Naje87 Reviews

Race to Freedom: Um Bok Dong (2019)

Riding Through History: Rain's Unyielding Spirit in 'Race to Freedom: Um Bok Dong

[10/10 · 6 April 2024]

"Race to Freedom: Um Bok Dong" is an exhilarating and deeply moving film that earns a perfect 10/10 rating for its masterful blend of historical drama and inspiring storytelling. At the heart of this cinematic triumph is Rain, whose portrayal of the titular character is nothing short of remarkable. Rain, with his unparalleled ability to embody intensity and innocence simultaneously, truly gives his all in this role, captivating the audience with every scene he graces.

Set against the backdrop of the early 20th century, a period marked by the expansive might of the Japanese Empire, the film does an exceptional job of immersing viewers in a pivotal time in history. It tells the story of Um Bok Dong, a legendary Korean cyclist whose resilience and victories became a beacon of hope for a nation struggling under the yoke of colonial rule. Rain's performance is so compelling that it transcends mere acting; he becomes the embodiment of Um Bok Dong's spirit, bringing to life the cyclist's determination and struggle with a palpable energy that is both inspiring and heart-wrenching.

The film's production values, from its meticulous period detail to its sweeping cinematography, complement Rain's performance beautifully, creating a visually stunning tapestry that transports the audience to a different era. The emotional depth of the story, combined with the historical significance of the setting, makes for a powerful cinematic experience.

For fans of Rain, "Race to Freedom: Um Bok Dong" is an absolute must-see. His dedication to the role is evident in every frame, ensuring that viewers who appreciate his talents will find much to admire here. Likewise, those with an interest in the era or in stories of human perseverance against the odds will find the film to be a compelling and enriching experience.

Paterson (2016)

"Paterson": A Surreal Journey or a Flawed Reality?

[3/10 · 9 January 2024]

"Paterson" sits intriguingly at the crossroads of surrealism and realism. If interpreted as a narrative born from the protagonist's fantasies or delusions, it stands out as an ingeniously layered film. However, its credibility falters if viewed as a straightforward depiction of reality.

The character of Paterson's wife exemplifies this dichotomy. She is the quintessential ideal, almost as if conjured from a man's fantasy of a perfect partner. Her unyielding perfection, coupled with her submissive and angelic nature, pushes the boundaries of believability. In a real-world context, such faultless characters are implausible.

Several elements in the film bolster the interpretation of Paterson's experiences as figments of his imagination. The repeated interactions with his wife, who never engages with anyone else, the peculiarly pleasant encounters, and the lack of concrete evidence of her independence all hint at a constructed reality. Even the dog, Marvin, seems to react in a way that suggests a deeper, perhaps sorrowful, backstory.

A particularly telling scene involves Paterson's encounter with a group of gangsters in a car. They pass by, casually warning him about his dog, and then disappear. This scene, too, feels surreal - a fleeting and almost polite warning that seems out of place. It raises the question: is this a reflection of a past negligence with his dog, perhaps a memory where he was less careful, resulting in loss or harm to the pet? This could be a subtle indication of Paterson's guilt and regret manifesting in his imagined world.

The film's climax, where Paterson meets a Japanese poet just as he loses his own poems, further strengthens the theory of a dreamlike narrative. The timing is too perfect, too scripted to fit into the messy, unpredictable nature of real life.

In essence, "Paterson" shines as a study of a man's retreat into his internal world, where his desires, insecurities, and reflections are played out in a meticulously orchestrated illusion. As a linear, realistic story, however, it lacks the complexity and imperfection that characterize genuine human experiences.

To conclude, "Paterson" is a film that captivates and provokes thought, especially if viewed as an exploration of the protagonist's imaginative or delusional psyche. Its believability as a literal narrative is questionable, leaving the audience to decide which perspective resonates more deeply with them.

The Witcher: Out of the Fire, Into the Frying Pan (2023) Season 3, Episode 7

A girl walks around in the desert, or is it Paul?

[1/10 · 4 August 2023]

The penultimate episode of The Witcher's third season, "Out of the Fire, Into the Frying Pan," disappointingly veered into tedious territory. For a significant portion of the 50-minute runtime, we merely watched Ciri wander a desert, interacting with a myriad of bizarre creatures. The episode's narrative felt eerily reminiscent of a lackluster rendition of "Dune," with Ciri's journey into self-discovery and her unique genetic inheritance echoing the "Chosen One" trope. The parallel was made even more apparent when she encountered figures from her ancestral lineage, mirroring Dune's own 'abominations.' An unexpected appearance of a sandworm solidified the resemblance. While the series has been captivating overall, this episode felt more like a lost opportunity, leaving viewers distracted rather than engaged.

The Catch (1961)

A Missed Opportunity

[5/10 · 6 July 2023]

"Shiiku (The Catch)" from 1961 presents an opportunity that, regrettably, goes unexplored in its execution. The film introduces an intriguing premise - a rural Japanese village capturing an enemy pilot, a personification of the monstrous devastation wrought upon their cities and people. For the villagers, the pilot represents the face of destruction, a living embodiment of the bombings that incinerated hundreds of thousands of their fellow citizens.

The film has an exceptional premise: what happens when such a 'monster' is captured by a village, and the villagers are compelled to coexist with him? Could he comprehend the gravity of the pain and suffering he inflicted from the aloofness of his aircraft? Could the villagers understand that this man, who is among those who caused them and their loved ones suffering, is also just a human being, complete with dreams and emotions?

Regrettably, "Shiiku (The Catch)" sidesteps this intriguing moral exploration in favor of focusing on the internal conflicts among the villagers. The complex juxtaposition of viewing the pilot as both a monstrosity and a fellow human, ripe with potential for deep reflection on the nature of humanity, war, and forgiveness, is largely unmined. It's a missed opportunity, indeed, leaving audiences longing for a more profound exploration of the tension and contradictions inherent in such an extraordinary situation.

65 (2023)

For lovers of ancient astronauts theme

[7/10 · 7 April 2023]

If you are interested in the theory about ancient astronauts, I would recommend you check this movie out. While it doesn't specifically show human life on Earth seeded by ancient astronauts, the story IS about a ship full of astronauts in ancient times (65 billion years ago).

Since there are no other human beings on Earth besides the main characters of the story, the movie hints two things:

1. Humankind did not originate on Earth through evolution.

2. Humankind originates from another planet.

From these two hints you can draw the conclusion that people from the planet in the movie where humans come from (I forgot the name) will return to Earth one day and found the first civilization on the planet.

There are much to continue to build on in this universe and the movie leaves many thoughts and questions.

The thing that makes this movie stand out from standard ancient astronaut stories is that it is not about some godly, all-wise and all-powerful alien species; it's only about humans, arriving on Earth from outer space. Humans are the aliens here.

Attila (2001)

Whitewashed Huns in a B movie that looks like a school project

[5/10 · 22 July 2022]

First I got to say: the casting - really? The Huns came from the Asian steppes and most certainly did not look like Gerard Butler. Why couldn't they cast someone credible as Attila? This whitewashing is ridiculous.

This is a real B movie that looks very cheap and bleak and frankly looks like a school project where some dudes went out in the forest with a camera, put on some wigs and customes and started chasing each other around with swords.

The movie is historically incorrect in so many ways. The Huns fought with bows on the horseback with special tactics devised just to harness the bow and horse fully. They did not ride mindlessly toward their enemies with sword in hand. This movie does not make the Huns' fighting prowess justice.

Why do I still give this movie 5/10 when I only have negative things to say about it? Because it was fairly entertaining and Butler did a good job portaying Attila as the intelligent and.courteous king that he was - even though, as I said earlier, the casting is horrible. Butler still did the best he could and I think he did Attila jusice. I also liked the choreography throughout the movie.