotions engaged in the characters. Their predicaments did not move me. Their actions and reactions carried very little weight.
Nevertheless I did gain some enjoyment from it. Keep your expectations low and you might well too.
Bad and Crazy (2021)
Good and Crazy
This is an interesting series with much to recommend it. There are times when you know you are watching something of real quality. For example the plotting is satisfyingly labyrinthine and the acting every bit as good as you expect from k drama. In particular, Lee Dong-wook's ability to invest his characters in anything from absolute heroism to total craziness to utter evilness is used to the full. He is always an interesting actor.
Unfortunately there are also less positive facets to note. Because I am not Korean I did struggle with the plot, with constant references to characters by names I did not recognise, which made it very hard to follow what was going on at times. This impacted upon my enjoyment of the labyrinthine plot, whereas this is normally something I particularly value from a Korean thriller.
Also, at times the whole thing seemed completely mad. There was just so much going on, with multiple characters rushing about in different directions, let alone our hero's alter ego, continually popping up out of nowhere.
Nevertheless, I did enjoy it and would even consider watching a second series should it be made.
Ludwig (2024)
Great fun!
This series is great fun.
The plot runs in two strands: a weekly murder which Ludwig solves, and a series-long mystery regarding the fate of Ludwig's twin brother.
The weekly murders allow us to be entertained by Ludwig's quirks and foibles, despite which his puzzle-solving genius wins through. The series-long mystery brings a real air of menace.
All of this is blessed by strong performances from the whole cast, most particularly David Mitchell, Anna Maxwell Martin and Dipo Ola, who successfully provided some ballast to the airy goings on.
There seems to be significant mileage for further series, so I am really looking forward to seeing more of Ludwig.
Lee (2023)
Powerful and moving
I did not know much about Lee Miller. So I didn't understand why her life justified a film 80 years after the events on screen. My interest in seeing this was instead driven by the casting of Kate Winslet, an actress who never fails to impress.
And Kate Winslet is perfect for this role. She has the acting skills to dominate every scene.
Yet it is the life of Lee Miller that dominates my experience of the film. Of course this is also a testament to Kate Winslet, who never let's her star quality obscure the character she is portraying.
Lee Miller's grit and determination must have been incredible for her to have overcome the many obstacles to doing what she did. As a result she left us with an invaluable testimony as to the inhumanity of the holocaust, an event that is denied by some. All of which gives us a powerful story. To that is added the moving depiction of the relationship with her son.
Lee Miller's story certainly justifies the telling.
The Guilty (2021)
Audacious and incredibly well executed
This is one of those films that is worth seeing because of the audacity of the concept. Add to that the fact that it is incredibly well executed and it is a film not to be missed. Despite the whole plot revolving around a succession of phone calls, with no action and few actors, tremendous suspense is generated. I was on the edge of my seat.
A powerhouse performance from Jake Gyllenhaal drives the whole thing. His character is in a dark place, the truth of which emerges as the story progresses.
The plot offers other twists and turns. One in particular turns everything on its head, upending Jake Gyllenhaal's character and taking me utterly by surprise too.
Wow! Don't miss it!
The Last of Us (2023)
Excellent
I continued watching beyond my wife giving up 20 minutes in and, boy, am I glad that I did!
This is and excellent series, blessed with 2 leading actors who make us believe in their relationship and in the difficulties that they face. You care about them and so you are gripped by their story.
But the series takes its time to give us many other characters. Every one of them is "real", even those whose role is to stand in the way of our heroes.
Also, the production standards are very high. This is especially noticeable when blighted urban landscapes fill the screen.
Now - I am not a fan of zombie movies, but that element of the story pales into insignificance amidst so much excellence.
Yeolhyeolsaje (2019)
Didn't do it for me
I am a fan of kdrama and have probably watched a few hundred series now. Despite being predisposed to give every new series I start every chance to meet the high standard I have learned to expect, this did not do it for me and I gave up after perhaps half a dozen episodes.
Having read the mostly positive reviews on imdb and the viewer score of 8.1, I am left trying to understand why I was not equally enamored?
I guess that the central plot device of a priest who lashes out violently at every opportunity was too jarring. Presumably this would have been less of a problem had I bought into the comedic nature of the piece, but I found it difficult to laugh at a tale of murder and corruption, with public officials abusing their power at every turn.
So - not for me.
Dakteoseu (2016)
Two likeable stars to keep you watching
This isn't one of the best kdramas, but it has two likeable stars and they keep you watching.
The first half of the series focuses very much on the love affair between those two stars, with various obstacle needing to be overcome. If you like a good romance it is likely that this will offer sufficient traction to get you engaged.
As we enter the second half, the core relationship has reached a kind of equilibrium and thus offers less dramatic impetus. So the focus shifts away somewhat to other plot strands, most particularly some hospital management shenanigans. Unfortunately this transition is a little grudging, much time still being dedicated to the central couple, meaning that the drama from those other plot strands can be a little undercooked.
But still, if you like the central couple you will want to keep watching.
Do-ga-ni (2011)
Chilling and heart-rending
This film is very tough to watch.
The superb performances by the child actors bring to life their terror and pain. Their abusers are also chillingly portrayed. But for me the most frightening part of the problem was so many adults keeping quiet. Their failure to act over many years allowed the abuse to go on and on.
All of this is chilling and heart-rending.
Being a true story, justice is not at hand. A lengthy court case delivers minimal sentences on the perpetrators. Bribery and corruption intervene.
I understand from other reviews that the film itself had a massive impact in Korea, resulting in various steps being taken to afford better protection to children. I guess that is the positive conclusion that the true story on the screen is unable to offer.
On the other hand, many countries have enacted child protection and teacher vetting legislation, but abuse continues. Certainly, here in the UK we have had scandals come to light years later from a time when such stories were simply not believed. There will always be evil adults wanting to prey on vulnerable children. Key to minimising their ability to do so is the willingness of everyone else to shout and scream when they witness something.
Vienna Blood (2019)
An enjoyable journey through the underbelly of imperial Vienna
An enjoyable journey through the underbelly of imperial Vienna.
Strengths include the presentation of the turn of the century city: the gloss of imperial grandeur and intellectual and artistic energy only just managing to hold at bay the competing nationalistic pressures threatening to tear the empire apart was very believable. It served as suitably fertile ground for much plotting and nefarious doings.
Amidst all this, Inspector Rheinhardt is an immovable constant, around which everything else revolves. Even Dr Liebermann needs his certainty in order to anchor his almost whimsical theories towards a satisfying conclusion.
I was less convinced by the Freudian theory deployed somewhat simplistically ,or so it seemed to this ignorant viewer.
But put that to one side, and there is much to enjoy here.
High Country (2024)
Could have been better
I have delayed writing this review while I sort out my conflicting thoughts about this series.
On the one hand the eponymous high country is an impressive backdrop to the story, there is an interesting sub-text regarding the aboriginal heritage of the police sergeant and the plot is complex and the ending contains surprises.
On the other I did struggle to follow the plot, which is not usually a problem for me. Worse, the main characters were too often required to behave nonsensically in order to create the next moment of drama.
So this series has its merits and I did watch it through to the end. But it could have been better.
Thelma (2024)
Resonance and humour
This film does not generate much excitement, but in its gentle story of an elderly lady trying to prove she can still cut it on her own it finds resonance and humour.
I guess an older audience are more likely to relate to that resonance and humour, but younger viewers with elderly relatives will find something here too.
Those of us who remember Shaft will also enjoy seeing Richard Roundtree again. Action man has become old codger. It's happening to all of us, and some of us couldn't do the action even when we were much younger! Oh well, its life's trajectory and the only things to do are to fight against it with grace and find the humour that you can. And that's exactly what this film does.
Miseuti (2018)
Epitomises the great strengths of kdrama
This is a multi-layered and engrossing drama driven by the flawed relationship between the central couple, both of whom are portrayed perfectly by the actors concerned. Their journey towards rediscovering love is peppered with mistrust and suspense. Nothing is straight-forward. Everything is uncertain.
In many way this series epitomises the great strengths of Korean drama: rounded characters, meaningful relationships, superb acting and complex plotting to keep you guessing. It hardly puts a foot wrong.
Yet here I am giving it an 8, which means I do recommend it but am unlikely to re-watch it. Perhaps the series strayed into overly melodramatic territory on occasion, trying just a tad too hard to wring out yet another moment of high drama.
Still - if you appreciate the strengths of korean drama as I do, then you will find much here to enjoy. As always I am struck by the perpetual failure of western drama to scale such heights.
The Jetty (2024)
Surely there are exciting dramas waiting to be made that don't involve the police?
I didn't really want to watch this, but my wife was keen. I feared another police drama with little new to say and an over convoluted plot attempting (but failing) to generate excitement.
Some of my fears were realised. The plot is rather convoluted and not always believable. An attempt is made to find resonance with the threat of male violence against women, which is a worthwhile cause, but seemed somewhat forced here.
Despite all that I did persevere to the end, although I would not have done so on my own. Jenna Coleman is, as always, watchable. The ending manages to be both obvious and unexpected. But it doesn't add up to much more than another police drama amidst the sea of mediocrity. Surely there are exciting dramas waiting to be made that don't involve the police?
Nunmuleui yeowang (2024)
Very Satisfying Love Story
This series gives us a very satisfying story of love conquering against all the odds. With two such wonderful actors in the lead roles and a plot full of evil villains and multiple challenges to be overcome there is every reason to get on side with our heroes and cheer them on.
The entertainment is deepened by the characters of the two leading characters. Neither is straight-forward. She is a controlling, power-hungry and money-grabbing woman evincing little empathy and few emotions. He is an out of love husband desperate to escape both her and her horrible family.
Then crisis hits and everything is turned upside down. Witnessing their journey is a joy. As the best Korean dramas do, this effortlessly combines romance, thriller and comedy into pure entertainment.
My only reservation is that the medical condition that drives much of the plot seems to appear when the plot needs it and then disappear until needed again. This series would otherwise merited a 10 instead of a 9. If the joy lingers I might return and upgrade the score.
Ssanggabpocha (2020)
Entertaining
This is an entertaining watch. The plot revolves around various Korean myths and legends and as such is sometimes rather non-sensical. But that's the nature of myths and legends. Into this world are placed 4 human and non-human characters and it is their relationships and interactions that power the story.
I did work out the secrets that lay below the surface well before the series declared those to us, but that actually increased my enjoyment as I watched the characters working towards the denouement.
Key to that enjoyment was the likeability of those 4 key characters. If you like them enough you will forgive the series when it slips into overly convenient plot devices.
Under the Banner of Heaven (2022)
Admirable
This series tells a dreadful story of human weakness and savagery, enabled by unquestioning belief in a self-serving religious doctrine. Some characters do shine through as rising above these frailties - the youngest Lafferty brother in particular, who eventually finds his way out of the tunnel his upbringing left him in. Inspector Taba perhaps leaves the strongest presence, maybe because his outlook is untarnished by religious certainty.
At this level this is a very thought-provoking and moderately exciting drama. Doubt is a much under-valued and often derided trait. But certainty as to your own possession of the truth and so the ability to enforce it on others is the result of a lack of doubt. Much such enforcement occurs here, particularly through male dominance of women.
I do not know whether this is an accurate reflection of the religions depicted, although the events purport to be true and the behaviours are all around us. I therefore choose to admire this series as a general warning, rather than as a specific portrayal.
Dakteoseulleompeu (2024)
Almost gave up on it
I am a fan of Park Shin-hye and have liked everything I have seen her in. Plus a story of two doctors struggling with mental health problems sounded interesting, with much potential for emotional engagement. So I started this series with high expectations.
Initial episodes didn't quite hit the mark, but the potential to do so always lurked, so I persevered. And as the mental health issues came to a head there was some improvement. But this happened so early in the series that I feared a loss of plot and impetus over remaining episodes.
And this is exactly what happened. I guess that if you were totally bought in to the romantic couple you might be enthralled by their minor travails over remaining episodes. To give an example, one whole episode is focused on the hero not knowing how to propose, entailing a lot of silliness as he trips over himself. Despite being so well disposed to Park Shin-hye I just could not remain engaged with their story.
I almost gave up on it before the end.
Wicked Little Letters (2023)
Worth going to see Olivia Colman enjoying herself so much!
Olivia Colman is always worth watching and she does not disappoint here. She appears to be having great fun in a part offering such contrasting behaviours. Jessie Buckley and Timothy Spall are also great.
In some ways this is a typically British film: tremendous acting squeezed into a little film about a forgotten incident a century ago. It's lovingly done but you do sometimes ask yourself whether there wasn't a bigger story that would showcase these talents more effectively.
It took me a while to tune in to the comedy, perhaps because of the incessant swearing. I hate gratuitous swearing, but it seemed less offensive than it might have been, perhaps because it is central to the story line and so not actually gratuitous, but also because it is delivered with a kind of innocence.
Worth going to see Olivia Colman enjoying herself so much!