Reviews

If your goal is to watch interminable close-ups of Ji Chang Wook, then this is the series for you. The scriptwriting wanders all over without clear logic; the killer starts out with a specific motive for targeting his victims but by the midpoint, it appears he's become just another serial killer choosing his victims indiscriminately.

No one seems to share information that would lead to finding the killer or killers. The ML develops some insight as to the killer's motive about a quarter of the way through but then goes off on a tangent agonizing over the FL and his developing feelings for her. Similarly, the FL withholds information, thereby putting herself in danger, and equivocates endlessly about her own feelings.

The prosecutors involved are much more focused on their personal relationships to the detriment of getting any real work done.

I'm halfway through and would like to see how this mess gets resolved, but don't know how much more slogging I can tolerate. I, too, chose this series because I've seen Ji Chang Wook in better series and this is a disappointment.

The 'romantic' in the title is somewhat misleading as it does not refer to love between humans; rather, it's used in the classic sense of a dreamer, an idealist, one who reaches for a beauty and perfection that is just out of reach. If one is familiar with the song, 'The Impossible Dream,' from "Man of La Mancha,' that comes closest to describing this type of romantic hope.

The cinematography perfectly captures the contrast between the gleaming polish, bright lights and sharp angles of a modern hospital in contrast to the warm wood paneling, the out-of-fashion tile flooring and the hazy ambient lighting of the aging country hospital where most of the action takes place.

Each episode is well=paced and ends with a cliffhanger that lends the series to binge-watching. The ensemble cast works well together; versatile Yoo Yeon-seok turns in his usual solid performance and love interest Seo Hyeon-jin shows a character development that is interesting to watch. I wish both of them had signed on for at least part of the second season.

Much action takes place in the operating room and may not be for the squeamish. From a medical standpoint, some of the diagnoses seemed a bit improbable and farfetched, as if the writers pulled out a medical dictionary and said, "Okay, what terms can we use to sound dramatic and complicated?' A pivotal character is discovered to have advanced, terminal lung cancer on the eve of a heart operation. With all the testing prior to a complicated cardiac surgery, one would think the very competent lead surgeon would have discovered the significant mass much earlier.

The opening dialogue does not bode well for the rest of the series: Police officers responding to the emergency alert of an explosion and rushing to the scene of injured and dying scattered all around stop to ask an on-scene rescuer, "What are you doing? " The rescuer responds, "Look around. There was an explosion," only to have another police officer say, "Explosion? What happened?" One can only hope it gets better. Unfortunately, it doesn't and the inane dialogue and unprofessional behavior of the police department continues. My patience gave out after only 20 minutes. I really expected better from a Japanese series.

An engaging, charming series that imaginatively addresses the learning curve in building relationships, whether it's a young couple working through a somewhat unconventional courtship and early marriage or a mature couple or a gay couple. Changing societal norms and expectations are addressed and resolved in varying ways to everyone's eventual satisfaction. The chemistry between Gen Hoshino and Yuri Aragaki is great, as well it should be since they subsequently married in real life, and the relationship provides plenty of opportunity to for this couple to experience a range of the usual emotions from insecurities and uncertainty to confusion and ultimately trust, happiness and contentment.

This series is probably not for everyone, but it's a perfect gem for viewers looking for substance beyond the so-called swoon-worthy genre. It deserves thoughtful and attentive viewing.

This was a very rewarding series for me. The overall look and feel of the series were very 1950's, very authentic, including the occasional cigarette smoke-filed rooms. The character arc of the ML was believably developed from the insouciant, rather naive detective transported from his village to the big city with all its politics and corruption.

The pace of each episode moves right along so that the series moves right along. I wish some of the backstories and plot lines could have more development, particularly the university graduate who defies his father and joins the police force. However, the final episode is left open-ended, leaving me to wonder whether there will be a second season, which I will watch just as enthusiastically.

Comedic touches were nicely done and -- finally -- a touching and mature love story believably handled and so nice to see.

Right from the beginning, we're plunged into the center of political power struggles in this powerful depiction of the backroom machinations and the sleazy toadying that goes on in the quest for political power and it keeps right on moving. We see the character arc of Jang Tae Un, the chief of staff, as he tries to maintain his ideals while seeking the power to accomplish his goals. We can read his struggles in his eyes.

This tightly written script portrays the degrading humiliations, large and small, endured by some of the support staff and the dogged loyalty and dedication of others who believe in their leaders.

This excellent ensemble cast delivers in every role. Two seasons covered all the bases for a satisfying end.

All the characters were so well cast from the main characters to the supporting roles. The warm lighting in the cafe and the muted colors of the costumes created a comfortable ambiance overall, a restful feeling that, along with the pace of the movie, gives the viewer time to absorb all the nuances. At 30 minutes, each episode is the right length, not compressed nor stretched out unnecessarily. The storyline is a reminder that the ordinary occurrences in ordinary lives are often the ones most meaningful and worth remembering. There's no great drama, no unsettling conflict, just a learning series to give the viewer something to think about and appreciate.

This series is difficult to rate because it doesn't seem to fit neatly into the rom-com category. Nevertheless, it is enjoyable and well worth watching in its entirety.

Initially the chemistry between the two leads didn't seem that great and it appears Shao Wei is a better fit for Fen Qing, but by the end, both Fen Qing and Ting En have grown into a good match and I was solidly in their corner. The script was well-written, the casting was good and some plot twists were unexpected. Kang Ren Wu did an outstanding job as a Cordon Bleu trained chef and Yu-Wei Shao's character matured beautifully and touchingly as the series progressed. Both were very well done.

I found the inclusion of the slapstick comedy childish, annoying and distracting; however, the choreography and comedic timing were admirable, being both skilled and excellently done. Some of the flashbacks were overly long and I began fast-forwarding through them. The voice-overs added depth to the storyline and I began looking forward to them.

Throughout the series, definitions of family, trust, loyalty, respect, understanding, responsibility to self and others, forgiveness and love are explored and become heavy duty in Episode 18. It seems a heavy load for a rom-com to carry, and some of the exploration seems, by Western standards, overdone and stretches credibility. Some of this may be due to cultural differences. However, this is what gives value to the series and I urge everyone to watch the entire series thoughtfully and looking beyond the romance. Many of the stated points deserve in-depth discussion following viewing of the series. Life is indeed a tangle and love can be difficult.

I was drawn to the fantasy element and some of the comedic interplay in this and watched it twice trying to better identify the positives and the negatives.

The premise of a previous life influencing the present lives of the main characters was interesting, but the subplot with the gardener was an illogical digression, a waste of time. It's as if the scriptwriters couldn't decide whether they wanted a drama or a cliched rom-com.

Rowoon's acting is all over the place. Half the time he's a competent lawyer -- well done, by the way -- the other half he's annoyingly weak with his parents and his fiancee, or he's silly, presumably influenced by the spell. I put it down to a really bad script paired with poor directing. Rowoon deserves much better. I'd like to see him outgrow the pretty boy rom-coms and start taking on more sophisticated comedies as well as trying more serious roles as part of a well-written ensemble series such as Diary of a Prosecutor and finally becoming a seasoned dramatic actor.

The FL fares no better in the script. She's very effective as the comedic and spunky working girl, but again, veers off into really foolish decisions. She is being stalked and yet she insists on traveling around city and countryside by herself, both day and night. She even slips away from the bodyguards hired to protect her. The ongoing feud with Na-Yeon left over from high school days is beneath the dignity of both Hong-Jo and Na-Yeon.

Ha-Jung and Kim Hye-Ok shine in supporting roles as does the actress playing Shin-Yu's mother.

All in all, a series that fell far short of what it could have been.

Winter scenery is absolutely beautiful and Eun-ji Jung carries her role of Hee Sun with pluck, energy and humor, perhaps the most enjoyable part of the series.

That being said, this is one of those stories billed as romantic when it is anything but. The script is illogical and lacks any sort of coherence. As it is written, the main characters are all narcissistic and controlling. The character of Oh Soo starts off quite believably as a charming, hedonistic con man but undergoes a farfetched personality change during the series.

Supposedly Oh Soo is abandoned in the middle of winter and left under a tree, yet survives alone there for three months?

So Ra double-crosses Oh Soo to the tune of $7 million, leaving him to spend a year in jail and then at the mercy of a murderous mob, then returns expecting him to join her in Switzerland? She is one psychotic character.

Episode 1, Oh Young independently follows Oh Soo down the steps, and yet later on, he has to carry Oh Young up and down a mountain?

Oh Soo rants about Secretary Wang's failure to educate Oh Young about the difference between a little brother and a grown man and nevertheless climbs into bed with Oh Young, however chaste it may be.

Finally, by the end of the series, Oh Soo is demanding that he be allowed to share Oh Young's bed even while she refuses and locks her bedroom door. This is not love; this is abusive behavior.

Perhaps as an American, I am too ignorant of Korean culture and I'm judging this too harshly. Nevertheless, I find it disturbing on many levels.

It has taken this Western viewer three repeats of the series to finally get up to speed on the gist of the series and feel confident to comment on it. Maybe it's my advanced age.

First of all, I had no idea the Korean landscape is so varied and beautiful; the cinematography is breathtaking.

So many of the supporting actors are well fleshed out and add so much to the story. I'm thinking of the two slave catchers-turned-pawn brokers, the house servants, the Joseon king -- I could feel his pain. The interaction of the three male leads seemed so natural and realistic and I came to enjoy those sections, brief as they were. They play off each other nicely. I don't know enough about Korean culture overall to comment on the accuracy of its portrayal.

Now the nitpicking -- an American missionary would never be so dismissive of an orphaned child and the fact that Eugene is so fond of him in later episodes has no supporting logic. Portraying the missionary in a more sympathetic light would have gone a long way to explain Eugene's strong allegiance to the USA. Second, the American cavalry has always kept their horses groomed to a T as well as feeding and exercising them so they are glowing and well-muscled. This would have applied in foreign postings as well. The horse Eugene rides can only be described as a dispirited nag.

There is much that is unspoken in this film, but it held my interest from start to finish, perhaps because my own father was a beekeeper. The cinematography was beautiful; I appreciated the acting. The 'miracles' at the end were a little too pat; it was a feel-good movie and I enjoyed it. I had the feeling that, as an American, there were probably nuances that I didn't catch.