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You might approach this film in the same way that I did: with a deep respect for Gold's work and a general interest in so-called foodie culture. You might have even first encountered Gold's work in much the same way that I did--by stumbling upon a glowing review pasted near your table in some hole-in-the-wall eatery (in my case, the Chung King Restaurant in the Monterey Park location that now houses Huolala). Like me, you'll certainly find much to enjoy in this documentary such as the fascinating forays into some of his most liked restaurants (perhaps some of which you have even been to) and the bemusing insights into his personal life (as a "failed cellist"; as a man of voracious appetites for food, knowledge, culture, and so on). Unfortunately, these small vignettes amount to the entirety of the film's charm and there is little to elevate it to greater than the sum of its parts.

City of Gold feels disjointed, fragmented, and altogether uncompleted to me. I don't necessarily feel that a documentary must ascribe some overarching meaning to its subject--a character study can often stand on its own--but even as a character study, the film fell flat. There seems to be no rhyme or reason to what is included and when it is included in the film. Instead, even some of the most fascinating points simply feel shoehorned in at awkward times. The final twenty or thirty minutes, for instance, use a KCRW guest DJ appearance by Gold as a sort of refrain. It is a cheap way to investigate his persona and it fails to link up with much of anything else in the documentary.

My biggest gripe with City of Gold is how it failed in a way that ultimately separates good documentaries from mediocre ones: much of it felt like performance rather than unadulterated insight. In some scenes, he is at the LA Times offices and in meeting with his editors and others to discuss upcoming pieces. Any notion of unfiltered access is immediately dispelled: much of the conversation seems addressed to the camera (the viewer) and it feels both stilted and pretending.

The film, as short as it is, feels at least twenty minutes too long. At the conclusion, it fails to make up for this. There is a great documentary somewhere inside of City of Gold. Had I turned it off after the first 30 minutes, my review would likely be 8 stars but, well, it just kept going (nowhere).

Revenge: A Love Story puts its best foot forward from the get go, drawing the viewer in with early scenes of remarkable cruelty that are shot with a clarity of vision one would expect from a veteran filmmaker. Unfortunately, the film stumbles and eventually falls flat.

The film is divided into 'chapters'. For fear of spoiling anything at all, I will refrain from discussing them in depth. I will say though - the first three play out over the first hour of the movie. These three, and the third especially, are strong, with a few setbacks. After that first hour, I was expecting to be rewarding this movie with 7 or even 8 stars.

I may be jumping to conclusions by saying this, but I am of the belief that this movie was simply watered-down too many times pre-production. There was most certainly something great beneath it all. In the lead role, Jun Mak showed off his acting chops and I can't say, by any means, that he was bad in the role. There wasn't enough dialogue. I felt like the movie was tailored for pop stars and took away any opportunity for them to appear to be poor actors, subsequently preventing any semblance of a strong performance. Solo Aoi almost never spoke. It was briefly alluded to that her character was 'retarded' or 'mildly retarded'. Her role in the movie felt too much like 'smile and be beautiful'.

Buried somewhere deep within Revenge: A Love Story is a truly brilliant film, comparable to prominent films in the revenge sub-genre. The recent I Saw The Devil comes to mind. In fact, there are even parallels to be drawn between the two, as Revenge too invokes the notion of pure evil when the title of chapter 5 refers to the devil. By that time, the film had already begun it's self-destruction, and we're subjected to the third installment of Jun Mak running, shirtless, in slow-motion, with his panting the only audible sound.

I would recommend this to revenge-movie geeks. You'll likely enjoy the movie (as I did). You might even be enthralled through the first hour (as I was). But be warned: If you are expecting a good, intelligent thriller, this is not it.