Sneha Jaiswal's Blog, page 5

Sakamoto Days Season 1 Part 2 Review: It’s a Bloody Shin-Show

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Okay, it barely even hit us that ‘Sakamoto Days’ Season 1 had wrapped with episode 22, because it ends with the promise of so much more violently fun drama! And even though the finale was a bit of a let down, the characters grow on viewers, so part 2 of the anime turned out to be way more entertaining. Besides, it kicks off with psychotic serial killers on the loose, which means truckloads of blood, bullets, and dead bodies. Yes, writing ‘bodies’ is enough, but adding ‘dead’ gives it a more ominous punch, doesn’t it?

Also Read: Sakamoto Days Season One Part One Review

Based on the Japanese manga series by Yuto Suzuki, this anime adaptation is directed by Masaki Watanabe and produced by TMS Entertainment. Part two of the season spans episode 12-22, so it’s eleven chapters of assassin action.

It’s easy to see why fans of the manga might feel let down by the anime adaptation of ‘Sakamoto Days’, since the animation doesn’t quite match the intensity the action scenes deserve. But for viewers (like me) unfamiliar with the original, the story twists and quirky characters more than make up for the underwhelming visuals. Besides, the background music this time around is a lot more energetic and engaging.

Titled ‘Overload’, episode 12 of ‘Sakamoto Days’ opens with back-to-back brutal killings carried out by a bunch of crazed death row convicts, hired to take out Sakamoto and team. While Shin and Lu tackle a melodramatic serial killer called Saw at a convenience store, later chapters show Sakamoto and Heisuke battling a nutcase called ‘Apart’, who also gives them major leads about antagonist Slur.

The clairvoyant Shin was the star in second-half, which was completely fine by me, but those expecting more of Taro Sakamoto, might be left fuming. ‘I’ll work harder! I’ll become stronger!!!’ – this is Shin’s mantra, as he strives hard to become a worthy fighting partner of his idol Taro Sakamoto, our legendary not-so-retired assassin. Shin’s characters sees a lot of growth, both in terms of personality and also in terms of his powers as he taps into a new cool ability.

A parallel sub-plot of this second-half of ‘Sakamoto Days’ also follows the elite assassins from the ORDER who are out to eliminate the death row serial killers released by Slur’s team. Osaragi, the glum-looking assassin with the ‘Black Widow’ vibe, the playful shape-shifting Nagumo, and blonde-haired Shishiba keep making little cameos through the season.

Episode 15 of ‘Sakamoto Days’ brings the show’s most anticipated twist: a full face-and-body reveal of the mysterious antagonist, Slur. He doesn’t burst onto the scene with dramatic flourish, instead, he casually rolls in on a bicycle with his red-eyed aide Gaku, tall and spiky-haired in grey. But what the moment lacks in theatrics, the duo’s personalities more than make up for.

Slur and Gaku in ‘Sakamoto Days’

The character designs for the savage duo stands out compared to the rest of the assassins in ‘Sakamoto Days’. Slur could easily headline a corporate romance manga, while Gaku radiates the grit and swagger of an action-fantasy hero. You could simply pick up Gaku, drop him into a show like ‘Jujutsu Kaisen’, and he’d fit right in. Honestly, they look more “main character” than Sakamoto and Shin combined.

Slur intends to completely annihilate the JAA (Japanese Association of Assassins) headquarters with his sidekick Gaku, because apparently the organization is “corrupt” and rotten. In a chapter aptly titled ‘Slice Slice Dance‘, the duo ruthlessly slice to bits hordes of assassins at the JAA, creating a literal bloodbath.

It’s established beyond a doubt that they are stone-cold, deviant, murderous monsters, although, like any villain, Slur views himself as some sort of messiah who will “fix” the world of assassins. His goal is to wipe out the old order (and, well, the literal ORDER too) and start something of his own.

Episodes 17-22 of the series focuses on Sakamoto’s plan to infiltrate his alma mater JCC (Japan Clear Creation), an elite assassin training school, to gather intel on Slur. He drags the loyal Shin along for the undercover mission and they will have to clear an extremely difficult exam to get in. But the so-called exams are pure carnage: a weapons-free-for-all where students can (and do) kill each other left and right.

The final stretch of ‘Sakamoto Days’ introduces a lively mix of new characters, all eager to clear the JCC exams and prove themselves as assassins. Standouts include Mafuyu, a germaphobe with quirks to spare; Akira, the anxious, blue-haired sharpshooter; and Nao Toramaru, a lethal fighter and die-hard Taro Sakamoto fan who totes around a mini doll of her idol, blissfully unaware that he’s actually the chubby guy in the yellow shirt sitting for the same exams.

The pace for these episodes is consistently entertaining, with generous sprinkling of comedic moments, and an unexpected amount of butchery. Even the JCC test administrators are left shocked by the more than usual amount of massacre that takes place in their test. An interesting twist introduces a few deadly ‘special candidates’ who get to bypass the first leg of the exam, making the race for final selection fiercer.

Members of the ORDER in ‘Sakamoto Days’

Episode 21, the penultimate edition of ‘Sakamoto Days’ season one pits Shin and a few new candidates against a near invincible rival who seems intent of killing them off. It is packed with intense action, with Sakamoto coming to Shin’s rescue as usual. The season closes with the JCC exams finally coming to an end, but only because the administrators are exhausted by the bloodshed and can’t afford any more losses. Only a handful make the final cut, which means Shin and Sakamoto can now shift their focus to the real mission: infiltrating the JCC to gather clues on Slur.

Titled Each One’s Mission, episode 22 closes the season by setting every major character on a new path. For Shin and Sakamoto, that means infiltrating the JCC academy as students to gather intel on Slur. ORDER members Nagumo, Osaragi, and Shishiba are also dispatched on fresh assignments, though all roads still lead back to Slur, who, in turn, is scheming an overambitious plan of his own. A few playful twists hint at plenty more drama to come.

The closing minutes turn to Assassin Academy, where survival itself is the first lesson, and graduation is far from guaranteed. While it may initially feel like an abrupt stop, on reflection it neatly clears the deck for season 2 to dive straight into the school arc.

For viewers who enjoyed the first eleven episodes, part 2 of ‘Sakamoto Days’ is absolutely worth the ride.

Rating: 8 on 10. Watch Sakamoto Days on Netflix.

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Gachiakuta Episodes 11-12 Review: Clashing with a New ‘Psycho’

Sneha Jaiswal (Twitter | Instagram)

What was that ‘Gachiakuta‘ episode 10 cliffhanger?! Who’d have thought the powerful Enjin would be the first to froth at the mouth and fall flat on the floor against the deceptively childish girl the Cleaners meet at the dusty “No Man’s Land.”

Also Read: Gachiakuta Episodes 9-10 Review: Art Attack Time!

Titled ‘Amo’s Hospitality’, episode 11 rewinds back to what really happened once Amo, the new character Rudo and squad encounter, leads them to her “home.” The Cleaners had hoped to get information out of Amo after she responded in the affirmative to Riyo’s question about whether she was the woman who’d seen people going to and from the Sphere and the Ground.

Even though the orange-eyed Amo seemed friendly enough at first, she quickly turns hostile when the cleaners visit her domain. Although, it wasn’t thoroughly unexpected, since Enjin had already declared he’d take her on if things went south. Ironically, he is the first man to go down, which was surprising, slightly shocking, and very comical all at once. (Since there are still plenty of episodes to go, we know Enjin isn’t going to die anytime soon)

Amo from ‘Gachiakuta’

Amo’s anime design is true to Kei Urana’s manga, but since I hadn’t read them, her outfit threw me: she’s basically in a bra, and underwear. Enjin even tells her, “Can you cover up? It’s hard to concentrate.” Meanwhile, the guys are dressed for winter, while the women, like Amo and Riyo, are barely covered. Not exactly a problem, but come on, where are the shirtless dudes for balance?

The pacing of episode 11 feels a teeny bit challenging, largely because Amo is excessively chatty and her powers lean toward manipulation, making the combat less action-packed than other ‘Gachiakuta’ battles. Still, there’s plenty of suspense around her abilities as she effortlessly incapacitates most of the Cleaners, leaving Zanka and Tamsy to confront her, or as Tamsy bluntly puts it, a total “psycho.” By the end, the pair find themselves surrounded by their own friends, though Amo’s nonstop chatter ironically exposes the secret to her powers just in time.

Titled ‘Something Like a Curse’, episode 12 of ‘Gachiakuta’ continues with Zanka and Tamsy battling the unnerving Amo. At the same time, Delmon, Rudo, and Riyo remain trapped in illusionary worlds, manipulated like puppets as they face ghosts of their past. The episode offers unsettling glimpses into what’s happening inside their minds, doubling as a dive into their psychological states. Enjin, meanwhile, stays sidelined for over half the runtime, which slightly shifts the dynamic of the Cleaners’ usual team synergy.

Running parallel is a smaller subplot involving Arkha, the leader of the Cleaners, in conversation with Semiu, the receptionist at headquarters. Semiu’s unusual powers allow her to sense and grasp the essence of people, and during their discussion she delivers an ominous warning about Rudo. For now, the reveal feels staged more for dramatic effect, although we do see some immediate impact.

The Cleaners eventually manage to overpower Amo, and once freed, Rudo shocks everyone with a visceral and unhinged reaction to the aftermath of the fight. The intensity of his outburst suggests bigger cracks in his psyche, setting the stage for what’s next. I felt these events could have been condensed into a single edition to maintain sharper pacing, but the spectacular animation throughout makes the slower rhythm easier to forgive.

This edition of ‘Gachiakuta’ ends with an interesting cliffhanger which indicates that all the sweat and blood shed by the cleaners while dealing with Amo might’ve been completely worth it!

Watch Gachiakuta on Crunchyroll.

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Chronicle Of A Death Foretold Book Review

Rating: 4 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Gabriel García Márquez’s ‘Chronicle Of A Death Foretold’ is a fascinating satire, a ‘tragi-comedy’ if you will, where an entire town stands by to watch a 21-year-old get murdered by a pair of twin brothers as their way of protecting their sister’s ‘honor’. The biggest irony? On the day of the murder, the Vicario twins keep telling people they’re on their way to kill the wealthy Santiago Nasar, hoping somebody would stop them. Nobody does.

Their newly wed sister Ángela Vicario, is returned home by husband Bayardo San Roman on finding out she isn’t a virgin. Before the sleep seaside town can learn about the scandal, her brothers leave home to find Santiago Nasar, named by Ángela as the cause behind the collapse of her two hour marriage.

“On the day there were going to kill him, Santiago Nasar got up at five-thirty in the morning to wait for the boat the bishop was coming in.”

That’s the opening line of ‘Chronicle Of A Death Foretold’, where the reader is quickly introduced to both the victim and his perpetrators almost immediately. There is no mystery over the killers’ identity, or motive, but the book probes into the question of how an entire town could let the crime take place, when almost everybody seemed to know what the Vicario brothers were up to.

Decades later, an unnamed local revisits the town to unravel the mystery of that infamous death, and ‘Chronicle of a Death Foretold’ unfolds in a non-linear manner. His interviews reveal why no one stopped the brutal slaughter that unfolded in broad daylight. Most think the Vicario brothers are too drunk from the wedding celebrations and are bluffing, some are distracted by the Bishop’s arrival, others are too busy in their own life’s drama, some think someone must have already warned Santiago Nasar.

Class divides and racial tensions run quietly beneath the plot, as many assume the Vicario brothers wouldn’t dare lay a hand on someone of Santiago’s wealth and status. The excuses are colorful, amusing, but the ultimate truth is this: they all have the young man’s blood on their hands.

The premise of-course is absurd, that a woman’s honor should be tied to a red stain on the sheet. What’s even worse is that Ángela Vicario is nearly beaten to death by her mother and forgotten for most of ‘Chronicle of a Death Foretold’. Although our unnamed narrator eventually visits Ángela to uncover the truth, she answers most of his questions with striking honesty, yet when it comes to the most crucial one, she remains deliberately cryptic.

At just about 120 pages, Gabriel García Márquez tells a story that many authors can’t manage in 600. Funnily enough, I accidentally ended up reading this novella a second time because I wasn’t sure if I had already read it. A few pages in, my poor memory stirred, and I realized I had indeed read ‘Chronicle of a Death Foretold’ some 14 or 15 years ago. Still, I kept going, because the prose is fluid, and since my brain had kindly erased most of the plot, a second read of such a slim book wasn’t going to hurt.

For any avid reader who is in a bit of a reading slump, ‘Chronicle of a Death Foretold’ is a great pick to quickly finish a book without investing too much time. If you’re read and enjoyed other titles by Gabriel García Márquez but haven’t read this one, then it’s definitely a title you should add to your ‘to read’ list. I’ve read ‘Love in the Time of Cholera’ by the author, and would recommend that too.

Rating for ‘Chronicle of a Death Foretold’: 4 on 5 stars.

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Marvel Zombies Review: A Jolt of Blood For the MCU in 4 Episodes

Sneha Jaiswal (Twitter | Instagram)

Marvel Zombies is all about the walking dead, but made more terrifying because most of the avengers are super-Zombies now! So it’s up to a few survivors to find a way to save the planet from completely turning into a land of the un-dead. Which is no easy task, given that the best of American heroes are rotting killing machines.

First off, you need to have watched the zombie episode from ‘What If…’ season one before streaming ‘Marvel Zombies’, since that serves as a prequel to the mini-series. Also, that zombie chapter is pure fun! While watching this series, I kept thinking that maybe the animation in the 2021 series was better. So I even went to back to watch just the zombie edition again, and yes, the coloring, and grading does look slightly better. Shouldn’t they have leveled up the artistry a little bit?

So while the animation and coloring aren’t the strongest, ‘Marvel Zombies’ delivers a fast-paced, post-apocalyptic ride across four blood-soaked episodes. Kamala Khan a.k.a. Ms. Marvel (voiced by Iman Vellani) plays the primary protagonist of this min-series, leading an overambitious mission to save the planet from complete zombification.

Kamala is eventually joined by a few surviving heroes from the MCU (Marvel Cinematic Universe) who haven’t yet turned into flesh-eating monsters. If you’ve seen the trailer, you already know that Shang-Chi, Yelena Belova, Katy Chen, Blade Knight are some of the familiar MCU faces that shoot or slice the un-dead into wholly dead meat.

The primary antagonist of-course is the ‘Queen of the Dead’, the ever-intimidating Scarlet Witch, a scarily powerful Goddess-like super-zombie who was already introduced in ‘What If…’. And unlike the zombies of Robert Kirkman’s ‘The Walking Dead’ and older offerings, Marvel Zombies are faster, stronger, smarter, and super-powered in a bunch of different ways.

It would’ve been nice if the animated Ms. Marvel looked a little more like Iman Vellani, who was last seen playing the character in ‘The Marvels’. And honestly, after Spider-Man’s turn in What If…, Kamala Khan’s fangirl energy isn’t the most gripping choice to anchor a zombie-splattered horror mini-series. But well, there are other exciting characters who strengthen the ‘save the world’ premise.

Zombie-Scarlett Witch on the other hand makes an epic villain, she is spooky, mean, manipulative, hellishly sneaky and intent on turning the whole world into her domain of the dead. The season finale of ‘Mavel Zombies’ pits her with a worthy non-zombie rival, and the background music intensifies the impact of climactic battle.

Whether it’s a blood-soaked road trip, a spine-chilling underwater detour, or an over-the-top dash into space, ‘Marvel Zombies’ knows how to keep the chaos rolling. Aside from a few sluggish emotional beats that don’t quite land, it’s a bloody fun watch for anyone who loves action-horror and, of course, zombies. The creators go all-in on grisly deaths and relentless carnage, but had the animation been sharper, this mini-series could have scored full marks.

Oh wait… the best part about ‘Marvel Zombies‘? There is some possibility that fans could get a Season 2, and I’d absolutely be there for it. Although, it’s a pretty good standalone season. In fact, it makes one wish the DC franchise would take a page out of Marvel’s book and give fans an animated adaptation of the ‘DCeased‘ comic, which is bloody fantastic and offers its own twist on the apocalypse premise.

Rating: 7.5 on 10. Watch ‘Marvel Zombies’ on Jio Hotstar.

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The Promise of the Soul Review: Grandpa’s 2nd Shot at Love … in His Grandson’s Body

Sneha Jaiswal (Twitter | Instagram)

So, from the teaser of ‘The Promise of the Soul’, some of us assumed this was going to be a comedic tale of a grandfather’s soul ending up inside his gay grandson’s body, and he figures out how to get his grandson back in the right body, while befriending his grandson’s crush. But no, the story gets weirder, because apparently… okay, wait, that would be too much of a spoiler. Fine, I won’t say what happens, but let’s just say things get bizarre, going into re-incarnation and supernatural ‘red thread’ territory.

Directed by Joe Tsai (‘Unknown’, ‘We Best Love’), the Taiwanese series ‘The Promise of the Soul’ is adapted from the novel “Ling Hun Te Yueh Ting” by Hsu Tzu and spans 12 episodes.

Martin Wong plays primary protagonist Xia Ze Fang, a smug college kid hopelessly crushing on his neighbor Ye Hai Yuan (Kenji Fan), never mind that he is already in a situationship with a guy called Guan Ri Qing (Yaron Qiu). But when a freak accident kills both Ze Fang and his grandfather Xia Cha (played by Huang Hao Yung), things get twisty. Xia Cha wakes up in his grandson’s body, forced to stumble through the chaos of college life. With only Hai Yuan in on the secret, Grandpa-turned-student sets out on a body-swap adventure.

The first few episodes of ‘The Promise of Soul’ are entertaining, with the comedy centered on grandpa Xia Cha pretending to be Ze Fang at the college dorms and confusing everybody with his ‘old man’ ways. He wears outdated clothes, is clueless about Gen Z slang and ways, which generate a few chuckles early on.

But as days pass, grandpa starts falling for Hai Yuan, who, by the way, is about 400 years younger (fine, only about 49 years maybe). Not exactly your typical romance, and ‘The Promise of the Soul’ doesn’t make it any less awkward, making the love story possible courtesy a supernatural twist. To force in a “love triangle,” Ze Fang’s ex Guan Ri Qing keeps circling back to harass or outright assault him. The ex-boyfriend subplot is overblown and clumsy, though to Yaron Qiu’s credit, he plays the vile character with enough restraint to avoid turning it into cartoonish villainy.

A lot of it is quite cringe-y, and honestly, I just wanted Ze Fang back in his body, instead of haunting his own skin with endless angry stares. Imagine turning into a ghost and watching your grandfather inhabiting your body and romancing your crush. Nobody would be happy about that. ‘The Promise of the Soul’ does have a few sweet side-stories, including a surprise cameo by ‘Fight For You‘ lead couple, but the primary plot needed a lot more work.

Lead actors Martin Wong and Kenji Fan look adorable together, their onscreen chemistry is cute, which might just be enough reason for some viewers to tune into ‘Promise of the Soul’. But the whole “grandfather stealing his grandson’s body and crush” storyline was a dealbreaker for me. Sure, the real Ze Fang is bratty, selfish, reckless, but that doesn’t mean an old man who has already lived his life gets to hit reset button using his grandson’s body. Hard pass. Besides, if the gramps can get a second chance, who not poor 20-something Ze Fang?

For viewers who don’t mind suspending disbelief, and overlooking the odd premise, perhaps there’s some appeal in watching a grandfather hijack his own grandson’s body for love. If that strikes you as a fresh twist rather than a red flag, then go ahead and give this series a shot.

I really wouldn’t recommend ‘The Promise of the Soul’ though. If you’re looking for a reincarnation gay romance, I’d suggest the Thai series ‘Century of Love’ instead.

Rating: 4 on 10. ‘The Promise of the Soul’ is on iQIYI.

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The Summer Hikaru Died Episode 12 Review: Confessions and Confrontations

Sneha Jaiswal (Twitter | Instagram)

“Okay, I need to brace myself for the final chapter,” I told myself before streaming episode 12 of ‘The Summer Hikaru Died’. Like a lot of viewers who’ve been following the anime, I didn’t want to say ‘goodbye’ to the show yet. And in the very opening minutes, the impish Hikaru talks about going away while playing with little figures.

“Would it solve everything if I returned to the mountain? Would that reduce the impurities and keep everyone safe?”

Hikaru had asked Rie towards the end of episode 11 of ‘The Summer Hikaru Died‘. The mere question strongly hinting at what course of action Hikaru might take in the future. Despite his strong attachment to Yoshiki, and the human world, he seems to slowly realize that maybe Kubitachi village cannot be the place he can call home.

Simply titled ‘Its Place’, the final episode is interestingly set on the last day of school before summer break. While everyone gathers for assembly, a tardy Hikaru chooses to loiter around alone. His classmate and friend Asako seeks him out, and another tense encounter unfolds. Remember how he tried to kill her in episode 6, only to be stopped in the nick of time? But this time, he’s under strict oath not to harm anyone, and though he brands himself a “monster,” the new Hikaru is a creature of his word.

The rest of the finale of ‘The Summer Hikaru Died’ follows Hikaru as he spends the day out of town with Yoshiki, gradually opening up about what’s on his mind. It all builds to an intense, emotionally charged clash between the two friends, set against the setting sun. The day mirrors their earlier outing to the movies and mall, the one that ended with Yoshiki’s attempt to stab Hikaru, believing he was gifting him happy memories before cutting things short. This time, however, it’s Hikaru who delivers the blow, wounding his friend with nothing but words.

Voice actor Shûichirô Umeda nails Hikaru’s complex duality, shifting effortlessly from childlike giggles full of innocence to raw tones of anger, sadness and confusion. Of course, Chiaki Kobayashi does the heavier lifting as Yoshiki, trembling with anxiety, grief, and anger, and carrying the climactic moments of despair with raw force.

My only complaint about ‘The Summer Hikaru Died’, it’s the lack of polish in the animation, backgrounds frequently feel neglected, and even character movements can look simplistic. A prime example comes in the train sequence this episode, where real-life photos appear to have been dropped in as backdrops. Maybe it was a time-saving shortcut, or maybe the jarring contrast was intentional, a visual metaphor for Yoshiki and Hikaru’s detachment from the world around them. I’d like to believe it was the latter.

The last few minutes unfold by the sea, where the two friends finally lay bare their thoughts, and the animation and lighting of the water are strikingly beautiful. One moment they’re laughing by the waves, the next they’re a sniffling mess. An intriguing twist about the legendary “Nonuki-sama” the boys had been investigating in the previous chapters of ‘The Summer Hikaru Died’ is also revealed, though the friends remain unaware of it.

The closing chapter brims with emotion, giving the boys a cathartic farewell as they gaze at the shore, uncertain of what awaits them. It’s the kind of ending that makes this season of ‘The Summer Hikaru Died’ feel like a strong standalone story, while still leaving plenty of promise for a season 2.

Watch ‘The Summer Hikaru Died’ on Netflix.

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Catboy Review: Scratching, Snacking, and Silly Fun

Rating: 3 out of 5.

Sneha Jaiswal (Twitter | Instagram)

Catboy by Benji Nate tries to answer the question, “What kind of a person would your cat be?” through its cute, colorful panels. Protagonist Olive begins a whimsical, weird adventure when her hasty wish to “hang out” with her cat as if it were human suddenly comes true.

Olive’s cat Henry becomes human-sized, a big black furball who can talk, eat pizza, go to parties, socialize, and take up human jobs to earn extra cash. Although he still uses the litter box, eats the occasional mouse, and licks himself instead of showering. Funnily, Henry turns out to be better at interacting with people than Olive, a struggling artist working as a barista with zero friends.

This is just a silly comic book that shows Olive navigating her clueless young adult life with her “Catboy,” who ironically gets a dog-sitting job and starts to make more than his barista BFF. Benji Nate fills the graphic novel with such funny little instances, where Henry is smoother at fitting in among humans, despite his catty quirks. Basically, he is better at “adulting,” although, tbh, both of them seem like they’re still in middle school. And even though Olive’s age is never mentioned, she’s an art graduate and must be 21 or 22.

The artwork, like I’ve already mentioned, is very cute, and my favorite part about “Catboy” were the ones that simply feature Olive and Henry showing off their outfits for the day. Their wardrobe is geeky-chic, if that’s a thing. And the color palette is dominated by pleasant blues and soft pinks.

One of the funniest details is how Olive just throws Henry into her own clothes, never even considering buying him “boy stuff.” Naturally, Henry doesn’t care, he’s too busy curling up in cardboard boxes, chasing birds, inhaling pizza, and clawing up everything around him.

Had Benji Nate tightened the ending into something resembling a complete (if goofy) arc, Catboy could have been a lot more satisfying. As it is, the book stops so suddenly it feels like someone ripped out the second half. Get the novel if the premise sounds fun, and you like cutesy doodles.

Rating: 3 on 5.

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Shine Review: Bangkok Love Stories in Shimmery Retro Orbit

Sneha Jaiswal (Twitter | Instagram)

“Are you seriously sad because John Lennon quit the Beatles?” a mildly bewildered Trin, the protagonist of ‘Shine’ asks Thanwa, the other lead, as they stand hand in hand in a circle of flower-crowned hippies around a bonfire. It’s a comical scene, but it also highlights the stark divides in the realities of the show’s various characters.

Directed by Pond Krisda Witthayakhajorndet, and Ning Bhanbhassa Dhubthien, ‘Shine’ is a period drama set in 1969, starring ‘KinnPorsche’ stars Apo Nattawin Wattanagitiphat and Mile Phakphum Romsaithong as Trin and Thanwa respectively. Trin, an economist and adjunct professor, has returned from France determined to aid his country’s progress, while Thanwa is a blue-blooded brat and hippie, living in his own happy bubble of sex, love, drugs, and rock ’n’ roll. Their unexpected love story, set against Thailand’s political upheaval, drives the primary plot of the series.

The steamier romance in ‘Shine‘ belongs to Trin’s Uncle Krailert (Son Yuke Songpaisan) and Naran (Euro Yotsawat Tawapee), whose love story starts in print, dueling as pseudonymous music critics in a national newspaper. Their sharp exchanges quickly capture the public’s attention, playfully shown in scenes of people gleefully reading newspapers at their homes, coffee shops, and offices. When they secretly decide to meet at a private library, the reveal of their real identities only intensifies the attraction.

Krailert is a high-ranking military officer, and Naran an ambitious journalist, their forbidden romance is further tangled by the fact that Krailert is married, while Naran is investigating corrupt land deals that may implicate him. In flashbacks, we see how Dhevi (Kob Pimolrat Pisolyabutr) became Krailert’s wife, after her influential military father pressured him into the marriage, fully aware of his preference for men. Por Unnop Thongborisut plays Veera, Krailert’s faithful military sub-ordinate, silently in love with Dhevi.

Son Yuke Songpaisan is electric as Krailert, a morally grey figure torn between his public duties as a military officer and his secret queer life. Euro Yotsawat Tawapee’s Naran, by contrast, feels more like a stock journalist character, though he shines when voicing his column on music and matters of the heart. Their story begins as a battle of wits in public and becomes something far steamier in private, as Krailert’s library turns rivals, a decorated officer and a relentless reporter, into secret lovers.

Meanwhile, newcomer Peter Deriy, possibly the breakout star of ‘Shine’, plays Victor, a fiery student activist leader who constantly organizes headline-grabbing protests against the corrupt Thai government and military. Victor’s story ties back to the main plot as he attends one of Trin’s economics classes, where he challenges the professor’s privileged background, but over time, he also finds himself drawn to Trin.

It’s comedic to see Victor start out as the quintessential angry young man, all fire and fury against the corrupt regime, but the moment Cupid’s arrow hits, he’s suddenly soft-eyed and following Trin around like a lovestruck pup. When he senses sparks between Trin and the carefree Thanwa, his jealous glares are downright funny. The love triangle adds some laughs to ‘Shine’, with Trin’s older, dignified presence balancing it all as he kindly lets Victor down.

My biggest gripe with ‘Shine‘, and this might just be a personal peeve, is that Mile Phakphum Romsaithong feels miscast as the lead singer of a popular band. His portrayal of Thanwa is hit-and-miss: while he delivers the show’s biggest laughs as the childlike hippie, the more serious aspects of his character don’t land, and the supposed ‘rockstar’ persona never really comes through. In ‘KinnPorsche‘, his chemistry with Apo Nattawin Wattanagitiphat was sizzling, yet here the romantic blaze feels oddly lukewarm. Possibly also because the playful Thanwa never seems sincere, not even the rare times the character is being genuine.

But let’s talk about Apo Nattawin Wattanagitiphat now. He was last seen in a lead role as a Thai dancer in the period piece ‘Man Suang‘, where I noted, ironically, that while he looked stunning, he lacked the natural gait and grace of a professional artist. In ‘Shine‘, however, he is pitch-perfect: poised, charming, dashing, and convincing as an intellectual. If anything, his debates could have used sharper writing, but that shortfall isn’t on the actor.

Nok Sinjai Plengpanich appears as Moira, the elegant owner and hostess of ‘Grand Paradiso‘, a lavish hotel frequented by the town’s elite. The venue becomes the stage for several pivotal encounters, with Moira’s significance emerging fully in Shine’s climactic episode. Away from the glittering banquets, she is also spotted letting loose at the hippie parties hosted in Thanwa’s record store.

‘Shine’ is a well-crafted tale of love, desire, power, corruption, and student activism, with several scenes crafted for cinematic effect, existing in its own orbit, because some complex sub-plots are resolved too easily. The original soundtrack outshines many other elements of the series; ‘Am I in Love’ by Slot Machine is one of the most memorable numbers in the series, which plays like a romantic hit from the 1970s. Another song titled ‘Hold Your Hand’ is faster and fun too.

Episode seven brings some of the most tragic moments in ‘Shine’, blunting the impact of the climactic finale. A brief time skip at the end offers viewers clearer closure on the fates of the main characters. A cruel twist reframes one supporting character in an unsettling way, strange at first, but also a sharp reminder of how irrationally obsessive people can become in the name of love.

‘Shine’ closes on a surprisingly romantic note for some, while others are left with devastating grief. The ending threads feel a bit contrived and the writing stumbles, yet despite its flaws, this retro romance remains worth a one-time watch.

Rating: 7.5 on 10. Watch ‘Shine’ on WeTV.

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‘I Could Just Die and That Would Be All Right’ Review – Sad Girl Horror Runs

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How do you not click on a title that goes ‘I Could Just Die and That Would Be All Right‘, if you’re a horror fan? Although, if the protagonist is truly okay with dying, watching them being hacked to death by a demon, ghost, monster, or serial killer might not be that entertaining, if it’s that kind of horror film.

With those thoughts, I streamed ‘I Could Just Die and That Would Be All Right‘, a nineteen-minute horror film written and directed by A.K. Espada. The story follows a woman who offers herself as a meal to a flesh-eating creature haunting the woods near her neighborhood, but instead of dying like she thought she would, she wakes up as an undead immortal creature. Talk about subversion of plans.

Courtney Locke plays the unnamed protagonist, a depressed young woman who likes to go running at 3:30 a.m. in the morning. Although at that point my brain was like: damn, that’s some next-level motivation for a person who wants to die. But okay, everybody has different ways to deal with melancholy, some go to sleep at 3:30 a.m., others go for a run then.

From the moment Courtney Locke’s character appears on screen, you can sense her despair and defeated outlook on life. So where she gets the strength to venture out for a run remains an amusing mystery, although perhaps it’s just her way to get away from her husband (played by Chris Mayers) and home. In a realistic choice, she wears no make-up and exudes a world-weary exhaustion that justifies the title: I Could Just Die and That Would Be All Right.

Most of the story is narrated through the young woman’s conversations with a suicide helpline, where she asks strange questions and admits to suicidal ideation. A dark, broody atmosphere pervades the runtime, with the short blending modern-day anxieties with folklore creature horror elements. Expect generous amounts of blood and gore too. Although, the exact source of the protagonist’s sorrows is never explained. It seems she is simply crumbling under the pressures of living a standard life and doing things that are ‘expected’ of her.

Since I saw this on YouTube, there was a director’s statement attached in the description of the film, which stated ‘I Could Just Die and That Would Be All Right‘ was the creator’s effort to show how sometimes one needs a life-changing miracle or ‘curse’ to jolt them out of their fugue state and appreciate life.

The way I perceived the story was completely different: the protagonist lives with a husband, a caring, nurturing type, making her pancakes and constantly encouraging her in different ways. “I don’t know if he is oblivious or delusional,” the wife wonders about her husband ignoring her deteriorating mental health. Although, it seems he is very well aware of the tense atmosphere and tries not to escalate tensions.

When his wife transforms into a blood-sucking monster, the film plays almost like a metaphor: some people drain the life out of others when they refuse to help themselves, dragging loved ones down in the process. The husband, unusually for this trope, is always there for her, enduring her lowest lows and letting her consume him bit by bit. What that means for their marriage, however, remains uncertain.

Overall, I Could Just Die and That Would Be All Right is an intriguing one-time watch that ends on a cryptic, abrupt note, leaving viewers to draw their own conclusions. Is it about breaking free from the clutches of depression through extreme, even dire means? Or is it about dysfunctional relationships, where one partner drains the other with their selfish inability to give back? ‘I Could Just Die and That Would Be All Right‘ leaves the answer open, making it as much a psychological reflection as it is a horror tale.

You can stream ‘I Could Just Die and That Would Be All Right’ on YouTube.

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Ayushmann, Nawazuddin Unleash Fangs in ‘Thamma’ Trailer, a horror comedy

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Everybody wants a slice of the horror-comedy pie, so Ayushmann Khurrana and Nawazuddin Siddiqui turn into fanged demons in ‘Thamma’, an upcoming folklore-horror tale.

Directed by Aditya Sarpotdar, who also helmed horror comedies Munjya and Kakuda, the official trailer for ‘Thamma’ opens with a sweeping shot of an ancient temple hidden deep in the forest.

“Tum betaal ho, tumhe prithvi aur insaano ki suraksha ke liye banaya gaya hai,” Rashmika’s voiceover declares over the temple shot.

“Arrey ghantey ki suraksha,” Nawazuddin cheekily responds, before vowing to lead a new era of blood-drinking demons. But he is soon captured and locked away in a cave.

The story, however, isn’t really about him. ‘Thamma’ shifts focus to Ayushmann Khurrana, whose character accidentally turns into a vampire and must now struggle through the strange, hilarious, and dangerous life of being a monster among men. Rashmika Mandana plays Ayushmann’s romantic interest, appearing to help the new vampire navigate the supernatural world of demons.

The film also stars actors Paresh Rawal, Faisal Malik, Rachit Singh, and Geeta Agarwal. With Paresh Rawal playing Ayushmann’s onscreen father, the kind who is quick to give up his son to the cops as soon as he senses something off about him.

In a fun twist, actor Sathyaraj looks like he is reprising his role as Elvis Karim Prabhakar, the comical exorcist and faith-healer from Munjya. “Don’t worry son, the hand of God is with you,” he declares when the hero visits him for guidance. Although, it might’ve been more fun if the Sathyaraj cameo had remained under wraps.

From the looks of the trailer, ‘Thamma’ promises to be a funny desi take on vampires, even though it feels like the makers give too much away in the three-minute long teaser.

The film is set to release on 21st October.

You can watch the trailer on Youtube, it’s also embedded below.