I heard that J.Lo is starring in a new action movie, so I read what it was about and my excitement dropped like the Tower of Terror, or any related sort of drop ride. Here’s IMDb: “While fleeing from dangerous assailants, an assassin comes out of hiding to protect her daughter she left earlier in life.” Sound familiar? … More Violent Women Chronicles #1
Godzilla vs. Biollante is good. Especially for the Heisei era, it’s held in high regard among Godzilla movies. Surprisingly, it derives a lot of its profitable ambition from being a true sequel to Return of Godzilla, imagining what the world would be like after a giant monster attack. We find that international corporate interests are competing for Godzilla cells, whose magic properties have the potential to shift world power. In the fictitious and ridiculous Middle Eastern country “Saradia,” a nationalized oil firm plans to harvest the cells’ immortality to grow vegetation in the desert, divesting the region of its reliance on a valuable but limited resource. Meanwhile, the American company Bio-Major resorts to terrorism to claim the cells, as their science experiment would neutralize the threat posed by nuclear missiles. Somehow, in the midst of this political spy thriller, a giant rose emerges from the sea, and Godzilla burns it with the heat ray. … More A Shimmering Vegetable Death | Godzilla vs. Biollante (1989) Review
From returning favorites like Red Velvet to returning legends like Girls’ Generation and Kara, this episode will take a musical journey through the year’s greatest hits, and mark my own journey as a K-pop fan. … More My Year in K-Pop: 2022
I really had to come around on this. While better than “Predator: Skulls,” which was floating around for a while, “Prey” is way too common a title. Even in one medium – video games – it’s contentious, with a 2006 Prey and a completely unrelated 2017 Prey that had the title foisted upon it. It’s also a movie about lions and a Michael Crichton book about deadly nanoparticles. … More The Worst Titles of the Year 2022
Wow! Where to begin? Maybe with a group I’ve yet to properly explore — KARA. Or Kara, because I just cannot with the all-caps. Sorry, BLACKPINK. This is a 2nd-gen girl group which debuted in 2007, the same year as Girls’ Generation. … More November Round-Up: A Very Good Month in K-Pop
In the genre of anxiously commenting on women demonstrating physical prowess, we see that it’s staged, but have to admit that Yuhuan is incredibly impressive. Turns out, she’s a taekwondo champion, and her Instagram page allowed us better-angled looks at her elegant but brutal craft. … More When Your Favorite Instagram Star Lives in China
There are two hurdles for me and music, and maybe K-pop in particular: repetition, and “cool.” I may need to explain the latter. I don’t know if it was just the environment I grew up in, but I felt like the only thing worse than being uncool was trying to be cool. Even today, nothing is worse than cringe; nobody likes Elon Musk. For me, Blackpink skews too western, and while I respect their artistry – I love Jisoo’s voice – there can be something uncanny about the style. It’s like when anime music has too much broken English. Remember Black Lagoon? … More Selfish, by YooA
Decision to Leave is South Korea’s submission for the American Oscars, and it is, in no way, an Oscar contender. It is not an event film, it is not an issues movie, it’s not based on a book. And yet, Park won Best Director at Cannes, and I can see why. His actors, Tang Wei and Park Hae-il, are electric and lived-in, respectively. His touch with film language is delicate but precise. The way he plays with time and space can only be described as “masterful,” in the sense that he becomes like a god of time and space. We see the flash of an image, and moments later, that image is contextualized, shepherding us through the story with a proper disorientation. In fact, we’re being oriented toward puzzle-solving. You could put a crumpled paper bag in front of Park Chan-wook, and he’d shoot it the one way that would make you feel something. If one of his films happens to be emotionally bereft, more fascinated by than curious about human nature, it must have been a choice. … More Give Me My Turtle Back! | Decision to Leave (2022) Review
It was, for me as well, a long-awaited return, as this 1984 film truthfully entitled “Godzilla” didn’t see a home video release in the United States until May 2016. By that time, we’d abandoned the term “home video!” I mean, I waited longer than contemporary audiences had between this film and the previous installment, 1975’s Terror of Mechagodzilla, and as such, had viewed 2016’s Shin Godzilla before this one. I knew that The Return of Godzilla was an attempt to take Godzilla “back to its roots” – that old chestnut – and featured American and Soviet politicians arguing with the Japanese in conference rooms. Sure sounds like the 1980s version of Shin Godzilla, but with a little more cheese and vintage effects. What I got was far closer to the 1954 original, a lumbering near-docudrama – with a little more cheese and vintage effects. … More Shiny New Toys | The Return of Godzilla (1984) Review
I feel like I wait months for any sort of news, or spend years buoyed by rumors and fan hopes (“Bring back Level Up Project!”), so when the big announcements come, I’m caught completely off-guard. In short, 2022 keeps on giving. … More September Round-Up: A Sudden Attack
With Eyes East 