Korean Life on Mars is the South Korean remake of popular British series by the same name.   It’s a television drama that blends elements of science fiction, crime, and psychological thriller genres. Directed by Lee Jung-hyo, it aired on OCN and became notable for its gripping narrative, strong performances, and the seamless way it wove together the elements of a crime procedural with time travel.

The story follows Han Tae-joo (played by Jung Kyung-ho), a modern-day detective with an analytical mind. He relies heavily on evidence and logical reasoning in his investigations. While chasing down a serial killer, he is involved in a mysterious accident. Tae-joo wakes up to find himself transported back to the year 1988, a time when the methods of crime-solving lacked the forensic precision he was accustomed to.

In 1988, Tae-joo is thrust into a world where technology is primitive, and the rules of policing are vastly different. He joins a police force led by the rough-and-ready Kang Dong-chul (played by Park Sung-woong), who relies more on gut instinct and old-school methods. The team also includes the righteous Yoon Na-young (played by Go Ah-sung), and the rookie Lee Yong-gi (played by Oh Dae-hwan). Together, they navigate the criminal underworld of the late 1980s, while Tae-joo struggles to find a way back to his time.

Korea Life on Mars stands out as a successful adaptation of the original British series, while adding its own unique flair through cultural and historical nuances specific to South Korea in the late 1980s. Set in the year of the Olympics. The drama does an excellent job of capturing the retro aesthetic of the era, from the fashion and vehicles to the police procedural methods, giving the show a distinct nostalgic charm. And while the story lines run parallel to the original series, they have their own unique twist. Characters are slightly different too, unique in both personality and from a cultural perspective to the BBC production.

The show also excels in its pacing and plot development. Each episode presents a new case for the team to solve, but the overarching mystery of Tae-joo’s predicament is carefully unraveled throughout the series. This balance between episodic storytelling and serialized narrative keeps the audience engaged, eager to discover the truth behind Tae-joo’s time travel.

The production of Korea Life on Mars involved meticulous attention to detail to accurately recreate the late 1980s. The props, sets, and costumes were all designed to reflect the era, providing a rich and immersive experience for the audience. The cast reportedly underwent extensive preparation to embody the attitudes and behaviors of the time, with particular focus on the differences in police work between 1988 and 2018.

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Gamera the Giant Monster was directed by Noriaki Yuasa, is a seminal entry in the kaiju genre. Featuring a gigantic, fire-breathing turtle that emerges from the depths of the Arctic ice to wreak havoc across Japan. This film marks the debut of Gamera, who would become one of the genre’s enduring icons.

The film opens with a chilling prologue set in the Arctic, where a Japanese expedition uncovers a massive, mysterious egg. A nuclear test gone wrong, exposes the egg to radiation. The result is Gamera, a colossal turtle-like creature with formidable powers. Gamera is capable of generating intense heat through its fiery breath, but unlike other kaiju, Gamera is a flying creature, utilizing rocket-like propulsion from its shell .

The monster’s destructive rampage can be seen as a symbol of nature’s retaliation against human hubris. The plot follows a group of scientists, military personnel, and a young boy named Toshio, who plays a crucial role in understanding and ultimately confronting Gamera. The film explores themes of humanity’s impact on nature and the consequences of nuclear experimentation, all while providing a thrilling spectacle of giant monster action.

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*Gamera the Giant Monster* is often regarded as a classic example of the kaiju genre, serving both as a nostalgic throwback and a unique entry in the monster movie pantheon.  For 1965 the height of kaiju popularity, the practical effects and suitmation, though primitive by today’s standards, were groundbreaking. The film’s depiction of Gamera, designed by the legendary special effects artist Noriaki Yuasa, exhibits a blend of creativity and innovation. Gamera’s ability to fly and breathe fire, alongside its massive scale, was a significant departure from other kaiju of the era, who typically relied solely on physical destruction and brute force.

The narrative, while straightforward, is effectively executed. It incorporates the classic elements of kaiju films, including the initial discovery of the monster, the subsequent rampage, and the eventual battle between the creature and humanity. The inclusion of the young boy, Toshio, adds an emotional core to the story, as he forms a bond with Gamera and represents the hope and innocence amidst the chaos. Unfortunately like most kaiju films, the focus is more on spectacle and less on character development. So, the film’s characterization and dialogue can feel dated and melodramatic by modern standards.

Gamera the Giant Monster remains a beloved classic in the kaiju genre, notable for its imaginative portrayal of Gamera and its blend of thrilling action with underlying themes of environmental and scientific caution. The cheesy special effects of this historical film, continue to charm audiences, and maintaining Gamera ‘s place in the annals of monster movie history.

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Ultraman a pioneering Japanese television series, originally aired from 1966 to 1967. Created by Eiji Tsuburaya, the series marks the beginning of what would become the most spin-off producing franchise ever. Ultraman follows the adventures of an extraterrestrial superhero, an Ultra, who defends Earth from giant monsters and alien threats.

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The series begins with the arrival of a mysterious alien, Ultraman, who comes to Earth to assist the Science Patrol, a special team tasked with protecting humanity from giant kaiju (monsters).  But for all his strength, Ultraman’s power is limited by Earth’s environmental factors, draining quickly and needing recharge. Ultraman saves one of the science patrol, Shin Hayata, from a near fatal accident, fusing with him and remaining dorment until his extrodinary strength is needed to push back the impending alien / monster threats.

The show’s plot revolves around these battles against various monsters, who each pose a unique threat to humanity. When danger arises, Ultraman emerges from Hayata’s body and uses his incredible size, strength, and special abilities to combat these threats. His main weapon is the Specium Ray, which can defeat even the most formidable monsters. The transformation from Hayata to Ultraman is a key dramatic element of the series, showcasing a blend of action and character development.

The series special – effects, while cheesy by today’s standards, were ground breaking in the 60s. The costume for Ultraman changed after the first 13 episodes, then again for the 30th episode. Each episode was a combination of action, drama, with a morality tale. The concluding message of courage, teamwork, and the importance of protecting the environment may be in part reason for the longevity of the Ultraman franchise. While the show’s special effects and monster designs might seem dated by modern standards, they hold a nostalgic charm and remain influential in the genre.

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Le Grand Jete means big leap, a ballet term. This subtitled German film is about a ballet instructor who makes a life changing big leap with her estranged son.  The film begins by focusing on the crippling effects that a lifetime of extreme training has taken on body of Nadja (Sarah Grether). The only thing that gives her life meaning is ballet and she drives her students hard, like she drives herself.

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When she visits her mother, she is reunited with her son. A son she let her mother raise so she could pursue her dreams of being a professional ballerina. She has recently returned from overseas, to continue the ballet traditions as a respected instructor in her hometown. Her son is a young adult, getting ready to start college. Nadia is probably in her mid to late 30s with a ticking biological clock, she wants to establish a relationship with him, just as he is ready to leave the nest.

The film takes a strange art-nouveau twist as we learn that the son Mario engages in extreme feats of physical endurance (like his mom). After his “show”, they go back to the home he still shares with her mother, his grandmother. There, le Grand Jete, truly begins as Nadja asks if she can touch, his prize winning, most endurant body. He is absolutely unreserved in his response, as she remains very much a stranger, a celebrity of sorts, more a curiosity than his mother.

Nadja moves in with her family and continues to get to know her son. The physicality of their personalities defines as well their relationship. Their relationship knows no boundaries, much to the disapproval of her mother. Quickly Nadja becomes pregnant and Mario stays on until after she safely delivers. With the birth of her daughter, Nadja is finally happy, and has a new purpose in life. The movie, le Grand Jete, ends when she releases her son from his commitment to find his own path.

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