Connect with us

Movie Reviews

My Name Is Loh Kiwan Movie Review: An intense and tragic character-driven film that must not be missed

Published

on

My Name Is Loh Kiwan Movie Review: An intense and tragic character-driven film that must not be missed

Adapted from Cho Hae-jin’s 2011 book, Kim Hee Jin’s My Name Is Loh Kiwan is a riveting film. Told in a straightforward, earnest and poignant manner, it revolves around the subject of identity and the sheer plight of refugees everywhere. Proving one is a from a country with no civil liberties can be a tricky proposition, leave alone the fact the that the eponymous North Korean defector doesn’t speak any of Belgium’s languages (nor a neutral one, like English). His story mirrors that of many seeking asylum in various parts of the world. A tale of woe forces them to flee home only to live out a second-rate existence in a foreign, unwelcoming land. In the truest sense of the word, their lives may not necessarily be under attack, but basic survival, everyday racism, hatred and bigotry are things to contend with. In the end, there is no guarantee of a refugee status.

Director – Kim Hee Jin  
Cast – Song Joong-ki, Choi Sung-eun, Waël Sersoub, Cho Han-cheul, Kim Sung-ryoung, Lee Sang-hee
Streaming On – Netflix

Loh Kiwan and his mother are illegal immigrants in China, having defected from North Korea. A struggle through and through, they are forced to keep their identities secret to evade arrest and eventual deportation. His mother holds down a minimum-wage job at a local restaurant to support them; Loh Kiwan has recently been in trouble, and the authorities are on the lookout for him. His mother shoulders the burden as he must keep a low profile. It’s an altogether desperate situation. Feeling guilty for having put his mother through so much, he makes an impulsive decision to walk her back in the biting cold after her shift. But the luck could not be worse for them, as the police is in the restaurant making enquiries about him. The mother and son make a mad dash for it through the backdoor. As they are about to outrun the cops, she gets hit by a moving van. Her dying wish is for her son to leave and live a life of dignity. His uncle (the owner of the restaurant) implores him to flee the scene. The following day, the former, beside himself with grief, hands the young man a ticket to Brussels with a thick wad of cash. When asked where he got all that money from, his uncle tells him that he sold his mother’s body to a hospital.

The premise of the film is extremely tragic. This is compounded by the fact that Loh Kiwan is a stellar young man – honest, kind, honourable, with a heart that can fill a room. And the worst indignities await him in a cold, alien, unfeeling place. Every bit of the character’s sheer goodness and spirit are embodied by Song Joong-ki’s faultless lead performance. When the worst fates befall good people, you take stock of the irony of life, its sheer scale of unfairness. The man deserves to be commended for his almost-childlike innocence and conscience. At a meat-packing job in Brussels, he asks his Korean-Chinese co-worker why she has to steal if she earns a half-decent living. When the volatile Marie (Choi Sung-eun) returns his wallet, he cooks her a full meal from the leftovers collected at a supermarket. At several meetings at the refugee centre, his anguish is palpable when the Korean interpreter mentions that his national identity requires more proof. With deportation well and truly a possibility, he is forced to make do. Sleeping in public toilets to escape the winter, selling bottle scrap for change, encountering violent thugs, facing indiscriminate bigotry from folk on the street. There’s no respite. His only solace comes when he develops a fondness for Marie, a troubled young woman with her own deep emotional scars and struggles with addiction.

The care with which each character is drawn up, be it major or minor, is one of the film’s strengths. The connections Loh Kiwan makes are a highlight. Marie has lost her mother in equally painful circumstances. A gifted Olympic-level markswoman, she works for a local mafia boss who runs an illegal, underground shooting den. Marie, his main possession, takes part in shooting competitions, with the betting being off the charts. She keeps returning to perform in order to get her fix. Her father is in no position to help. Then there’s Seon-ju (Lee Sang-hee), Loh Kiwan’s Korean-Chinese co-worker at the meat-packing factory, who looks out for him. This job halfway across the world funds her youngest daughter’s brain surgeries back home. It’s all a bit grim and bleak, but so true to life. The existence of refugees may be better than the horrors they escaped, but only just. The writing is so intense and unrelenting that you’re forced to pause, take a breather. You wait for the moments of light to filter through the cracks. Kim Hee Jin & Co. ensure that there’s much beauty to be had in that one, heavy word – hope.

Advertisement

At the heart of it, My Name Is Loh Kiwan is a romantic drama film. The bond between the lead character and Marie is an unlikely one, but one that works. These are people who will find the joy they so deserve in one another. Or that’s the expectation. A truly deep, character-driven film worth investing in!

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Movie Reviews

MOVIE REVIEW: Pixar’s Hoppers is laugh-out-loud funny

Published

on

MOVIE REVIEW: Pixar’s  Hoppers  is laugh-out-loud funny

The Snapshot: Pixar comes out swinging with an energetic and cuddly comedy that pairs big laughs with an earnest message about living alongside nature.

Hoppers

9 out of 10

G, 1hr 44mins. Animated Sci-Fi Family Comedy.

Directed by Daniel Chong.

Starring Piper Curda, Bobby Moynihan, Kathy Najimy, Jon Hamm, Dave Franco and Meryl Streep.

Now Playing at Galaxy Cinemas Sault Ste. Marie.

Advertisement

True all ages fun is increasingly hard to find, and hoping for great, original works out of Hollywood is only getting rarer from the major studios. Thankfully, Disney and Pixar’s Hoppers is making the search a little easier.

Director Daniel Chong (best known for the TV series We Bare Bears) has masterfully directed a frantic masterpiece that is worthy to stand among iconic greats in Pixar’s esteemed catalogue. Filled with bustling action, a brave moral standing, and an endless parade of cuddly animal heroes, Hoppers is a dam great time.

A beaver dam great time, that is.

The story is a bit unusual, set in the northwestern town of Beaverton, Oregon, where a local University student and nature activist named Mabel (Piper Curda) is in a constant fight with the town’s development-driven mayor (Jon Hamm) over a highway expansion over a local glade and nature preserve.

Things gets wild, however, when Mabel’s consciousness gets sucked into a beaver robot through a process called “hoppers” – and suddenly becomes a literal friend of the forest, setting off a chain of events I dare not spoil.

Advertisement

One of the strongest elements in Hoppers is Jesse Andrews’ terrific screenplay, built on a story structure that has made Pixar’s work stand out among family entertainment for the last 40 years. (Part of this film’s release, co-incidentally, marks the studio’s 40th anniversary this year.)

Not only has Andrews filled the plot with multiple organic surprises that repeatedly heighten the stakes of Mabel’s quest to save the glade, but the script also balances the peacefulness of nature to – anchor the story – with the frazzled panic of modern human life to develop the humour.

Getting these juxtaposing elements to work is done swiftly by Chong, Andrews and the talented voice ensemble bringing it altogether. The actors above are all commendable, but the scene stealer is Bobby Moynihan (of SNL fame) as beaver leader King George.

Moynihan’s George is smart, sincere, and socially aware that teaches Mabel some core lessons without making it overly obvious to the audience. Still, the film as a whole effectively gets its messages across about what a realistic plan for living in harmony across species actually looks like – and how to go about trying to do the right thing.

Advertisement

Pixar’s original works have struggled for several years, mainly upended by the COVID pandemic ruining the box office prospects of multiple great movies, including Soul, Turning Red and Onward.

Get ready now for Hoppers to take the spotlight both commercially and among repeat viewings for kids – the film is laugh out loud funny and filled with heart. This is the best original film from Pixar since Coco almost a decade ago.

Read more here: You can’t miss Pixar’s Coco (2017 review)

The only small critiques, in fact, is that the main conflict doesn’t fully emerge or develop until halfway through the film, and the pacing is a bit slow until we get to the actual animal “hopping” that comes at the end of the first act. What’s also missing is the ethereal discovery of poignancy that made Pixar’s earliest filmography seem truly special.

Still, don’t let these small quips deter you. Hoppers is the first great film of 2026 and an absolute blast watching at the cinema.

Advertisement

Children, parents, grandparents, neighbours, your mailman – everyone should see it this weekend. And seeing it sooner is a great way to encourage the development of more original, thoughtful and fun movies like this to be made.

Hop to it, beavers!

Advertisement
Continue Reading

Movie Reviews

‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Published

on

‘Jab Khuli Kitaab’ movie review: A heartfelt exploration of love’s endurance

Pankaj Kapur in ‘Jab Khuli Kitaab’
| Photo Credit: ZEE5

Cracks in conjugality constitute a common conflict device in Hindi cinema. Usually, the male commits the bhool and expects forgiveness. Most fissures appear early, but what if a grandmother reveals a long-buried truth? Can the man accept it as easily as he expects forgiveness? Seasoned actor and theatre practitioner Saurabh Shukla gives new meaning to a prescribed book, making us both chuckle and reflect.

Being a cinematic adaptation of his play, the constraints of the medium are not completely erased, but it shines as a heartfelt exploration of love’s endurance.

The film’s core premise revolves around a decades-old secret — Anusuya’s (Dimple Kapadia) confession of an indiscretion early in their marriage — that surfaces after she awakens from a coma. This revelation forces Gopal (Pankaj Kapur) to re-examine 50 years of trust through the lens of this buried truth as a forgotten ad hoc presence in his life threatens to become a permanent peeve. Enter Negi (Aparshakti Khurana), a young client-chasing lawyer who becomes an unlikely facilitator of tough conversations, legal proceedings, and emotional confrontations.

A still from the film

A still from the film
| Photo Credit:
ZEE5

Jab Khuli Kitaab (Hindi)

Director: Saurabh Shukla

Advertisement

Duration: 115 minutes

Cast: Pankaj Kapur, Dimple Kapadia, Aparshakti Khurana, Sameer Soni, Nauheed Cyrusi, Manasi Parekh

Synopsis: Gopal and Anusuya’s decades-long marriage is shaken by a revelation.

Though the transgression is a distant memory, its emergence shatters Gopal’s sense of shared space with Anusuya. He questions whether the life he built was an illusion. The woman he cared for seems suddenly unfamiliar. The film asks questions that may seem flimsy but persist in memory. For instance, Anusuya’s love for poetry that Gopal never really discovers, or the concept of marzi (inclination) in relationships.

Meanwhile, the revelation shakes the family unit. The parents initially try to shield the children from the truth, but the tension inevitably seeps in. Initially, it seems the son and son-in-law are bitten by the Baghban bug, but as the film progresses, the writing provides space for a dialogue on how companionship extends beyond the couple.

The film quietly reflects on the role of memory in a marriage, treating it as a central force that both sustains and disrupts long-term bonds. Gopal’s growing dementia suddenly seems like a cure for his marital problem. Without underlining, Shukla also explores the impact of the revelation on Gopal’s social psyche. Suddenly, a seemingly progressive man starts behaving like a parochial uncle, as we find dozens of them around us these days. Is it always the personal that shapes the political socialisation? Another uncle reminds us that laughing too much leads to days of sorrow, as if the Almighty has assigned us a quota of happiness.

Advertisement
A still from the film

A still from the film
| Photo Credit:
ZEE5

Kapur’s masterful control shines through in Gopal’s progression from bewilderment and stubborn pride to vulnerability and, eventually, the rediscovery of love. Over the years, Kapur has shone in the estuary of comedy that holds a tragedy in its fold. He lives the script’s shifting tones. From the tender caregiving scenes in the beginning to the profound internal shift in demeanour and body language toward the film’s resolution— the transformation feels earned and believable.

It is hard to believe Dimple as a wilting wife, but soon we realise it’s the gravitas in her voice and personality that makes Anusuya a believable picture of regret and resilience.

We know the coma is more like a metaphor, but the medical aspect is treated with a heavy hand. The plot unfolds in a somewhat linear and foreseeable way, with the revelation and its consequences following expected beats. The contrivances, the dot-to-dot mechanics of storytelling, surface in the second half as if the director is keen on arriving at the crux without peeling the layers properly. But it is the chemistry between Shukla and Kapur that prevents this bittersweet dramedy from becoming schmaltzy. 

Jab Khuli Kitaab is streaming currently on ZEE5

Continue Reading

Movie Reviews

‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

Published

on

‘Hoppers’ movie review: Big ideas and smart emotional beats fuel a great adventure

In cinema logic, sharks, especially great whites, make excellent characters in animation. From Bruce in Finding Nemo to Mr Shark, the master of disguise in The Bad Guys, these apex predators turn their great gummy mouths with many pointy teeth into jolly good fellows.

In Hoppers, the 30th animation film from Pixar, there is a great white called Diane (Vanessa Bayer), who, despite being a scary assassin, has such sweet, shining eyes and a warm smile that one cannot help but grinning back.

Hoppers (English)

Director: Daniel Chong

Voice cast: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, Dave Franco

Storyline: A fierce animal lover uses a new technology to converse with animals and save their habitat from greedy, self-serving humans

Advertisement

Runtime: 104 minutes

We first meet Mabel (Piper Curda) as a little girl trying to set all the animals in school free and being sent home for her pains (and also because she bites one of the teachers trying to stop her). Her busy mother drops Mabel with her grandmother (Karen Huie) who shows her the peace and quiet that can be hers if she only stops to listen.

The glade where grandmother Tanaka teaches her this valuable life lesson becomes a special place for Mabel. Years later, after her grandmother has passed, 19-year-old Mabel is a college student and still fighting for animal rights.

Matters come to a head when the mayor of Beaverton, Jerry Generazzo (Jon Hamm) plans to blow up the glade to build a freeway. Mabel tries to get signatures from the citizenry to stop the freeway plans, but that comes to naught as people quickly turn away from the zealous Mabel.

Frustrated, with no recourse in sight, Mabel chances upon a beaver making its way to her university’s biology lab. First worried that her biology professor Sam (Kathy Najimy) is doing some unspeakable animal experiments, Mabel is nonplussed to find that Sam, with her colleague Nisha (Aparna Nancherla) and graduate student Conner (Sam Richardson), have developed a revolutionary technology to transfer human consciousness to robot animal.

Advertisement

Mabel uploads her consciousness into a robot beaver and sets off to thwart the mayor. Seeing the world from the animals’ perspective gives Mabel a unique point of view. Hoppers has jokes, chases, largeness of heart and solid science — not consciousness-switching with robot animals or flying shark assassins but the fact that beavers are the environmental engineers of the natural world.

The voice cast is wonderful, from Bobby Moynihan as the beaver king, George to Dave Franco as Titus, the prickly butterfly who becomes the insect king after Mabel accidentally kills his mum — the Insect Queen, played with terrifying grandeur by Meryl Streep.

The animals are delightfully delineated, from the spaced-out beaver, Loaf (Eduardo Franco) to Ellen (Melissa Villaseñor) the grumpy bear. The animation is lovely, with each of the animal and human characteristics clearly outlined. From the mayor’s grasping to Sam’s brilliance, Mabel’s fervour to Loaf’s stillness, and the different animal monarchs’ regality, it is all given marvellous life.

ALSO READ: ‘The Bride!’ movie review: Maggie Gyllenhaal’s glam-goth Frankenstein can’t hold its stitches

The “pond rules” ensure that the animals are not completely anthropomorphised — a sticky point in animation films where carnivores and herbivores hang together without even a sneaky licking of lips!

Advertisement

Smart, funny, exciting, honest, and touching, Hoppers is the kind of film you can watch with the bachcha party and elders alike, with a happy grin. And then there is Diane of the red, red lips and sparkly white rotating teeth — yes, Hoppers boasts that level of detailing.

Hoppers is currently running in theatres

Published – March 06, 2026 07:08 pm IST

Advertisement
Continue Reading
Advertisement

Trending