Author: Hidzir Junaini

NME

In 2021, writers Kim Ji-su and Park Chul delivered a monster hit for MBN called Bossam: Steal the Fate. The series, which told the story of a bachelor who alters his fate when he mistakenly kidnaps a widowed Joseon princess, became the highest rated drama in the South Korean network’s history. Tapping that same duo to replicate their success, Missing Crown Prince is a romance and a historical drama that revolves around the accidental abduction of a royal, a blossoming love between the kidnapper and the kidnapped, an attempt to change one’s destiny, and lots of Joseon-era politics.

• READ MORE: 10 incredible K-dramas to check out in May 2024, starring Wi Ha-joon, Song Kang-ho and more
  

EXO’s Suho stars as Lee Gon, the compassionate titular character who struggles to fulfil his duties as the King’s (Jeon Jin-oh) eldest son. Instead, he prefers to sneak out of the palace with his half-brother Do Sung (Kim Min-kyu) to hang out with the common man, and occasionally take down petty criminals with his martial arts skills. His nocturnal misadventures concern the imperial court, as they assume that Gon is a playboy who disappears to consort with courtesans at disreputable establishments.

Certain ministers call for Gon to be replaced by Sung as the heir. In order to settle tensions, Gon’s parents seek to marry him to Choi Myung-yoon (Hong Ye-ji), the daughter of trustworthy royal physician Sang-rok (Kim Joo-hun). Much like the crown prince, Myung-yoon is a free-spirited young lady uncomfortable with her noble station. Instead, she prefers to sneak out of her castle to work as a doctor at her father’s clinic, and occasionally take down thugs with her martial arts skills.

When she receives news that she has been chosen to be her country’s future queen, she’s far from delighted because the position would curtail her independence. More importantly, both Myung-yoon and her father are aware that she’s cursed to be a widow, and that her first husband is doomed to die early. To counter this terrible fate, her father hires mercenaries to kidnap a random man from a tavern and forcibly wed him to Myung-yoon, thereby ensuring Gon’s safety. But unbeknownst to Sang-rok, the person they snatch is Gon himself!

Thankfully, Gon and Myung Yoon are able to break out during the ceremony and run away together. Although they are unwilling to reveal their identities to each other in order to protect their respective families, sparks inevitably fly between our two good-looking leads. As it turns out, it’s probably good that Gon has someone on the outside to shelter him, because he soon discovers that the Queen Dowager Min Soo-ryun (Myung Se-bin) has been engaging in a tawdry affair that could ruin her and conspires to assassinate Gon in order to maintain her secret.

While the promotional materials bill this as a rom-com, these first four episodes have been far more serious than anticipated – hinging upon action and palace intrigue. It’s these elements that keep Missing Crown Prince compelling, as the show’s plotting does well to draw you into various mysteries and machinations that make up its tension-filled web. Sadly, the series isn’t as adept at character development, as Gon and Myung-yoon are presented rather two-dimensionally.

While Suho and Ye-ji are serviceable in their roles, but neither are charismatic enough, nor do they possess enough romantic chemistry to compensate for the archetypical writing. But the series is at its worst when it attempts comedy. Not only are its jokes broad, lazy and juvenile – a significant portion of it is anachronistic – forcing modern mannerisms upon characters that aren’t just unfunny, they break the viewers immersion into the narrative’s Joseon period setting.

Missing Crown Prince is available to stream on Viu and Viki in select regions.

The post ‘Missing Crown Prince’ review: compelling palace intrigue bogged down by juvenile comedy appeared first on NME.

NME

While it may not be as celebrated as Dragon Ball or Dr. Slump, Sand Land is one of legendary manga creator Akira Toriyama’s most tightly constructed and masterful works. Although his shonen failed to garner mainstream attention during its initial run in 2000, the late, great mangaka’s underrated opus appears to be undergoing a surprising renaissance nearly a quarter century later.

• READ MORE: ‘Monster’ review: intricately woven mystery bolstered by Ryuichi Sakamoto’s final film score

With a critically praised film adaptation released just last year, and a highly anticipated video game from Bandai Namco set to drop soon, it seems that Sand Land is finally getting the recognition it so richly deserves. Carrying on the momentum, Disney+ has also launched an original net animation series based on the resurgent IP.

Featuring the same production team and cast behind the Sand Land movie, this anime series is an incredibly fun, funny and faithful retelling of Toriyama’s manga. Set in the titular barren wasteland, Sand Land: The Series follows an old and grizzled sheriff named Rao. Troubled by endless droughts, the nation’s rivers mysteriously drying up, and the upheaval caused by water scarcity, Rao struggles to maintain order in his small town. To make matters worse, Sand Land’s avaricious King is hoarding the country’s last remaining water source and charging his impoverished citizens extravagant amounts to buy bottled water. This shortage also afflicts Sand Land’s demon population, who have resorted to robbing water supplies from the King’s Army in order to survive.

Such hijackings are to be expected, but Rao is shocked to hear stories of a demon handing out water to thirsty children for free. Intrigued, the aged lawman ventures out in search of the demons. Upon finding their community, he strikes an alliance with the bratty prince of demons Beelzebub and his wise companion Thief. Despite their species’ distrust of one another, he convinces the two demons to team up with him to search for the “Legendary Spring” – a freshwater lake fabled to be hidden deep in the desert. Desperate to alleviate the suffering of both their peoples, the unlikely trio embark on a rollicking cross-country adventure in a dune buggy, where they face off against bandits, monsters, and a ruthless human military intent of keeping the government’s water monopoly.

Sand Land’s initial episodes offer an enthralling blend of fantasy, sci-fi, comedy and action that reels you in with a simple premise, exciting adventures, winsome chemistry between our three leads, and dynamic CGI animation from directors Toshihisa Yokoshima and Hiroshi Kōjina. But while the story’s tone remains kid-friendly throughout, Toriyama and scriptwriter Hayashi Mori deftly weave very adult themes into its breezy narrative.

From the traumas of war and genocide (which tie into Rao’s shockingly dark backstory) to corporate greed and environmental degradation – Sand Land isn’t afraid to tackle extremely serious topics under the guise of an all-ages romp. In many ways, Sand Land is most similar to Avatar: The Last Airbender (the cartoon, not the movie or live-action Netflix series), which frequently dealt with deep socio-political issues in clear and easily understandable ways within the framework of children’s entertainment.

While the series will be instantly engaging for newbies, the first six episodes do admittedly recycle bits and bobs from last year’s theatrical adaptation (albeit with the addition of new scenes and the recreation of specific manga sequences that weren’t included), so fans who’ve already seen the film might feel like they’re simply watching an extended cut. Not to worry though, because from episode seven onwards, the series moves beyond the manga and film to tell entirely fresh stories written by Toriyama that takes place after the conclusion of Sand Land’s source material (which wraps up in episode six). From what we’ve seen, this bold continuation expands the world of Sand Land to present new threats for our core trio, while retaining the exuberant spirit and weighty soul that made the original short story so compelling.

With the introduction of a petulant angel who seeks to eliminate Beelzebub, and an aggressive neighbouring country that is amassing weapons of mass destruction – we find our heroes (and the series) journeying into uncharted territory to stop even more formidable villains. Sand Land’s captivating set-up and immense goodwill earned from its fantastic initial arc gives us every confidence that this series will progress as one of the most vibrant and engrossing anime currently airing. It may not have been intended to be Akira Toriyama’s final work, and it may never rival the commercial popularity of Dragon Ball, but in terms of quality, Sand Land is certainly a fitting farewell to one of manga’s all-time greats.

Akira Toriyama’s Sand Land: The Series premieres on Disney+ on March 20

The post ‘Sand Land: The Series’ review: one final masterpiece from ‘Dragon Ball’ creator Akira Toriyama appeared first on NME.

NME

In a competitive television landscape where networks and streamers seem to prize quantity and content over quality and creativity, it may be difficult to find a truly original show out there. But everyone once in a while, a story comes along that’s so insanely novel, that you just can’t help but be astounded. Chicken Nugget is one such series.

• READ MORE: 5 incredible K-dramas to watch in April 2024, featuring EXO’s Suho, Jeon So-nee and more
  

Love it or hate it, we guarantee that you’ve never seen anything like this before. Adapted from Park Ji-dok’s popular webtoon Dakgangjeong, Netflix’s eccentric new sci-fi comedy begins with existential quandary that would confound Friedrich Nietzsche himself: “What is it like to live as a chicken nugget?” That outlandish question forms the foundation of this show’s bizarre premise.

Chicken Nugget follows Choi Seon-man (Ryu Seung-ryong), a middle-aged man who runs a small machinery company, and his colourful intern Go Baek-joong (Ahn Jae-hong). One morning, both are baffled when a mysterious contraption is delivered to their office without an invoice or instructions. Later on, Baek-joong is excited to learn that the boss’ beautiful daughter Min-ha (Kim Yoo-jung), who he is madly in love with, will be coming to the workplace for a lunch date with her dad.

When she arrives, the young woman is intrigued by the enigmatic machine, and decides to step into it. Unfortunately, the gizmo somehow turns Min-ha into a chicken nugget! Shocked and bewildered, Baek-joong must now team-up with his crush’s hysterically distraught father to restore his beloved from a literal snack back to a metaphorical one. And if you think that’s wild, just wait, because the show only gets crazier from here.

As the mismatched duo embark on their desperate quest, Seon-man and Baek-joong become entangled in a ludicrous web that involves a murder mystery, the disappearance of a prominent scientist, a jealous villain’s plot to use the machine to transform himself into his handsome brother, the hidden history of South Korean cuisine and the origins of the machine. Our odd couple heroes must race against time to unravel all this before Min-ha is lost, eaten or experimented upon.

Off the bat, we can already tell that Chicken Nugget will be a polarising show that some will label as stupid, while others hail it as ingenious. Honestly, both sides are correct, and therein lies its goofy charm. It’s also important to caution that writer-director Lee Byeong-heon’s sense of humour can be an acquired taste. But if you like your comedy loud and leftfield (à la I Think You Should Leave with Tim Robinson), there isn’t a show in 2024 that’s funnier than this.

Chicken Nugget is seasoned with sweet and sour gags that will leave your tummy in stitches. Without spoiling the punchlines, highlights include Baek-joong’s songwriting hobby, Seon-man’s annoyance when other characters pause for a flashback sequence, a parody of Christopher Nolan’s Interstellar and many more. While its batting average is high, Chicken Nugget’s jokes do sometimes miss due their overly exaggerated and slapstick execution.

Although this series might seem like an insubstantial meal carried by a preposterous premise and farcical silliness, its ingredients also contain a surprising amount of emotional resonance and sincere insight into human relationships. Visually, Chicken Nugget is quite aesthetically pleasing thanks to its saturated colour palette and whimsical tone that plunges you into the narrative’s wacky world.

Bolstered by a great cast (Squid Game star Jung Ho-yeon’s appearance as Baek-joong’s food critic ex almost steals the show) – this series is elevated by performers who are wholly committed to the show’s screwball antics. With only 10 half-hour episodes, Chicken Nugget is a bite-sized watch that’s as amusing as it is absurd.

Chicken Nugget is available to stream exclusively on Netflix.

The post ‘Chicken Nugget’ review: snack on this absurdist, bite-sized treat appeared first on NME.

NME

Ever since her breakout role in Sion Sono’s 2008 dramedy Love Exposure, which nabbed her a Best Supporting Actress award at the 31st Yokohama Film Festival, Sakura Ando has grown to become one of Japan’s most coveted character actresses. From leading roles in award-winning arthouse films such as 0.55 mm and Shoplifters, to starring in high-profile television series like Penance and Manpuku – her diverse body of work has earned critical acclaim at every turn. But even compared to her prior success, 2023 proved to be a massive year for the lauded thespian.

• READ MORE: ‘My Name is Loh Kiwan’ review: a devastating battle with survival

Not only did she garner universal praise for her outstanding turn as Saori, a distraught single mother dealing with her young son’s emotional breakdown, in Monster – she also appeared in four other notable films, including box office behemoth Godzilla Minus One, which just won an Oscar. That’s not even counting her remarkable performance in Nippon TV’s wonderful fantasy dramedy about reincarnation, Rebooting. We sat down with Ando to learn more about her reunion with auteur Hirokazu Kore-eda, and her thoughts on the success of her recent projects.

What did you think of Monster when you first received the script?

When I read the script, I was reading it from the lens of my character Saori… so for the first part, I was feeling so much anger and frustration towards the teachers. But of course, as I read on, my feelings changed as the story changed perspectives. However, in order to play my role well, I had to let go of the knowledge that Saori didn’t know. I had to hang on to that anger and the frustration because that’s what Saori would be feeling with the information she had.

What was your process for inhibiting the role of Saori?

For me, when I’m surrounded by the sets, the costumes and the environment, I find it easy to immerse myself in the reality of the story. That immersion helps me believe in the character that we’re creating. For example, the costume informs how I walk. I also take onboard all of my collaborators’ ideas and try to infuse them naturally in the scenes. I think I’m particularly sensitive to picking up all of that, and then I just give myself over to it.

How did you and child actor Soya Kurokawa prepare to portray the mother-son relationship?

Well, I have a daughter who is a bit younger than Soya so one would assume I would be able to channel a bit of the emotion from my own life into this dynamic. But the parent-child relationship here was extremely different, so I was careful not to bring too much of my own experiences into this film. I had many conversations with the director in order to properly understand Saori and her son’s particular dynamic.

I was also very sensitive to touch in the film – in terms of how much touch there should be between a mother and son, how often I should touch him, and how he would react to touch. A lot of work went into the nuances of that body language to express the levels of comfort and discomfort between the characters. I worked extensively with Soya and the director on this.

Were there any scenes in Monster that proved to be especially challenging?

The scene in the headteacher’s room when Saori first confronts them! The rehearsals were hilarious because the teachers’ behaviour was so bizarre! We were just crying with laughter… I couldn’t say my lines at points because I was laughing so much. Trying to balance the absurdity of the situation with the pain and rage Saori was feeling was a bit tough.

This was also the first thing we shot on my first day of filming, so I was thrust immediately into a pivotal and meaningful scene. Having to do this on my first day made me very nervous, but also very excited. I had many conversations with Kore-eda about the scene the day before, trying to map the character and what she would do in this situation.

What were the main differences between shooting Shoplifters and Monster?

For Shoplifters, the script changed from day to day depending on the performances. An actor’s choices in the moment could change the direction of the film, so Kore-eda would rewrite on the fly. However, there was very little discussion with the director because the creative choices within the performances themselves were the communication between us.

With Monster, the film was obviously beholden to the unique structure of the screenplay. And this was my second time working with Kore-eda as well, so our relationship has grown. There was a lot more trust. We had much more discussions this time around about how to perform the screenplay… and a lot more takes as well.

As you mentioned, this is the second Hirokazu Kore-eda film you’ve been involved with. What draws you to his projects?

I’m attracted to the environments he’s able to create, both on screen and on set. I always want to be a part of his films because of how natural and human his environments feel.

2023 was a huge year for you. Looking back, what are your thoughts on your success last year?

2023 was the year everything I was working on from 2021 to 2022 got released. It’s not common for so many of my projects to be coming out at once. Typically they come out one at a time, so last year was definitely unusual. Honestly, I was working so much from 2021 to 2022 that I just wanted to take a break from filming. However, I was involved a lot in the promotion of all those projects, which took me all over the world. What I loved the most was seeing how the films and TV shows I worked on cross cultural barriers, and reach all these different people.

You recently appeared in a very different monster movie, Godzilla Minus One. Were you already a fan of Godzilla prior to this?

Godzilla is something we take for granted in Japan (laughs). We all know and love Godzilla so it was an honour to be in a Godzilla movie considering its history. More than Godzilla, I am a fan of the director Takashi Yamazaki, who I’ve admired since I first met him at a film festival. He’s a big part of why I wanted to be in this film.

Godzilla Minus One became the most successful Japanese Godzilla film of all time, and even nabbed the franchise’s first nomination at the Oscars. Why do you think the movie has become such a worldwide hit?

A lot of people have said to me that they didn’t expect this movie to make them cry. While most Godzilla movies are focused on the kaiju fighting, there’s a great balance of human emotion here. I think it’s the surprising emotional resonance of the movie that’s won over so many people.

Finally, you were also in a fantastic show called Rebooting last year…

That was so much fun! Nowadays when I go overseas, a lot of people approach me because of that show. It’s probably the main reason why I said earlier that 2023 was the year I felt most connected to overseas audiences. I’m overjoyed to have been the lead in such an interesting series.

Monster is out in UK and Irish cinemas on March 15th. For more information, go to https://monsteruk.film/

The post Sakura Ando on ‘Monster’ and reuniting with director Hirokazu Kore-eda appeared first on NME.

NME

Hardship and heartbreak are the cornerstones of every drama, but few circumstances are as tragic or difficult to depict as a parent losing a child. That unimaginable pain is exactly what MBC TV and Disney+’s new K-drama, Wonderful World, attempts to explore. This series begins with the ideal life of author and professor Eun Soo-hyun (Kim Nam-joo). With her new book garnering acclaim, a successful career, a supportive husband named Kang Su-ho (Kim Kang-woo) who adores her and the miraculous birth of her beautiful boy Geon-woo (Lee Jun) after four miscarriages – Soo-hyun is rightfully happy to be living the dream.

• READ MORE: 5 incredible K-dramas to watch in April 2024, featuring EXO’s Suho, Jeon So-nee and more
  

But her perfect existence is shattered when her precious son roams out of their luxurious home, only to be killed in a horrific hit-and-run. Wrecked by immense grief and guilt (Soo-hyun blames herself for failing to lock the front gate), the devastated mother becomes a shell of herself. To make matters worse, when the negligent driver, Kwon Ji-woong (Oh Man-seok), is arrested and tried, the seemingly repentant culprit is shown leniency by the court who punishes him with a slap on the wrist.

Later on, Soo-hyun tracks Ji-woong down to demand an apology. This is when the arrogant wrongdoer drops his facade of regret by rudely brushing off Soo-hyun, claiming that he’s too busy to be bothered by such a nuisance. Outraged, she jumps into her car and runs Ji-woong over at full speed. Of course, Soo-hyun is convicted for murder and sentenced to seven years in prison. While incarcerated, she spends most of her time in mourning and withdrawn, resorting to self-harm while refusing to even receive visits from her husband.

Eventually, she pushes Su-ho away permanently by advising him to take a job offer as an overseas correspondent for a news station. Soo-hyun believes that she’s nothing but a burden, until an elder inmate named Jang Hyung-ja (Kang Ae-sim) befriends her, helping to alleviate her depression. However, as the years pass, Hyung-ja is diagnosed with a terminal illness, which prompts her to reveal her crimes to Soo-hyun: she’s an arsonist who accidentally caused the deaths of everyone in a residential compound, except a little boy who managed to escape.

Hyung-ja implores Soo-hyun to find the survivor when she is released to deliver her letters of remorse. It is heavily implied that the kid is Kwon Seon-yul (Cha Eun-woo), now a mysterious young man who encounters Soo-hyun by chance when he volunteers at the prison. Seon-yul also works for corrupt presidential candidate Kim Jun (Park Hyuk-kwon) by digging up dirt on his political rivals. Coincidentally, Su-ho’s independent investigation into his son’s death reveals that the defence attorney and judge at the trial are associates of Kim Jun, who likely used his connections to help his business partner Ji-woong escape justice.

While the cast is uniformly solid, Kim Nam-joo’s portrayal of anguish is extraordinarily affecting – oscillating between rage, sorrow and numbness with raw clarity. Unfortunately, much of Wonderful World’s storytelling doesn’t live up to its acting quality. Though the series must be commended for never shying away from Soo-hyun’s emotional process, the way it chooses to depict her upheaval is corny at best and cringeworthy at worst.

It’s a shame to see a great performance interrupted by slow-motion schmaltz, frequent flashbacks that beat you over the head with the same point repeatedly, and cheesy music cues. This overbearing 1990s presentation style is intended to emphasise Soo-hyun’s bereavement, but it instead takes the viewer out of the moment and drags the narrative pace to a crawl.

Sadly, the plotlines away from Soo-hyun are similarly trite – relying on implausible coincidences, puffy melodrama and cheap twists to tie it all together. Indeed, Wonderful World’s insistence on compounding its tale with a massive conspiracy concocted by caricatured villains does nothing except muddy the show’s core. What should have been a deeply felt exploration of grief and forgiveness is instead yet another soap opera mired in gaudy sensationalism.

Wonderful World is available to stream on Disney+

The post ‘Wonderful World’ review: overwrought and overlong appeared first on NME.

NME

If you manage to make it through two hours of The Impossible Heir without turning it off, you might assume that something this generic has to be written by ChatGPT. While the series isn’t actually written by the controversial chatbot, it is plagued by cardboard characters patchworked from a checklist of K-drama clichés and a woefully predictable plot that’s intent on hitting every tired trope you’ve ever seen.

• READ MORE: TWICE – ‘With YOU-th’ review: a euphoric display of their staying power

The story begins with Han Tae-oh (Lee Jae-wook), an impoverished teen with a tragic backstory and a brilliant intellect. Seeing as his father is imprisoned for the murder of his mother, Tae-oh has a tough time making ends meet, hustling between part-time jobs and high school. When he comes across the entitled, attention-seeking antics of classmate Kang In-ha (Lee Jun-young), they instantly become enemies.

Unlike Tae-oh, In-ha comes from obscene wealth as he’s the third child of billionaire tycoon Kang Jung-mo (Choi Jin-ho). However, In-ha’s life is not as privileged as it seems. As it turns out, In-ha is despised and shunned by most of his family due his status as an illegitimate son, leading to his resentful personality.

After a couple of scuffles, our mismatched leads begin to bond over their respective stations. In-ha agrees to be Tae-oh’s “golden rope” – a means for him to ascend to fortune and power. In return, Tae-oh agrees to use his genius mind to help In-ha take over his father’s company, the Kangoh Group.

This tentative alliance quickly develops into a sturdy friendship as we follow the duo into university. Together, they’ve hatched a long-term plan to install themselves in Jung-mo’s empire, but their bond hits a snag when both boys become enamoured with a girl named Na Hye-won (Hong Su-zu), who lives across the street from Tae-oh and goes to his college.

We later learn that she’s motivated by her rough upbringing as well, as the daughter of an abusive, debt-ridden mother. Hungry and ambitious, she’s keen to use both suitors to attain her goals, even if she does end up developing genuine feelings for In-ha and Tae-oh.

As far as premises go, The Impossible Heir’s may be shopworn, but it isn’t necessarily bad. The fault lies in its insipid and heavy-handed execution, as if it’s told in point form, with no real depth and nuance as it shuffles from scene to scene. Underdog heroes scheming to overthrow a shady corporation have been done to death, as have their cookie-cutter backstories. That’s even before we have to sit through yet another contrived love triangle.

We desperately want to root for the leads, if only they weren’t banal boilerplates of hackneyed character traits. Perhaps, we’d be more inclined to invest in them if the show’s villains were more formidable. Sadly, In-ha’s Logan Roy wannabe dad, cackling evil stepmother Jang Geum-seok (Kim Ho-jung) and two buffoon brothers, In-joo (Han Sang-jin) and Seong-ju (Lee Ji-hoon), are so cartoonishly over-the-top and petty that its difficult to take them seriously.

Admittedly, The Impossible Heir’s first two episodes do only serve as an extended prologue to the main narrative – which time jumps five years into the future when Tae-oh and In-ha are already working in the Kangoh Group (how? what? huh?) – so the K-drama could conceivably get more interesting as Tae-oh and In-ha’s hidden strategy unfolds. But as it stands, the series’ record-breaking ₩20billion price tag appears to be an unwise investment.

The Impossible Heir is available to stream exclusively on Disney+.

The post ‘The Impossible Heir’ review: patchworked from a checklist of K-drama clichés appeared first on NME.

NME

With the recent conclusion of Spy x Family’s second season last December, most of us assumed that it’ll be a long while before we see the Forger family’s antics on screen again. Thankfully, the wait for season three will be a little more bearable because Wit Studio and CloverWorks have blessed us with a feature film spinoff in the meantime. Directed by Takashi Katagiri and featuring a wholly original script from by Ichiro Okouchi (not adapted from Tatsuya Endo’s best-selling manga), Code: White is an entirely standalone story designed to gratify both newbies and devoted fans of the acclaimed series.

• READ MORE: ‘Mr. & Mrs. Smith’ review: just like marriage this TV reboot has its ups and downs

The movie even goes so far as to recap the premise of the show and its main characters in its first ten minutes. For the uninitiated, Loid Forger is the alias of Westalis super spy Twilight, who is working undercover within neighbouring country Ostania. In order to keep up appearances, he enters into a marriage of convenience with a lonely civil servant named Yor and adopts an adorable little orphan called Anya. Unbeknownst to him, Yor is moonlighting as an underworld assassin, while Anya is secretly a telepath (who knows about both her parents’ double lives). Between maintaining a fake family and hiding their identities from each other, the show has been a lively blend of domestic comedy and slick action from the jump.

That successful formula carries over in Spy x Family’s much hyped theatrical debut, which begins with Loid’s handlers becoming frustrated with his lack of progress on Operation Strix – ingratiating himself with an Ostanian official via Anya’s placement in his son’s private school. With the threat of reassignment looming, Loid is desperate to help Anya win Eden Academy’s cooking competition so that he can eventually get to hobnob with said official. So, they hatch a plan to bake the principal’s favourite dessert, which requires them to travel to Frejis in order to get the recipe for the traditional dish. Thus, the Forgers embark on what should be a relaxing family vacation to the picturesque town. However, things get complicated when Anya unwittingly eats a bonbon containing microfilm integral to a nefarious military plot.

Much like the show, this film revolves around a hilariously absurd scenario which leads to zany adventures, wacky misunderstandings and heartwarming moments – punctuated by amazing fight sequences showcasing just how skilled Loid and Yor are when push comes to shove. With regards to the action, it’s encouraging to see Spy x Family spotlight Yor more (especially after her spectacular Cruise Adventure Arc). While there’s lots of cool action on offer, one dazzlingly choreographed set-piece featuring Yor at her badass best might be the greatest pleasure Spy x Family has ever concocted. But as always, rascal Anya is the scene-stealing star, continuing to win the hearts of viewers everywhere with her lovable mix of goofiness and cuteness. A large portion of the movie revolves around Anya resisting the urge to poop – leading to one of the strangest and most delightful hallucinations you’ll ever see on the big screen.

Unfortunately, the same issue that plagues every semi-canonical movie adaptation of a popular anime series also afflicts Code: White – a complete lack of tension or stakes. Since OVAs and cinematic spinoffs such as these are typically not based on the source material, whatever happens in the narrative means nothing, due the fact that the story must revert to the show’s status quo by the end. Therefore, it’s extremely difficult to invest in the twists and turns of Code: White when audiences already know that its dangers, complications and developments will be undone in its climax. Couple that with the movie’s underwhelming villains and its storyline’s inability to carry the length of a feature film (this would’ve worked better condensed as a three episode arc) – and you get a solid, charming, but ultimately inconsequential Spy x Family outing.

‘Spy x Family – Code: White’ is set for release in Asia on February 8. The film has yet to receive a release date in the UK, but will be available on Crunchyroll in the future.

The post ‘Spy x Family – Code: White’ review: The Forgers make their big screen debut appeared first on NME.

NME

Following the success of Chad Stahelski (John Wick), David Leitch (Deadpool 2) and Sam Hargraves (Extraction), the trend of stunt coordinators and stuntmen becoming full-fledged filmmakers has absolutely reinvigorated the action movie landscape over the past decade. After all, who better to craft the visual violence and dynamic kineticism that such storytelling requires than the people who’ve dedicated their lives to the craft? The latest talent to jump from the second unit to the director’s chair is Heo Myeong-haeng, who has previously designed action sequences for South Korean productions such as The Roundup, Narco-Saints and Jung_E. He makes his feature debut for Netflix’s Badland Hunters, a dystopian action blockbuster set in a lawless post-apocalypse.

• READ MORE: The 10 best ITZY songs, according to the girl group themselves

After a devastating earthquake crumbles skyscrapers and society in Seoul (this isn’t a direct Concrete Utopia sequel but rather a quasi-spinoff), the ruined city is now an arid wasteland plagued by droughts, wild animals, marauding bandits and even undead zombies. Human sledgehammer Ma Dong-seok aka Don Lee (Eternals, Train to Busan) stars as Nam-san, a strong and skilled huntsman who’s managed to survive the urban wilderness alongside his trusted ally Ji-wan (Lee Jun-young). As if day-to-day life in this ravaged world wasn’t dangerous enough, things get even tougher when they learn that a teen girl named Su-na (Roh Jeong-eui) has been kidnapped.

Seeing as Nam-san views Su-na as a surrogate daughter of sorts, and that Ji-wan has a crush on her, they both embark on a risky rescue mission. Along the way, they’re joined by Eun-ho (An Ji-hye), a badass special forces sergeant who helps them out. Meanwhile, we learn that poor Su-na has been taken by the deranged Dr. Yang (Lee Hee-joon), a mad scientist intent on using her for his unethical experiments. Promising that his research holds the key to saving humanity, the insane boffin has built up a large cult following. Encamped in a residential compound serving as his makeshift lab and fortress, the work that this madman and his legion of armed acolytes is engaged in harbours some unspeakable horrors.

Predictably, the action in Badland Hunters is top notch. Heo Myeong-haeng is a master at concocting visceral, heart-pounding set-pieces that are brutal and breathtaking. From the gunplay to the hand-to-hand combat, this film’s gleeful savagery is exhilaratingly shot and choreographed. At the heart of it all is the director’s frequent collaborator, Don Lee, who has made a career of playing loveable lunks who protect the innocent and bash the bad guys. We’ll never get tired of watching him make quips and kick ass, which is a good thing because this movie delivers an abundance of that. Props must also go to An Ji-hye who reportedly performed all her own stunts – her physical performance here is something to behold.

Unfortunately, Badland Hunters offers very little beyond its glorious and gratuitous close quarter fights. While the script does try to inject some emotion into the proceedings, the underlying drama behind our protagonists’ relationships are so painfully cliched that it’s difficult not to roll your eyes at certain moments. We’re not saying that movies of this ilk require deep insights into the human condition, but what makes some of the finest action flicks of our modern era – like Mad Max: Fury Road or The Raid Redemption – stand out is that they’re able to balance their propulsive momentum and incredible action with simple character beats and ingenious worldbuilding that either strike a chord or give you something to think about.

Badland Hunters is simply in it for the mayhem, marvellous though it may be, but ultimately mindless. Nevertheless, it is difficult to fault the film for its narrative shallowness. This B-grade flick is exactly what its trailers and promotional materials promised it’d be – a rip-roaring, beat-em-up, shoot-em-up bloody good time – featuring one of the most charismatic action stars of our time doing what he does best.

Badland Hunters is available to stream on Netflix exclusively

The post ‘Badland Hunters’ review: dumb but dynamic dystopian action appeared first on NME.

NME

Following the success of Chad Stahelski (John Wick), David Leitch (Deadpool 2) and Sam Hargraves (Extraction), the trend of stunt coordinators and stuntmen becoming full-fledged filmmakers has absolutely reinvigorated the action movie landscape over the past decade. After all, who better to craft the visual violence and dynamic kineticism that such storytelling requires than the people who’ve dedicated their lives to the craft? The latest talent to jump from the second unit to the director’s chair is Heo Myeong-haeng, who has previously designed action sequences for South Korean productions such as The Roundup, Narco-Saints and Jung_E. He makes his feature debut for Netflix’s Badland Hunters, a dystopian action blockbuster set in a lawless post-apocalypse.

• READ MORE: The 10 best ITZY songs, according to the girl group themselves

After a devastating earthquake crumbles skyscrapers and society in Seoul (this isn’t a direct Concrete Utopia sequel but rather a quasi-spinoff), the ruined city is now an arid wasteland plagued by droughts, wild animals, marauding bandits and even undead zombies. Human sledgehammer Ma Dong-seok aka Don Lee (Eternals, Train to Busan) stars as Nam-san, a strong and skilled huntsman who’s managed to survive the urban wilderness alongside his trusted ally Ji-wan (Lee Jun-young). As if day-to-day life in this ravaged world wasn’t dangerous enough, things get even tougher when they learn that a teen girl named Su-na (Roh Jeong-eui) has been kidnapped.

Seeing as Nam-san views Su-na as a surrogate daughter of sorts, and that Ji-wan has a crush on her, they both embark on a risky rescue mission. Along the way, they’re joined by Eun-ho (An Ji-hye), a badass special forces sergeant who helps them out. Meanwhile, we learn that poor Su-na has been taken by the deranged Dr. Yang (Lee Hee-joon), a mad scientist intent on using her for his unethical experiments. Promising that his research holds the key to saving humanity, the insane boffin has built up a large cult following. Encamped in a residential compound serving as his makeshift lab and fortress, the work that this madman and his legion of armed acolytes is engaged in harbours some unspeakable horrors.

Predictably, the action in Badland Hunters is top notch. Heo Myeong-haeng is a master at concocting visceral, heart-pounding set-pieces that are brutal and breathtaking. From the gunplay to the hand-to-hand combat, this film’s gleeful savagery is exhilaratingly shot and choreographed. At the heart of it all is the director’s frequent collaborator, Don Lee, who has made a career of playing loveable lunks who protect the innocent and bash the bad guys. We’ll never get tired of watching him make quips and kick ass, which is a good thing because this movie delivers an abundance of that. Props must also go to An Ji-hye who reportedly performed all her own stunts – her physical performance here is something to behold.

Unfortunately, Badland Hunters offers very little beyond its glorious and gratuitous close quarter fights. While the script does try to inject some emotion into the proceedings, the underlying drama behind our protagonists’ relationships are so painfully cliched that it’s difficult not to roll your eyes at certain moments. We’re not saying that movies of this ilk require deep insights into the human condition, but what makes some of the finest action flicks of our modern era – like Mad Max: Fury Road or The Raid Redemption – stand out is that they’re able to balance their propulsive momentum and incredible action with simple character beats and ingenious worldbuilding that either strike a chord or give you something to think about.

Badland Hunters is simply in it for the mayhem, marvellous though it may be, but ultimately mindless. Nevertheless, it is difficult to fault the film for its narrative shallowness. This B-grade flick is exactly what its trailers and promotional materials promised it’d be – a rip-roaring, beat-em-up, shoot-em-up bloody good time – featuring one of the most charismatic action stars of our time doing what he does best.

Badland Hunters is available to stream on Netflix exclusively

The post ‘Badland Hunters’ review: dumb but dynamic dystopian action appeared first on NME.

NME

Take a pinch of A Star Is Born, a dollop of Castaway, stir thoroughly with a generous dose of tragic-romantic melodrama, and you’ll get a confection resembling this Netflix K-drama. Castaway Diva begins with a prologue flashing back to 2007, where the teen version of Seo Mok-ha (Lee Re) is obsessed with K-pop star Yoon Ran-joo (Kim Hyo-jin). From entering radio contests to uploading a DIY music video, Mok-ha will stop at nothing to get the attention of her idol. Her desperate attempts draw the ire of pragmatic classmate Jeong Ki-ho (Moon Woo-jin), a hardworking boy who has no time for trivial pursuits because he’s too busy working odd jobs to support himself.

• READ MORE: ‘Daily Dose of Sunshine’ review: an earnest, destigmatising portrayal of mental health
  

While the pair initially clash due to their contrasting dispositions, we learn that they have more in common beyond the surface. Appallingly, Mok-ha and Ki-ho are being physically abused by their respective single fathers. While Mok-ha finds solace in her dreams of following in Ran-joo’s footsteps, Ki-ho is labouring to earn enough to escape their small island town. When Mok-ha offers Ki-ho money to film and edit a video, the latter is struck by the former’s talent and passion. As their connection deepens, he’s forced to rethink his preconceived notions of her as a frivolous fangirl. Once Ki-ho discovers that Mok-ha is also being brutally assaulted behind closed doors, he submits the music video on her behalf, which does impress Ran-joo’s talent agency. Shortly thereafter, Mok-ha is given a shot to audition in Seoul, which both kids see as the perfect opportunity to run away together.

Unfortunately, Mok-ha’s alcoholic father, Seo Jeong-ho (Lee Yoo-joon), tracks them down as they’re about to flee on a ferry. Ki-ho heroically sacrifices his own getaway to physically prevent Jeong-ho from boarding. Sadly, Jeong-ho still manages to get aboard and chase Mok-ha until the distressed girl opts to plunge into the ocean. The next time we see her, we find Mok-ha awaking on an uninhabited island. This is where she’ll remain for the next 15 years, until her adult self (Park Eun-bin) is rescued in 2022 by bickering brothers – Kang Bo-geol (Chae Jong-hyeop) and Kang Woo-hak (Cha Hak-yeon) – who are volunteering to pick up washed-up trash on the island. Since both are employees at broadcast network YGN, the siblings see Mok-ha’s incredible story as a great angle for a news piece.

As Castaway Diva unfolds, much of the early episodes revolve around Mok-ha hilariously reacclimating to society, as she grapples with new technologies and the modern world. Meanwhile, Woo-hak slowly begins falling for the enthusiastic yet confused young woman. When Mok-ha tells him that she wishes to find out what happened to Ki-ho, he believes that he could be her long lost sweetheart, since a head trauma erased his memories prior to high school. He even helps connect Mok-ha with Ran-joo, who is now a forgotten has-been. When she finds her idol too drunk to function at a small town event, Mok-ha offers to sing for Ran-joo backstage, so that the popstar can lip-sync onstage. Seizing her long-awaited moment, Mok-ha delivers a breathtaking vocal performance for the ages. Although her talent is yet to be publicly recognised, this delayed audition wows Ran-joo so much that the bygone diva is determined to help Mok-ha achieve her K-pop ambitions.

While Castaway Diva is potholed by implausible beats (Mok-ha looking flawless after 15 years in the wild, Woo-hak’s insane delusion, etc.) and jarring tonal shifts (its shockingly dark backstory grinds against its effervescent rom-com vibe) – the series is a surprisingly smooth ride. Many of its bumps can easily be forgiven due to Castaway Diva’s penchant for creating flawed yet likeable protagonists, a brisk pace that makes each feature-length episode feel like a breeze and a talented cast who are able to reconcile the show’s incongruent elements through their emotive performances. Already, this show has set-up enough intriguing plot points to keep viewers glued, but it remains to be seen whether Castaway Diva will coast on bubblegum pop, or soar with more soulful ballads in the future.

New episodes of Castaway Diva are available on Netflix every Saturday and Sunday

The post ‘Castaway Diva’ review: ‘Survivor’ meets ‘Idol’ in this flawed yet likeable K-drama appeared first on NME.