Journalist, Author & Syndicated Columnist
Director Yeon Sang-Ha (“Train to Busan”) adapted “Hellbound” from his own webtoon of the same name. He makes it clear that cults are the true sinners, which manipulate people’s lives with fear. And that hell isn’t necessarily a place foreign to us, because it’s where we may already be living.
“Hometown Cha-Cha-Cha” is one of those slow-moving K-dramas that makes viewers wish they had the same kind of relationship as the characters do — not just with love interests, but with their friends.
You know how in most action series, there is that one guy who can fight a team of gangsters, get stabbed and bounce back into action in no time? In “My Name,” that guy is a kickass woman.
The superb “D.P.” is not an easy series to watch. While not as gory as “Squid Game,” it’s more disturbing in many ways, because it deals with South Korea’s real-life mandatory military duty — which requires every able-bodied Korean man to enlist for approximately two years.
The series parable seems to be that if you have hate in your heart, you are susceptible to being influenced to hurt others, just because you can. “Bring It On, Ghost” started off as an uneven series. But once you get past the first couple episodes, it becomes a must-see K-drama that’s filled with action and a lot of heart.
“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.
“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.
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” 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” 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.
“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.
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.
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.
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” 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.
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.
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” 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” had a promising start that was spoiled by an ending that came out of nowhere.
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.