“Mine” (마인)
“Mine” is a women-centric K-drama in which the worst actions have been created by men. Their immorality serves as a cause and effect for a chaebol family’s misery.
Tag: Substack
“Racket Boys” (라켓소년단)
“Racket Boys” is a sweet series centering around a teenager, who’s forced to quit baseball when his father moves them from Seoul to the countryside. Disappointed and bitter, Hae-Kang begrudgingly joins the badminton team — which his father coaches — on the condition that if the team wins a medal, his dad will get them Wi-Fi at their house.
“Rugal” (루갈)
As with Choi Jin-Hyuk’s previous police procedural, “Tunnel,” there are some convoluted plot issues that drag down “Rugal.” Choi is handsome and charismatic, but he can only do so much with so-so dialogue.
“Move to Heaven” (무브 투 헤븐: 나는 유품정리사입니다)
“Move to Heaven” is a beautiful and at times brutal series that tells so many touching stories. One of the most important aspects was in how the series showed respect for the dead, even when the supposed loved ones of the deceased don’t seem to care.
“Space Sweepers” (승리호)
“Space Sweepers” has a lot of things going for it — great acting, cinematography, special effects. But once you’re done oohing and ahhing at the visual onslaught, it’ll sink in that what the film lacks is a cohesive storyline.
“Beyond Evil” (괴물)
“Beyond Evil” is one weird (in an interesting way) Korean series that centers on the search for a serial killer, who murdered multiple women — including the protagonist’s younger sister. Virtually all the major characters are suspects at one point or another, with damning evidence that has been carefully weaved into the storyline.
“Taxi Driver” (모범택시)
“Taxi Driver” is a thrilling series in the vein of “The Equalizer,” “Profiler” and “The Pretender.” Rainbow Taxi Service driver by day and justice seeker by (mostly) night, Do-Gi and his team are funded by a philanthropist whose parents were murdered decades ago. The goal is to rehabilitate them, but what it all boils down to is revenge.
“Navillera” (나빌레라)
For septuagenarian Shim Deok-Chul, his unfulfilled dream is ballet. As a child, he had wanted to take lessons, but his father stopped him. There was the lack of money. But there was (and still is) also the prejudice against men who participated in the artform. For many close-minded people who fear the unknown, dancing isn’t a masculine hobby to take up.
“Vincenzo” (빈센조)
The showrunners behind “Vincenzo” took their time in letting the highly engaging story unfold in a believable way. Well, as believable a story as you can have about a Korean-born child who ends up becoming a consigliere for a top mafia don in Italy. This series is one of Song Joong-Ki’s strongest K-dramas.
“Vagabond” (배가본드)
The action sequences in “Vagabond” are thrilling and the plot is fast-paced and engaging. But the ending seems rushed, incomplete and utterly unsatisfying.
“Tomorrow, With You” (내일 그대와)
“Tomorrow, With You” has so many wonderful elements — especially the adorable chemistry between the two leads. But the frustrating part was watching just about everyone in the series keep integral secrets from each other in an attempt to change — and protect — their future.
“Minari”: Deconstructing the American Dream
Lee Isaac Chung is an astute filmmaker, who pays close attention to the smallest details. With “Minari,” he has created a universally relatable film, while inserting elements that are specifically Korean.
“The Uncanny Counter” (경이로운 소문)
Well written and terrifically acted, “The Uncanny Counter” is suspenseful and heartwarming. And in a rarity for Korean dramas, there is no second lead syndrome romance to mess with the plot.
“Start-Up” (스타트업)
“Start-Up” has a second male lead (Kim Seon-ho) who is so charismatic that his storyline often overshadows that of the very handsome lead (Nam Joo-hyuk). Ultimately, the K-Drama reinforces the idea that no matter how broken a family is, the ties remain – for better or worse.
“Do Do Sol Sol La La Sol” (도도솔솔라라솔)
“Do Do Sol Sol La La Sol” had a promising start that was spoiled by an ending that came out of nowhere.
“Flower of Evil” (악의 꽃)
The chemistry between Lee Joon-Gi and Moon Chae-Won is strong in “Flower of Evil.” Viewers never doubt their love for each other. One of the most telling signs of their relationship is that even during times when she isn’t sure who he really is, she never stops referring to him as 자기야 / jagiya, which literally means that he is hers.
“Misaeng” (미생)
What “Misaeng” does so very well is that it depicts how difficult life can be when everything is stacked against you, and you begin to believe that you don’t deserve more than the scraps people are willing to throw at you.
“It’s Okay to Not Be Okay” (사이코지만)
“It’s Okay to Not Be Okay” is an unconventional love story that also focuses beautifully on mental health. It depicts how the aftermath of abuse and abandonment affects the psyche, but reaffirms that no one is a lost cause — and that seeking help is self love.
“Prison Playbook” (슬기로운 감빵생활)
“Prison Playbook” is a dramedy I never wanted to watch. But I’m so glad I did, because it handled social injustice in a way that was palatable to digest, while offering a satisfying ending.
“Abyss” (어비스)
The serial killer element of “Abyss” is intriguing and holds your interest, even though it’s clear from the get-go who the murderer is. There is an accomplice. While you won’t be 100 percent sure who that might be, your first guess is probably correct.