#Japanese Film Trailer

[genkinahito]

Japanese and Korean Films at the Glasgow Film Festival 2024

The Glasgow Film Festival (February 28th – March 10th) will launch next month.  The festival is rich with a wealth of titles from different corners of the world and there is a chance to see Happy Together – which must-watch title. In terms of Korean and Japanese films… Here is what is on offer: Continue reading Japanese and Korean Films at the Glasgow Film Festival 2024

[questintheskies]

"Oshi no Ko" live action adaptation reveals a new trailer.

The drama will be available worldwide through Prime on November 28th. A movie is also in the works for December 20th.

[moophinz]

A lot of people have shared this information, but there’s still a lot of people who haven’t seen it so I wanted to try to spread it out more. From this article on Amazon’s site

Some have noticed that Kiryu’s dragon is very different than the one in the game. The promotional image features a very edited version of it, but the gold screen to the right shows that it’s practically entirely black. While I haven’t seen anything to explain the differences they made, I can only guess at least part of it must be due to how much it’s being pressed this is something of an “alternate” or kind of redone version of the games. As also displayed by the Japanese title.

The timeline for this series covers 1995 to 2005 which is pretty much the first game. However, there’s been a focus on Kiryu’s childhood friends and telling stories the games didn’t get to. Multiple articles have also stated this is going to be an “original story.”

As of now, it’s almost feeling as though this won’t be a retelling of the first game. Usually, RGG adaptations don’t seek to do that so it’s not too surprising.

In case someone also doesn’t know, yes, it’s going to be a Japanese acted series in the same language and shot in Japan. (I saw some confusion and fears on that)

[theaskew]

[firstshowing]

"Perfectly uplifting. A life-changing experience." Our quote praising Wim Wenders' film Perfect Days - watch the official trailer here: https://onfs.net/477k4Xt

[moviesandmania]

GODZILLA MINUS ONE (2023) First full trailer

Godzilla Minus One is a 2023 upcoming Japanese kaiju film in which the reptilian radioactive monster appears in post-World War II Japan. Written and directed by Takashi Yamazaki. Co-produced by Robot Communications and Toho Studios it is the 37th film in the Godzilla franchise, the 33rd Godzilla film produced by Toho, the fifth film in the franchise’s Reiwa era and the second live-action film…

[djstormpresents]

Terminator: Zero.

You’d have figured the way that Japanese media favors featuring future tech in their media, that they would have jumped on this sooner. But after the underground success of the Animatrix, more fans would figure that anime would have been a unique style to tell some of the stories left in the wind by there T-800 saga. Well now everyone can stop “figuring” and just watch this amazing looking…

[webhub69update]

⚡'Unlocked' (2023) - Upcoming

⚡'Unlocked' (2023) - Upcoming Netflix Korean Mysterious Thriller Film ▶️ Trailer: On The Way! 👉 The Film Coming To Netflix On February 17, 2023 !! 📜 Synopsis: A woman’s life is turned upside-down when a dangerous man gets a hold of her lost cell phone and uses it to track her every move. 💫 Starring: Yim Si-wan, Chun Woo-hee, Kim Hie-won, Park Ho-san, Jeon Jin-oh, Kim Ye-won • It's a riveting adaptation of a bestselling mystery novel and Japanese film Stolen Identity [2018]

Follow Us:- https://linktr.ee/webhubupdate

[yurimother]

'Puella Magi Madoka Magica -Walpurgisnacht: Rising-' Announces Winter 2024 Debut

On Sunday, at Aniplex Online Fest 2023, Aniplex revealed a new teaser trailer for Puella Magi Madoka Magica The Movie: -Walpurgisnacht Rising- (Mahou Shoujo Madoka★Magica: Walpurgis no Kaiten).

The trailer revealed that the anime film, which continues the Puella Magi Madoka Magica main timeline after the events of the 2013 film Rebellion, will debut theatrically in Japan in Winter 2024.

Aniplex also revealed a new key visual for the film and announced that director Yukihiro Miyamoto, who directed the original 2011 television anime series, its two film adaptation, Rebellion, and spin-off Magia Record is returning for Walpurgisnacht: Rising at SHAFT.

He is joined by the previously revealed staff, including the original creators Magica Quartet, chief director Akiyuki Simbou, writer Gen Urobuchi (Nitroplus), and character designer Aokiume. Additional returning staff includes character animation designer Junichiro Taniguchi, who served as Chief Animation Director on previous projects, parallel world designer Gekidan InuCurry (Doroinu), who created the iconic, unique looks of the Witches Labyrinths, and composer Yuki Kajiura.

All of the original Japanese main voice cast from the series and Rebellion are set to reprise their roles:

Aoi Yuki as Madoka Kaname

Chiwa Saito as Homura Akemi

Kaori Mizuhashi as Mami Tomoe

Eri Kitamura as Sayaka Miki

Ai Nonaka as Kyouko Sakura

Kana Asumi as Nagisa Momoe

Emiri Kato as Kyubey

The anime was originally announced back in 2021, but in 2019 at Anime Expo, Homura's voice actress, Chiwa Saito, foreshadowed the sequel, saying that "the actual series has not ended yet" and that she was looking forward to everyone seeing Devil Homura, a reference to the ending of Rebellion, again.

Puella Magi Madoka Magica aired in 2011 to critical and audience acclaim. It became a cultural phenomenon and spawned two movie adaptations, Beginnings and Eternal, the sequel film Rebellion, and multiple manga and video game spin-offs. It is credited with popularizing mixing dark, postmodern tropes with the magical girl genre.

Source: Aniplex Online Fest 2023, Press Release

[cleolinda]

The Scariest Movie I Ever Saw in a Theater: The Ring

I'll tell you up front that the story I'm going to tell you is about "The Ring (2002)," in the sense that it is about The Ring in the year 2002.

See, I don't know what The Scariest Movie Ever is. A quick google says that the consensus is The Exorcist (I haven't seen it, because I never felt like scheduling a day to freak myself the entire fuck out). But horror is specific, and not just to a person, but to a time and place, even. When I saw The Shining as a teenager in a well-lit living room with other people, I didn't even really flinch, but I bet it would play very differently to me now. I don’t think The Ring is at the top of anyone’s list, but twenty years ago, I had a personal interest in it—at the time, I was running a dinky little Geocities site devoted to movie news. Links curated and compiled from all the other, bigger sites I followed—basically, it was the linkspam format I have used on multiple platforms, including here on Sundays. And so, as someone who followed theatrical releases pretty closely for two or three years, I saw the trailer for The Ring, and I immediately knew it was going to be huge.

To locate you in time, this was just after three self-satirizing Scream movies and the Overcomplicated Serial Killer films of the '90s. The Ring was something completely different: chill aqua-blue color grading a good 5-6 years before Twilight; a mournful Hans Zimmer score; no jokes, no quips; and a slow, inexorable sense of doom. Grief, even, given that the movie begins with the death of the main character's niece. What immediately struck me about the first trailer was 1) the melancholy of it, and 2) how much it doesn't explain. Onscreen, you get the title cards,

THERE IS A VIDEOTAPE IF YOU WATCH IT SEVEN DAYS LATER YOU DIE

Concise! Understandable! A woman (Naomi Watts) is freaking out upon discovering that her young son has just watched it! Admirable job setting up the premise and the stakes of this entire movie in thirty seconds flat, without even any dialogue. That's all you need to know, and thus, the remaining minute of the trailer can do whatever it wants, and what it wants to do is be fucking weird. Echoing voices, TV static, a closeup of a horse's eye, ladders, a girl with dark hair, people reacting to things we don't see, drippy doorknobs, rain. Characters don't give us the whole plot in convenient soundbites of dialogue (like they do in a later trailer); we just hear lines, overlapping, murmured out of context—

did you see it in your head? she talks to you... leading you somewhere... showing you the horses... you saw it. did you see it in your head? she shows me things. Everyone suffers.

That you saw it has lived in my head ever since, and not once have I charged it rent. But the "best" part is Naomi Watts screaming at the end, because you don't hear her voice; you only hear this heartless telephonic beeeeeeep. It's 2002 and I'm watching this trailer, thinking, I have no idea what the fuck I just saw. This is going to be huge.

And it was, to the tune of $249 million on a $48M budget.

At risk of recapping what you might already know, Ringu, aka Ring, is a media franchise that spiraled out from a trio of Koji Suzuki novels into Hideo Nakata's film Ringu (1998), a landmark of Japanese horror, plus several other movies, some TV series, many comics, and even a couple of video games. The overarching story is about a murdered girl/vengeful ghost named Sadako Yamamura whose rage and pain have created a cursed video tape, you watch it and you die unless you pass the tape around like a virus, seven daaaaays, etc.

The "ring" in question is the rim of a well. Keep that well in mind.

The movie I saw is the U.S. remake, which itself had two sequels. (The iconic Sadako is now named Samara Morgan. Keep her in mind, too.) Director Gore Verbinski moved from The Ring to Pirates of the the Caribbean (!), and so Hideo Nakata himself would direct The Ring Two. I... honestly have only seen the first one. And I was right, it was huge, and it kicked off the American J-Horror Remake genre, for better or worse. But what gets forgotten about The Ring is its marketing campaign, which I followed pretty closely for my doofy little news site.

It was inspired.

The story of The Ring is partly the story of the sea change in the media landscape—how we watch movies. And the story of its marketing is a picture of the very last years before social media changed the wilderness of the internet into something that feels so big, like a billion people could see anything we say, and yet so small—only a tame handful of places to say it, owned by three or four companies, and corraled by algorithms.

Back around 1997-1998 or so, I worked at a video store (Movie Gallery, where the hits were there then, guaranteed) for about a year and a half. By the time I left, we had started adding DVDs to the VHS tapes on the shelves, but we hadn't replaced the entire stock. Video stores might have transitioned fully to DVD by 2002, I'm not sure, but people still commonly had both VCRs and DVD players in their homes. And I remember that The Ring was sold in both formats when it eventually hit home video. Which is to say—you know the analog horror genre today? Marble Hornets, Local 58, The Mandela Catalogue?

Analog horror is commonly characterized by low-fidelity graphics, cryptic messages, and visual styles reminiscent of late 20th-century television and analog recordings. This is done to match the setting, as analog horror works are typically set between the 1960s and 1990s. The name "analog horror" comes from the genre's aesthetic incorporation of elements related to analog electronics, such as analog television and VHS, the latter being an analog method of recording video.

Okay, but this is just what home media was like, and 2002 was at the very tail end of that—boxy black VHS tapes that degraded with time and reuse were just how we lived. At the same time, I'd been using CDs for music since about 1991, and all our software installs came on CD-ROM discs; a "mixtape" by that time had shifted to mean a rewriteable CD rather than a cassette tape. In college, I—well, I'll plead the Fifth as to whether I downloaded mp3s via Napster, but I was also taping Mystery Science Theater 3000 on VHS over the weekends. It was Every Format Everywhere, All At Once, and we kept half a dozen kinds of players around for them. Here in 2023, we stream and download everything invisibly, unless we choose to engage in format nostalgia. (I've already run into the problem of Apple Music deleting songs I really liked, due to this or that licensing issue, because I was really only renting them.) The year The Ring hit theaters was the edge of a last shimmering gasp of physical media where iTunes had only come into being the year before, and iridescent discs were still mostly what we used, but cassettes, both video and audio, were still viable. And so, people did not think it was terribly weird when they started finding unlabeled VHS tapes on their windshields.

Movieweb, quoting TikTok user astro_nina:

"Their marketing strategy was essentially 'let's get this tape viewed by as many people as possible without these people being aware of what this is, sort of raising intrigue," she says. One way they achieved this was by airing the tape, which allegedly marks its viewers for death within seven days, as a commercial with no context. The video would air between late-night programming "with no words, no mention of a movie, for like a month...so people would run into it and it would just go on to the next thing, and people would be like, 'what the f--k is this?'"

I remember seeing the Cursed Video as an unexplained ad at least twice, by the way. That TikTok also indicates that DreamWorks straight-up sent copies of the tape to Hot Topic stores, as well as planting them under actual movie theater seats. While running my movie site, I heard at least one story of someone finding a tape on the sink counter of a restroom at a club. Did the marketing department actually plant tapes in bathrooms—or did a freaked-out recipient leave it there, hoping to dodge the "curse"?

(I haven't embedded the Cursed Video here, by the way—but I could have. If you'd like to see the American take on it, you can watch both the full version and the shorter variant that appeared in the movie itself. A text description of what the fuck you're even looking at is here [content note for both: blood, insects, animal death, body horror, and suicide by falling]. The original version from the Japanese film is shorter, and it's eerie rather than gruesome.)

BUT WAIT, THERE WAS MORE: DreamWorks had something of an alternate-reality campaign going with a handful of in-character websites. This was only a year after Warner Bros. ran the groundbreaking "The Beast" ARG for A.I.: Artificial Intelligence: "Ultimately, fifty websites with a total of about one thousand pages were created for the [A.I.] game." (I lurked in the Cloudmakers Yahoo group.) Marketing for The Ring did not go anywhere that in depth, nor did it need to; it was both a smaller film and a smaller story. I saw at least two “personal” websites (seemingly amateur and a little tacky, like my own), but the one I particularly remember was about someone who owned/trained horses? I'm not sure if it was meant to be the actual Anna Morgan character—Samara's mother—or maybe someone who had noticed that the Morgans' horses were disturbed? I'm not even sure anyone even remembers this but me. Reddit users dug up a few other archived websites, but they're about Sadako, the curse and/or videotape; they aren't as subtle or character-oriented as the site I remember. (Honestly, I wonder if weird shit like "What Scares Me" or "SEVEN DAYS TO LIVE" were made by fans rather than a marketing department, but who knows.)

[The “About” page from Seven Days to Live on the Internet Archive.]

[The entirety of An Open Letter on the Internet Archive. “UPDATE” is a now-blank pop-up. I would bet $5 that it was originally a pop-up of the cursed video.]

I need to point out here that Facebook did not exist in 2002. It would not exist for another two years, and Twitter wouldn't exist until 2006. Even MySpace was not a thing until the next year. I didn't start my Livejournal until October of 2003. What we had, for the most part, were independent forums and blogs. We also had Creepy Internet Fiction like "The Dionaea House" and "Ted the Caver"; their use of the blog format, of people out there seemingly living their lives until something fucked up went down, gave the stories the shape of reality. And it helped that these blogs had comment sections, sure—sometimes more story unfolded there—but for the most part, an author could "abandon" a blog, and you'd just find the story there via word of mouth. Like the Ring blogs I remember, it wouldn't seem strange if no one replied to you, whereas today, you'd have to hire a writer to sit on Twitter, or Reddit, or even Tumblr, and interact with people in character. Could you do something like The Ring's mysterious, weird-ass blogs today? Would anyone even notice?

So: It's 2002, my head is full of Alternate Reality and eerie images and you saw it, and I'm hype as hell to go out and see The Ring. I'm perfectly happy to go see movies by myself, so I went in the early afternoon (best time to get a good seat). The movie ended up being a sleeper hit, and the first weekend, the public was still sleeping on it, so there were only 7-8 other people in that theater, grouped in maybe two clusters. I was off in my own little pool of darkness in the upper right quadrant. Functionally, once the lights went down, I was alone.

Despite some middling reviews at the time, The Ring is something of a horror classic nowadays. If you want a scary movie this Spooky Season, check out The Ring. Or don't, because it nearly killed me.

We're at the last, I don't know, third of the movie? And Our Heroine has tracked down the origin of the Cursed Videotape to some creepy mountain motel or whatever. SPOILER, it turns out that it was built over the Cursed Well (everything in this movie is cursed) that Our Villain was thrown into—that's why Sadako/Samara is a vengeful wet murder ghost crawling out of TVs now. While investigating this decrepit hotel room, intrepid journalist Rachel and her, who is it, her ex-husband? her kid's dad, idk, discover the well under the creaky old floorboards. And then, wouldn't you know it,

NAOMI WATTS FALLS INTO THE WELL

NAOMI WATTS FALLS INTO THE FUCKING WELL

THAT'S WHERE SAMARA'S BODY IS

[The rather slapstick moment when Rachel falls into the well. Does not include what actually happens next.]

I go absolutely rigid in my seat. Naomi Watts is splashing around this dark-ass death swamp of a well and I know, with as much certainty as I have ever known anything in my life, that Samara is about to pop up in all her pasty, waterlogged glory. All the sad creepy dread, all the desperation to figure out what the fuck all that shit on the tape was and stop Samara from killing Rachel's son, all the horrible contorted victim faces, all the alternate reality I’ve been soaking in, it has all come to this. I have to leave the theater. I cannot be having with this. I have to be gone from this place. My legs do not work. I cannot feel them. I am frozen. I want nothing more in this life or any other to get up and leave this cavernous pitch-black room, and I cannot. I start praying for death. I want you to understand that I am not trying to be flippant or humorous. This is genuinely what went through my head. I was too scared to even think, "You know, you could just pray to pass out or for motion to return to your limbs or something." No, I sat there in The Ring thinking, Please for the love of all mercy just let me cease being.

You know that scene in Mulholland Drive (also starring Naomi Watts)? Winkie's diner and the EXCRUCIATING tension? It was a little like that, except I wasn't watching it, I was experiencing it, and Samara was my dirt monster out behind the diner.

Except that the jump scare didn't actually happen. I mean, yes, Rachel finds Samara's body down there, but—I don't remember exactly, please don't make me go watch it again to tell you what actually happens. It's played more sympathetically on Rachel's part, as I recall, and she and her ex get Samara's body out so that she (Samara) can have a proper burial.

And then it turns out that this is not the end of the movie. It turns out that Rachel has Fucked Up.

I think I was relatively okay through the rest of it, although the climax is Samara emerging from a TV in her full glitching swampy glory to scare [SPOILER] to death. I don't recall praying for death twice. There's a point when you're so exhausted from fear chemicals that you're like, yeah, this might as well happen. Bring it, Soggy. I did have a hard time prying myself out of that seat afterwards, though, and my mom says that when I got home, I had the classic thousand-yard stare. How was the movie?

"It was great," I said, and I meant it.

I've seen things that were objectively scarier (I watched much of The Haunting of Hill House from behind a pillow, to be honest), and it's not like I've never experienced fear in real life. But I respect when a movie that can make me feel so intensely, and there's something weirdly precious about the way horror is a safe roller coaster, as it's often been said. So I love telling the story about The Time The Ring Nearly Killed Me—a movie that actually made my body stop working—and I love thinking of how embedded in a specific time and place that movie was for me. The last gasp of VHS when the Cursed Videotape still seemed plausible; the way the internet was still wild and weird and free; where I was in my life, keeping up so avidly with all the movie news, and finding myself in such a little pool of darkness early one afternoon. It's the scariest movie I saw in a theater; that's the alchemy of circumstance.

[kellyvela]

¿¿¿ARE YOU READY JONSAS???

So, according to some reports, Kit and Sophie movie The Dreadful is a remake of the classic Japanese horror movie ONIBABA

Here some synopsis:

IMDB: Two women kill samurai and sell their belongings for a living. While one of them is having an affair with their neighbor, the other woman meets a mysterious samurai wearing a bizarre mask. Filmaffinity: After enlisting as a volunteer in a war in 14th century Japan, his wife and mother remain living in a swamp. They eke out their living by ambushing worn-out warriors, killing them and selling their belongings to a greedy merchant. The woman comes to mistrust her daughter-in-law who has coupled up with a deserter, and begins to wear a facial mask she has taken from a slain samurai. Soon the mask will not come off again. In this disguise she is at first taken for a demon by her daughter. Wikipedia: The film is set during a civil war in medieval Japan. Nobuko Otowa and Jitsuko Yoshimura play two women who kill infighting soldiers to steal their armor and possessions for survival, while Kei Satō plays the man who ultimately comes between them.

If you read the full PLOT on Wikipedia, you will find that the movie is full of sex scenes.

ONIBABA was translated to Spanish as: "ONIBABA: The Myth of Sex"

Here some scenes from the trailer:

🙈

***JONSA WON SO HARD***

[ih34rt-lanceystrxlly]

Chewing Cotton Wool

table of contents/pairing: daniel ricciardo x reader

summary: Once she's gone, she's all he can see

warnings: angst with a cliffhanger

message from A☆: First post !! so this has a little bit of the song lyrics of the song it's inspired by (Chewing Cotton Wool by The Japanese House) mixed in. How I formatted it is that you'll read part of the song lyrics and then you'll see the corresponding part of the fic (btw, i didn't use all of the lyrics, only the ones i felt worked well with the storyline). And the ending might lead to a part two, but we'll see !! I really love this fic, so I hope you enjoy...

She's the only one around And she's turning off the lights And she's inside every crack She's the only thing in sight

It's been months since they last saw each other, months since Daniel left Y/N. He didn't want to, neither of them did, but it was what was best for them. The relationship was never toxic, just strange and distant. He was away all the time, so focused on racing he'd often ignore her without realizing it, even when she came to the paddock with him. As much as Daniel adored her, he knew she deserved better. Sure, it hurt alot when he told her, but for some reason it hurt more now. Everything reminded him of her now. She's the only thing on his mind, the only thing he could see.

She's the only one I see [...] She's the dust upon the sill She's everywhere

Daniel saw Y/N everywhere, in the little things. He saw her in the empty space beside him in bed every morning, in the sound of a stranger's laugh, when he'd pass the places they'd go to together, when he'd smell someone wearing her same perfume. It was almost like his subconscious craved her; her physical being, her scent, her voice, everything about her. He missed the way her fingers laced through his hair, the feeling of her breath on his neck whenever she'd whisper something funny to him, he needed it all like the oxygen he breaths.

She's the trailer for a film She's the curtain at the end

Even movies would remind him of Y/N. Every movie they'd seen together, the ones she'd loved since was a kid, the ones she wouldn't shut up about even months after watching them; each and everyone reminded Daniel of her. When the trailer for one of those films would pop up, he'd curse his brain for reminding him of her. Sometimes, when he was missing her enough, he'd cave and watch one of the movies. It didn't matter if it was a comedy or a drama, some stupid chick-flick or a rom-com, by the time the credits were rolling he'd have tears sliding down his cheeks. He'd give the world to watch them with her again.

She's the sound of your own voice She's someone else's drink

Like usual, he'd go out with friends after races. You'd think this was a good way to distract himself, but something would always remind Daniel of her. He'd look around at the other people surrounding him, when someone else's drink would catch his eye: it was the same drink Y/N always ordered. It's funny how something so menial would remind him of her and leave him longing for a past time. He'd turn back to continue speaking to whoever he was with, pushing that feeling of pining down to the pit of his stomach.

She's a memory I record [...] She's chewing cotton wool

Daniel's at home, cleaning out a drawer. It held multiple old polaroid pictures and scrapbook albums, all from different points in his life. As he's going through them he finds an album with a navy blue, fabric hard cover. It has both his and y/n's initials embossed on the spine, and as he flipped through it he felt tears pricking his eyes. Photographs, movie tickets, dinner bills, doodles, little notes filled the album. It was like his life was flashing before his eyes, now she was just a memory recorded in those albums. Everything now was like mourning the death of something, maybe something in both of them died when they broke up.

He knew it was over, it had been over. But as he typed her number into his phone, was it actually the start of something else...?

[theaskew]

[bengiyo]

GMMTV 2024 Part 1 Stray Thoughts

I have finished viewing the trailers. I'm feeling relatively cool about most of it, and I had a strong negative reaction to the announcements about two adaptations.

Here is what intrigued me in order:

My Golden Blood - When Joss and Mond rose off the ground, I also ascended. Joss and Gawin wasn't on my radar as a potential option, but I am so here for it.

Wadee Gooday - I'm so here for the adult romance, and Thor is here. A boxer and a doctor have such fascinating potential.

The Trainee - OffGun workplace romance and Love Score is playing. We are so fucking back.

On Sale - TayNew in a ghost romcom? We are so fucking back.

Pluto - Film and Namtam and Namtam is lying? I am here for it.

Kidnap - Ohm is back in BL and they gave him a gun and a little brother who shares his name. This is probably gonna be a mess but it looks fun.

Only Boo - Not sure how I feel about an idol trainee show, but Louis is here.

We Are - Why are there four couples? Engineering? Hopefully, this is going to be like MSP, and let us put this behind us.

High School Frenemy - I will have to watch School 2013 before this airs because it looks like the original was well-received and this trailer just looks like boys fighting the whole time.

My Love Mix-Up - Fourth doesn't seem to do slapstick well in this trailer, and Gem doesn't look serious enough. New Hashimoto doesn't have that glint in her eye. New Aida looks solid. I'm skeptical. More thoughts below.

Ossan's Love - Literally why?

Summer Night - Phuwin and Dunk pratfall kiss bait into het nonsense with a BL side. No thanks.

My Precious the series - I feel like any hype I had for this has evaporated. I'm past it.

Ploy's Yearbook - Apparently step-siblings fall for each other in this? No thanks.

Enigma 2 - No idea what's going on but it has clear vibes.

Alright, I'm just gonna say it: The My Love Mix-Up trailer was not good. I love Fourth and Gemini a lot. I think Fourth is really talented, and I think he and Gemini make a good team. That being said, there is a reason KH continues to get content shared on this website, and right now I don't think Fourth and Gem showed the juice to match Michieda Shunsuke and Meguro Ren.

I don't think Fourth is going to generate meme material as Thai Aoki the way Michieda did if this trailer is indicative of where he's going. I don't think Gemini is hitting the seriousness of Ida well here at all. Ida is a demisexual icon and so important to the genre, and I just don't think Gemini has this in him right now.

For those wondering why I feel so strongly about this, I will remind you that Kieta Hatsukoi is free on Viki.

We are now seeing cross-cultural adaptations of BL work, and I think that it's incredibly important to view the source work before we get into big discussions about what each adaptation does well. I am so concerned about Kieta Hatsukoi being adapted because it's so distinctly Japanese in its stylings and the dramatic tension underpinning it. The Thai trailer feels lacking to me because the angst felt so ungrounded. Fourth can moon over Gemini just fine, but there's a specificity to the mooning that he just isn't hitting here.

I will be talking about My Love Mix-Up Thailand as an adaptation of Kieta Hatsukoi. I will not be entertaining debates or discussions about it as an independent work. The trailer has called directly to the Japanese origins and it will be judged as such. If you haven't or won't watch the original or read the source work, please don't tag me, because "I'm mad as hell, and I'm not going to take this anymore."

[moviesandmania]

VIOLENCE ACTION (2022) Japanese manga adaptation soon on Netflix

VIOLENCE ACTION (2022) Japanese manga adaptation soon on Netflix

Violence Action is a 2022 Japanese crime thriller film in which a teenage college girl leads a double life as an assassin for hire. Also known as The Violence Action Directed by Tôichirô Rutô from a screenplay co-written with Itaru Era based on the eponymous manga by Renji Asai and Shin Sawada. Executive produced by William Ireton. The Fine Entertainment-Sony Pictures Entertainment co-production…